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THURSDAY, OCTOBER 17, 2019 WASHINGTON DC. 2019 ANNUAL MEETINGS. DECODING DEBT: GETTING TRANSPARENCY RIGHT.
The panel addresses three key questions: 1) Why is debt transparency important? 2) Why is it lacking in so many low-income countries? 3) What must be done to create the right incentives for greater debt transparency? David R. Malpass President, World Bank Group; Antoinette Sayeh Visiting Fellow at the Center for Global Development; Kenneth Rogoff Thomas D. Cabot Professor at Harvard University; Zainab Ahmed Minister of Finance, Budget and National Planning, Nigeria; Julie Monaco Managing Director Global Head Public Sector Banking, Capital Markets and Advisory Division Citi. Photo: World Bank / Brandon Payne
Photo ID: 101719_Decoding Debt Getting Transparency Right_132_FF
pictures from wednesday: user experience day. guests, speakers and location.
pictures from wednesday: user experience. guests, speaker & location.
GP500 motorcycle windshields
Kawasaki Motorcycle History
Kawasaki emerged out of the ashes of the second World War to become one of the big players from Japan. In the late ’60s and early ’70s, Kawasaki built a reputation for some of the most powerful engines on two wheels, spawning legendary sportbikes like the Ninja series and a line of championship-winning off-road bikes. .1896
The company is founded by Shozo Kawasaki. His firm will come to be known as Kawasaki Heavy Industries. Over time, the company’s principal areas of activity will be shipbuilding, railroad rolling stock, and electrical generating plants. Motorcycles will become a small part of this diversified industrial conglomerate. 1960
Kawasaki signs agreement to take over Meguro motorcycles, a major player in the nascent Japanese motorcycle manufacturing business. Meguro is one of the only Japanese companies making a 500cc bike. In England and the UK, Meguro’s 500 – which bears a strong resemblance to the BSA A7 – is derided as a cheap copy. But in fact, it is a pretty high-quality bike. 1961
Kawasaki produces its first complete motorcycle – the B8 125cc two-stroke. 1962
A series of the two-stroke models from 50-250cc is released. The 250cc disc-valve ‘Samurai’ attracts notice in the U.S. 1966
The 650W1 is released and is the biggest bike made in Japan at the time. It’s inspired by the BSA A10. Over the next few years it will get twin carbs, and high pipes for a ‘scrambler’ version. 1969
Dave Simmonds gives Kawasaki its first World Championship, in the 125cc class
The striking Kawasaki H1 (aka Mach III) a 500cc three-cylinder two-stroke is released. Although its handling leaves something to be desired, the motor is very powerful for the day. It’s one of the quickest production bikes in the quarter-mile. The Mach III establishes Kawasaki’s reputation in the U.S. (In particular, it establishes a reputation for powerful and somewhat antisocial motorcycles!) A wonderful H1R production racer is also released – a 500cc racing bike.
Over the next few years, larger and smaller versions of the H1, including the S1 (250cc) S2 (350cc) and H2 (750cc) will be released. They’re successful in the marketplace, and the H2R 750cc production racer is also successful on the race track, but Kawasaki knows that the days of the two-stroke streetbike are coming to an end.
The company plans to release a four-stroke, but is shocked by the arrival of the Honda 750-Four. Kawasaki goes back to the drawing board.
1973
The first new four-stroke since the W1 is released. It’s worth the wait. The 900cc Z1 goes one up on the Honda 750 with more power and double overhead cams. Over the next few years, its capacity will increase slightly and it will be rebadged the Z-1000. 1978
Kork Ballington wins the 250cc and 350cc World Championships with fore-and-aft parallel-Twin racers (Rotax also built racing motors in this configuration. Ballington will repeat the feat in ’79. In 1980 he will finish second in the premier 500cc class. Anton Mang takes over racing duties in the 250 and 350 classes, and he will win four more titles over the next three years. This is the most successful period for Kawasaki in the World Championship.
