View allAll Photos Tagged synthesizing
Lahore, August 28, 2018: At an event held today, USAID’s Punjab Youth Workforce Development (PYWD) project presented its recently published Technical and Vocational Education and Training (TVET) Skills Gap Analysis Report — the most up-to-date account of current and future employment trends in four districts of Southern Punjab. The report synthesizes the findings of 7 studies/reports produced on skills gaps in the country, highlighting their relevance in today’s context, and bringing to light future job opportunities. The report also calls attention to newly emerging sectors in Multan, Bahawalpur, Lodhran and Muzaffargarh, including hospitality and healthcare. Present at the event were representatives from the private sector, vocational training providers including Technical Education and Vocational Training Authority (TEVTA), Punjab Vocational Training Council (PVTC), and donors supporting youth capacity-building initiatives in Pakistan.
Speaking at the event, USAID Deputy Mission Director Clay Epperson remarked, “This Skills Gap Analysis Report provides insight into the hiring trends of the market while understanding the needs of the job seekers. Through the PYWD Project, USAID is helping Pakistan maximize job creation in the productive sectors.”
The event provided a platform for TVET sector public-private stakeholders, including Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ), Punjab Skills Development Fund, TEVTA, PVTC, and Akhuwat, to discuss the findings of the Skills Gap Analysis and propose the best ways to increase youth employment in Pakistan.
During the seminar, USAID’s PYWD project and Allied Solar Private Limited signed a Memorandum of Understanding to provide self-employment opportunities for graduating students in solar panel installation.
USAID’s PYWD Project is providing skills-based training programs for 10,000 youth, including 35 percent females, between the ages of 16 and 29 in the southern Punjab districts of Multan, Lodhran, Bahawalpur, and Muzaffargarh. The three-year program complements the Government of Punjab’s policy to provide skill development opportunities for youth. In addition to contributing to Punjab’s overall economic growth, the project also fosters socially constructive attitudes among youth for increased stability and improved livelihoods.
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Taste is the last frontier of virtual reality. Taste is very difficult to display because it is a multi-modal sensation composed of chemical substance, haptics and sound. Taste perceived by the tongue can be measured using a biological membrane sensor. It can easily be synthesized from five basic tastes.
Credit: tom mesic
Dr. Arjun Raghuraman is attempting to synthesize a new type of antibiotic which would overcome many of the resistances that bacterial strains have developed over the years to commonly used antibiotics. The balloons allow the reactions to be done under anaerobic (air-free) conditions which is sometimes a requirement of organic syntheses. Dr. Raghuraman is a post-doctoral researcher in Texas A&M Universityís department of chemistry under the direction of Dr. Kevin Burgess.
Dr. Burgess is the Rachel Professor of Chemistry at Texas A&M University. His research interests focus on peptidomimetics for mimicking or disrupting protein-protein interactions, development of asymmetric organometallics catalysts for syntheses of valuable chirons, and fluorescent dyes for applications in biotechnology.
Texas A&M University may or may not have model releases for people photographed on campus, in classrooms, research laboratories, or other areas related to Texas A&M. Use of the images for non-university purposes is subject to approval. Please contact the Office of Communications and Public Relations, Division of Research for further information: vpr-communications@tamu.edu or (979) 845-8069.
Argentina, Buenos Aires: views from plaza San MCABA - Ciudad Autonoma de Buenos Aires
Is it possible to synthesize the soul of a city through photographs of its buildings? The work of Michele Molinari heads in that direction, overlooking the Buenos Aires of historic monuments and focusing on the common dwellings that stud the skyline of the porteña city. They are boundary lines by day and by night, suburban intersections trying to spur on the vertical expansion of the city. Molinari’s interesting experiment is to go back to the same places after a period of time to crystalize the changes and witness the immanence of certain corners of the urban fabric. – A. Trabucco
How emotional it is to admire Buenos Aires at dusk. The passers-by are hurrying along the sidewalks and distractedly look at the camera lens. With curious or perplexed glances. […] The essence of the obscurity is easier to enjoy in the quieter neighborhoods. […] The sense of calm even appears to reach the historic center in one of the few photos of monumental Buenos Aires included in the book. The circle closes. Every splintered scrap of the urban fabric is recomposed under the protective wing of the night. – A. Mauri
CABA - Ciudad Autonoma de Buenos Aires is a photobook. Photographs and essay by Michele Molinari, more essays by Andrea Mauri and Alessandro Trabucco. [essays are in English, Spanish and Italian]
CABA comes in 2 printed editions by Blurb, Pocket Edition [7x7in, 18x18cm, 132 pages, Standard Photo paper, Flexible High-Gloss Laminated cover, 106 color photos] and Deluxe Edition [8x10in, 20x25cm, 134 pages, ProLine Pearl Photo paper, Hardcover with Dust Jacket, 107 color photos], and one Digital Edition by Apple iBooks that features 107 + 7 bonus color photos.
CABA won Bronze Award at TIFA2020 Book/Documentary
Find it here: michelemolinari.info/2020/07/25/caba/
Awesome texture and colours, there was a lightbulb concreted to the wall that looked like it had been there for a good 50 years.
FOV: 5" wide
Home made fluorescent paint made with synthesized fluorescent minerals combined with white glue and water and painted on charred wooden blocks. The glue fluoresces blue under UVa (something I didn't realize until I'd painted the blocks).