Kawasaki’s big-bore KZ1300 is released. Honda and Benelli have already released six-cylinder bikes by this time, but Kawasaki’s specification includes water cooling and shaft drive. To underline the efficiency of the cooling system, its launch is held in Death Valley. Despite its substantial weight, journalists are impressed.
Over the next few years, the KZ1300 will get digital fuel injection and a full-dress touring version will be sold as the ‘Voyager.’ This model is marketed as “a car without doors”!
1981
Eddie Lawson wins the AMA Superbike championship for Kawasaki after an epic battle with Honda’s Freddie Spencer. He will repeat as champion the following year.
Kawasaki releases the GPz550. It’s air-cooled and has only two valves per cylinder, but its performance threatens the 750cc machines of rival manufacturers. This is the bike that launches the 600 class.
1983
The liquid-cooled four-valve GPz900R ‘Ninja’ is shown to the motorcycle press for the first time at Laguna Seca. They’re stunned. 1985
James “Bubba” Stewart, Jr. is born. Kawasaki supplies his family with Team Green diapers. 1989
The first ‘ZXR’-designated bikes reach the market. They are 750cc and 400cc race replicas. 1990
The ZX-11 is launched and features a 1052cc engine. It is the first production motorcycle with ram-air induction and the fastest production bike on the market. 1991
The ZXR750R begins a four year run as the top bike in the FIM Endurance World Championship. 1993
Scott Russell wins the World Superbike Championship, much to Carl Fogarty’s dismay. 2000
The ZX-12R is released – the new flagship of the ZX series. 2002
Bubba Stewart wins AMA 125 MX championship. 2003
Stewart is AMA 125 West SX champ. “What the heck is he doing on the jumps?” people wonder. It’s the “Bubba Scrub.”
In a daring move that acknowledges that only a small percentage of supersports motorcycles are ever actually raced, Kawasaki ups the capacity of the ZX-6R to 636cc. Ordinary riders welcome a noticeable increase in mid-range power, and the bike is the king of the ‘real world’ middleweights.
2004
Stewart wins the AMA 125 East SX title, and the 125cc outdoor championship. There are only one or two riders on 250s who lap any faster than he does on the little bikes.
Just when we thought motorcycles couldn’t get any crazier, the ZX-10R is released. OMG, the power!
2007
Although his transition to the big bikes hasn’t been as smooth as many expected it to be, Stewart wins the 2007 AMA SX championship. 2008
Kawasaki gives the Concours a much-needed revamp in the Concours 14. Sharing the 1352cc engine from the ZX-14, it’s touted as the ultimate sport touring motorcycle.
While they’re at it, Kawasaki also decides to give the Ninja 250 and KLR 650 major updates, after years of inactivity.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
A simple decoder for NOAA weather satellite images implemented in the GNU Radio Companion.
The recorded 11025 Hz audio is filtered then re-sampled to 9.6 kHz. At this rate the 2.4 kHz sub-carrier will have 4 samples / period, in other words the samples will come with 90 degrees phase difference. This allows measuring the instantaneous amplitude of the 2.4 kHz sub-carrier at a rate of 4.8 kHz using 2 consecutive samples (with 90 degree phase difference):
A = sqrt(s1*s1 + s2*s2)
Finally, the amplitude stream is re-sampled from 4.8 ksps to 4.16 ksps, which happens to be the symbol rate.
The resulting data file can be converted to PNG image using ImageMagick:
convert -size 2080x1500 -depth 8 gray:NOAA19-2010.10.17.14.54.20.dat NOAA19-2010.10.17.14.54.20-e.png
see flic.kr/p/9FncjL
[Note: there is no sqrt function in GRC which is why I convert to complex]
Details about the NOAA APT format:
GP500 motorcycle windshields
Ducati is an Italian motorcycle manufacturer know for sportbikes and street bikes using L-Twin engines. The Ducati company was founded in 1926 in the northern Italian town of Bologna. But motorcycles were not being produced in the Borgo Panigale plant, with the firm producing radio equipment. The company’s Italian holdings were decimated during World War II bombings and like other famous European marques, Ducati rose out of the ashes to its current stature.
Ducati motorcycle production began post-war first as motors attached to bicycles. In the early 50’s the firm was producing stand-along motor scooters, but by the end of the decade Ducati was making its name in the racing world.
Much credit for its racing ascension is given by Ducati to engineer Fabio Taglioni, who developed Ducati’s desmodromic valve system. Taglioni’s work included the creation of many successful Ducati Singles as well as the Ducati 250 Twin raced by English legend Mike Hailwood.
The ‘60s and ‘70s saw racing success for Ducati, building the Italian firm’s prestige as a racing marque. Racing highlights include: a 1972 win by Paul Smart in the Imola 200 with a desmodromic 750 Twin and the 1978 Isle of Man TT triumph of Mike Hailwood, who came out of retirement to racing the 900cc Supersport Twin.
Ducati was purchased in 1983 by the Castiglioni family and merged with the Cagiva Group. Again the marque found success on the racetrack, with further progression of its Twin-powered sportbike platform in the form of its 851 and 916 Superbikes. Highlights of the Castiglioni years include the introduction of its wildly popular Monster line – a naked street bike designed by Argentine designer Miguel Galluzzi.
MotoGP Racer Casey Stoner.
Economic woes saw Ducati ownership change hands in the mid-90s to the American investment firm of Texas Pacific Group. The Superbike and Monster lines continued, with Ducati finding even more racing success in the World Superbike Series at the hands of Carl Fogarty.
Troy Bayliss, Neil Hodgson and James Toseland extended Ducati’s dominance in the World Superbike Series into the new millennium. Ducati also pushed ahead into Grand Prix, with the V-Four Desmosedici leading its MotoGP effort. The 2003 entry paid dividends in 2007, when Australian Casey Stoner claimed the GP title.
Off the track, Ducati expanded its sales line. The Ducati 916 evolved to the controversially-styled 999, then the 1098 and now the current 1198. A high-spec 1098R is Ducati’s Superbike racer, sporting production traction control. Ducati’s middleweight sportbike bumped up from the 749 to the 848. But the most impressive Ducati sportbike remains the Desmosedici RR, a production version of the firm’s GP racer.
The controversaially styled 2005 Ducati 999RThe Monster family remains a top seller, with the current generation of air-cooled naked dubbed the 696 and 1100. The Monster is also supplemented in 2009 by the new Streetfighter, a naked version of its 1098 Superbike.
Other Ducati motorcycles are the Multistrada and Sportclassics. The Multistrada is versatile standard built around the air-cooled 1100 L-Twin. Like many of the Superbike and Monster models, there is an “S” version available which sources Ohlins suspension. Based off classic Ducati models the SportClassic lineup features the Desmo 1000 air-cooled L-Twin inside the traditional styling lines of the GT1000, Sport 1000S and GT1000 Touring.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
Bayer decoded (eg, in color) image of the setting sun close to the crater rim of Gale Crater, seen by Curiosity near the base of Mount Sharp. Color/processing variant.
At last! Some FMP work for you all to see!
The second photograph from a series of 3 images telling a story.
this shoot was inspired directly from the video for Paramore - Decode (watch it on youtube to see what I mean)
My friend Dominie (the girl in the previous photo) is an aspiring author - she wants to write horror novels - and so I've asked her to write a short story (based on my ideas) to accompany these 3 images for the exhibition in June (17th).
The images will be presented together as a verticle tryptch.
Outline of my FMP project: I decided to do 'horror inspired photography' for my final major project after seeing examples of other photographer's work back last summer. I'm looking at the works of cindy sherman and alfred hitchcock and other horror photographers.
My aim is to look at how movies and photography have influenced each other in return and to take horror photography back to the 'hitchcock horror' - the phsycological horror, rather than blood, guts and gore. Today we're becoming immune to 'gore' it's just gore - its not scary anymore. Instead I want to use the old tricks - light and shadows, unseen attackers, mystery, motion, phobias, childhood nightmares etc. These are often more terrifying.
I don't want people to turn away from my exhibition work in disgust, I want to intrigue them, draw them in and then leave them with a sense of disquiet - 'creeped out'.
Model: Jessica Ingle www.modelmayhem.com/1070353
MUA: Sophie Battersby www.modelmayhem.com/1063574
Photographer & Stylist: Katherine Roberts
© Katherine Roberts/Stargirlphotography 2009
I have had the idea for a seven segment display in Structure Synth for a while and finally got around to doing something with it.
I wanted very smooth dof on this image so I rendered it at aa 4 4, and only took about 45 minutes :)
paramore music video for decode. new track from the Twilight soundtrack.
soundtrack out november 4th.
pictures from wednesday: user experience day. guests, speakers and location.
pictures from wednesday: user experience. guests, speaker & location.
I rode along with these guys down to the Arkaik Clothing office in Tempe. We were able to check out what they had and some of the winter 2012 line. They have some sick clothing that you should check out!
Took this picture for the Arkaik site with Decoder(minus Anthony) reppin' some of the clothing
pictures from wednesday: user experience day. guests, speakers and location.
pictures from wednesday: user experience. guests, speaker & location.
Have you ever noticed the barcodes on your receipts?
I notice such useless details and I even try to decode them:
At last! Some FMP work for you all to see!
The third photograph from a series of 3 images telling a story.
Not sure which of these two versions works the best - lemme know your opinions!
this shoot was inspired directly from the video for Paramore - Decode (watch it on youtube to see what I mean)
My friend Dominie (the girl in the bride in the storm) is an aspiring author - she wants to write horror novels - and so I've asked her to write a short story (based on my ideas) to accompany these 3 images for the exhibition in June (17th).
The images will be presented together as a verticle tryptch.
Outline of my FMP project: I decided to do 'horror inspired photography' for my final major project after seeing examples of other photographer's work back last summer. I'm looking at the works of cindy sherman and alfred hitchcock and other horror photographers.
My aim is to look at how movies and photography have influenced each other in return and to take horror photography back to the 'hitchcock horror' - the phsycological horror, rather than blood, guts and gore. Today we're becoming immune to 'gore' it's just gore - its not scary anymore. Instead I want to use the old tricks - light and shadows, unseen attackers, mystery, motion, phobias, childhood nightmares etc. These are often more terrifying.
I don't want people to turn away from my exhibition work in disgust, I want to intrigue them, draw them in and then leave them with a sense of disquiet - 'creeped out'.
Model: Jessica Ingle www.modelmayhem.com/1070353
MUA: Sophie Battersby www.modelmayhem.com/1063574
Photographer & Stylist: Katherine Roberts
© Katherine Roberts/Stargirlphotography 2009
Have you ever noticed the barcodes on your receipts?
I notice such useless details and I even try to decode them:
pictures from wednesday: user experience day. guests, speakers and location.
pictures from wednesday: user experience. guests, speaker & location.
Reading the files and assessing the amount of correction
Without going into the details of how to correct exposure and colour while decoding a raw image (it is really a long story, if all possible effects and conditions are to be accounted for), here's an example of an imperfect exposure that I had to correct before throwing this frame at Hugin. It looks pretty awful, if you have never looked at a raw file before. It is certainly far from perfect: it has been underexposed by at least 1 EV. You will see that this is almost OK; we still have 11 bits to play with.
I prefer to have my frames underexposed than overexposed, if possible. If this frame was overxposed by 1 EV, or even less than that, I would have to throw it away.
Now, remember Nautilus — the file browser I mentioned on the previous page?
It is configured to call ufraw on any photographic raw file, when I click on one. At least, so it is in Ubuntu, and it is easy to achieve the same effect in other systems.
This combination allows me to very quickly run through the images I want to work with, and to figure out the corrections they require. My goal at this stage is to come up with the numbers describing the necessary corrections, rather than do those corrections and save the resulting files. In other words, it is a read-only exercise. I tweak the numbers until the image starts looking right. Or, in the case of panorama frames, approximately right. Because Hugin will command an exposure adjustment to make the frames blend well, any extra time spent making them look perfect at this stage will be wasted. All I need is to try and spread the pixel levels as widely as possible across the available dynamic range. Doing so will minimise the loss of information during the subsequent adjustments and blending.
Now, the above picture shows how the image looks with the standard settings for my camera. What are the standard settings? No exposure compensation and the gamma curve that corresponds to my camera's profile. In this case it is a built-in profile, which I learned to trust over the years. The gamma curve for this camera has the gamma of 0.45 and linearity of 0.1. The linearity parameter is a rough and ready hack that allows to selectively vary the lightness of the darkest values in the image without having much effect on the mid-range and brighter values. And that is a frequent need. The linearity parameter specifies which fraction of the curve to make linear.
My other camera works best with the standand gamma of 0.36 and linearity of 0.02. The standard values are obtained by testing the camera in the best lighting conditions (diffuse sunlight at mid-day), so the actual value you might need to correct an image will vary with the camera and with the time of the day, as well as possibly other condtions. But starting with the standard settings is a good way to estimate the amount of correction.
A quick look at the histogram (in the bottom left corner), reveals an unused space at the bright end of the range. That space needs to be filled. At the other extreme, pressing the Indicate button will highlight the areas that will be hopelessly underexposed in the output image, unless we do something. The reds in the underexposed map indicate that the red channel fell through the floor, while the green and the blue channels are still in range. The yellow spots contain the pixels where both the red and the green channels are underexposed. It appears that the blue is fine across the entire image; if it was not, and all three channels were underexposed, the fact would be indicated by black spots.
Now that we know what's wrong with the lightness distribution in all three channels, we can nudge it towards perfection (and there is plenty of room in that direction).
My Matrix skorpion decoded. it kinda got messed up because i didnt group it before i flipped it so some parts will look uneven. Feel free to leave a comment
pictures from wednesday: user experience day. guests, speakers and location.
pictures from wednesday: user experience. guests, speaker & location.
Personnel[edit]
Stephen Kettle's 2007 statue of Alan Turing
Commander Alastair Denniston was operational head of GC&CS from 1919 to 1942, beginning with its formation from the Admiralty's Room 40 (NID25) and the War Office's MI1b.[12] Key GC&CS cryptanalysts who moved from London to Bletchley Park included John Tiltman, Dillwyn "Dilly" Knox, Josh Cooper, and Nigel de Grey. These people had a variety of backgrounds – linguists, chess champions, and crossword experts were common, and in Knox's case papyrology. The British War Office recruited top solvers of cryptic crossword puzzles, as these individuals had strong lateral thinking skills.[13]
On the day Britain declared war on Germany, Denniston wrote to the Foreign Office about recruiting "men of the professor type".[14] Personal networking drove early recruitments, particularly of men from the universities of Cambridge and Oxford. Trustworthy women were similarly recruited for administrative and clerical jobs.[15] In one 1941 recruiting stratagem The Daily Telegraph was asked to organise a crossword competition, after which promising contestants were discreetly approached about "a particular type of work as a contribution to the war effort".[16]
Denniston recognised, however, that the enemy's use of electromechanical cipher machines meant that formally trained mathematicians would also be needed;[17] Oxford's Peter Twinn joined GC&CS in February 1939;[18] Cambridge's Alan Turing[19] and Gordon Welchman[20] began training in 1938 and reported to Bletchley the day after war was declared, along with John Jeffreys. Later-recruited cryptanalysts included the mathematicians Derek Taunt,[21] Jack Good, Bill Tutte,[22] and Max Newman; historian Harry Hinsley, and chess champions Hugh Alexander and Stuart Milner-Barry.[23] Joan Clarke (eventually deputy head of Hut 8) was one of the few women employed at Bletchley as a full-fledged cryptanalyst.[24][25]
This eclectic staff of "Boffins and Debs"[26] caused GC&CS to be whimsically dubbed the "Golf, Cheese and Chess Society",[27] with the female staff in Dilwyn Knox's section sometimes termed "Dilly's Fillies".[28] These "Dilly's girls" included Margaret Rock, Jean Perrin, Clare Harding, Rachel Ronald, Elisabeth Granger; and Mavis Lever – who made the first break into the Italian naval traffic and later, along with Margaret Rock, solved a German code.[29] During a September 1941 morale-boosting visit, Winston Churchill reportedly remarked to Denniston: "I told you to leave no stone unturned to get staff, but I had no idea you had taken me so literally."[30] Six weeks later, having failed to get sufficient typing and unskilled staff to achieve the productivity that was possible, Turing, Welchman, Alexander and Milner-Barry wrote directly to Churchill. His response was "Action this day make sure they have all they want on extreme priority and report to me that this has been done."[31]
After initial training at the Inter-Service Special Intelligence School set up by John Tiltman (initially at an RAF depot in Buckingham and later in Bedford – where it was known locally as "the Spy School")[32] staff worked a six-day week, rotating through three shifts: 4 p.m. to midnight, midnight to 8 a.m. (the most disliked shift), and 8 a.m. to 4 p.m., each with a half-hour meal break. At the end of the third week, a worker went off at 8 a.m. and came back at 4 p.m., thus putting in sixteen hours on that last day. The irregular hours affected workers' health and social life, as well as the routines of the nearby homes at which most staff lodged. The work was tedious and demanded intense concentration; staff got one week's leave four times a year, but some "girls" collapsed and required extended rest.[33] A small number of men (e.g. Post Office experts in Morse code or German) worked part-time.
In January 1945, at the peak of codebreaking efforts, some 10,000 personnel were working at Bletchley and its outstations.[34] A substantial percentage of personnel at Bletchley Park, 75%,[34] were women; among them were Jane Hughes who processed information leading to the last battle of the Bismarck; and Mavis Batey and Margaret Rock, who were credited for the Abwehr break.[35][35] Their work achieved official recognition only in 2009.[36] Many of the women came from middle-class backgrounds[36] and held degrees in the areas of mathematics, physics and engineering; they were given entry into STEM programs due to the lack of men, who had been sent to war. They performed complex calculation and coding and hence were integral to the computing processes.[37] Eleanor Ireland worked on the Colossus computers.[38]
Rozanne Colchester was a translator at Bletchley Park. She worked there from April 1942 until January 1945 mainly for the Italian air forces Section.[39] Like most of the 'Bletchleyettes', she came from the higher middle class, her father, Air Vice-Marshal Sir Charles Medhurst, being an air attaché in Rome. Before joining the Workforce of the Park, Colchester was moving in high circles “she had met Hitler and been flirted with by Mussolini at an embassy party” writes Sarah Rainey. She joined the Park because she found it thrilling to 'fight'/work for her country.[40] Cicely Mayhew was recruited straight from university, having graduated from Lady Margaret Hall, Oxford in 1944 with a First in French and German, after only two years. She worked in Hut 8, translating decoded German Navy signals.[41]
Ruth Briggs (later called Mrs. Oliver Churchill)[42] worked within the Naval Section and was known as one of the best cryptographers. She was also a German scholar. wikipedia
Here's a full resolution screenshot on a MacBook Pro Retina Display 15" laptop of an unedited Fujifilm X20 Raw file in Lightroom 4.4.