Contains:
Willemite (FL+PHOS Green >UVc)
Calcite (FL Red >UVc)
Sphalerite (FL+PHOS Orange, Blue-green >UVabc)
Shown under UVc light.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosporescent
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
Obtained from the basement lab.
..Fluorescent Art\Fluorescent Paint\Blocks
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Slideshow mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
Blue Ridge Parkway, Transylvania County, NC.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Tiffen #15 filter. Worked up in Pixelbender and Photoshop.
esempio di albinismo,il fiore non è in grado di sintetizzare alcun tipo di pigmento,in questo caso l'orchidea si presenta decolorata.
example of albinism, the flower is unable to synthesize any kind of pigment, in this case the orchid looks discolored.
Enter to win a TEAM REDLINE XTREME VIP 500 experience of a lifetime: www.vpxsports.com/contest-giveaway/redline-xtreme-racing-...
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on which to synthesize different moods with minor detail changes..
....just a few examples...the possobilities are endless...
If''d like you may have a look at the set " Penthouse's former arrangements" :
On 9 and 10 November 2011, the ILRI Board of Trustees hosted a 2-day 'liveSTOCK Exchange' to discuss and reflect on livestock research for development. The event synthesized sector and ILRI learning and helped frame future livestock research for development directions. The liveSTOCK Exchange also celebrated the leadership and contributions of Dr. Carlos Seré as ILRI Director General (photo credit: ILRI/Zerihun Sewunet).
10" f/4 Newtonian,314L with 7nm H-alpha filter. Captured 12subs at 5mins each,stacked in Deepskystacker and processed in StarTools and Nebulosity3. Synthesized stars tool in StarTools used to add effect to the brighter stars.
Image taken 12/08/2014
A report that recommends steps to reduce hurricane damage in New Orleans was released today by an expert engineering panel of the American Society of Civil Engineers (ASCE). The 84-page report, “The New Orleans Hurricane Protection System: What Went Wrong and Why,” targets the public and policymakers, and complements and synthesizes the thousands of pages released so far by the U.S. Army Corps of Engineers during their post-Katrina investigation. Dr. Robert Gilbert, the risk expert on the ASCE panel and a civil engineering professor at The University of Texas at Austin, noted that their risk analysis confirms the vulnerable nature of the city’s hurricane protection system.
Peter Paul Rubens, Siegen 1577 - Antwerpen 1640
Frans Snyders (oder Frans Snijders), Antwerpen 1579 - 1657
Der gefesselte Prometheus / Prometheus bound (begonnen ca. 1611- 12, vollendet 1618 / begun c. 1611 - 1612, completed 1618) - Detail
Philadelphia Art Museum
In Greek mythology the Titan Prometheus stole fire from the gods on Mount Olympus to give to humanity. Furious, Zeus, king of the Olympians, ordered Prometheus forever chained to a rock, where each day an eagle would devour the Titan’s perpetually regenerating liver. This painting, which Rubens considered one of his most important works, represents the virtuoso artist at his absolute height.
Working in collaboration, a common practice for master artists in Antwerp in the first two decades of the seventeenth century, Rubens and the famed animal and still-life painter Frans Snyders, who contributed the eagle, rendered the brutal tale of Prometheus with corresponding violence.
The enormous bird’s beak rips open the Titan’s torso, exposing blood-soaked entrails. To gain purchase on the captive’s flesh, one of the eagle’s talons gouges Prometheus’s right eye. His left eye is locked on the predator, signaling he is fully aware of his torture, while his writhing legs, clenched fist, and tousled hair convey the Titan’s abject agony. Rubens, who intensively had studied the art he saw on his travels to Italy, Spain, and England, derived the hulking figure of Prometheus, with its broad frame and dense musculature, from prototypes by Michelangelo.
The picture’s asymmetrical composition, in which Prometheus tumbles downward with his left arm almost reaching beyond the canvas, was inspired by a painting by Titian of the giant Tityus (1548 – 49; Museo del Prado, Madrid). Here Rubens masterfully synthesized and melded these sources with his own Baroque sensibilities.
Source: www.artsy.net/artwork/peter-paul-rubens-prometheus-bound
Photo showing Pitter Pata Pata / John Brumley (US), Joana Lobo (PT), Rintaro Takashima (JP) at POSTCITY.
It is a system that synthesizes external physical activity and internal biosignals into localized haptics and kinetic wearables.
credit: tom mesic
On April 19, 1943, Albert Hoffman, a chemist at Sandoz Laboratories in Basel, Switzerland, intentionally ingested 250 micrograms of a lysergic acid derivative that he had first synthesized in 1938, and set out for home on his bicycle.
The events of the first LSD trip, now known as "Bicycle Day", proved to Hoffman that he had indeed made a significant discovery. A psychoactive substance with extraordinary potency, capable of causing paradigm shifts of consciousness in incredibly low doses. Hoffman foresaw the drug as a powerful psychiatric tool which, because of its intense and introspective nature, he couldn’t imagine anyone using recreationally.
Well, you can't be right all the time...
Between 1970 and 1972, a laboratory in San Francisco’s North Beach, produced millions of doses of exceptionally pure LSD in a thin gelatin square. This acid, called Clearlight – aka Windowpane –was then shipped in these wooden boxes; each containing 1 gram or 4000 doses, at the same 250 microgram dosage that Dr. Hoffman had ingested 67 years ago today.
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FORTUNE Brainstorm Health 2022
Los Angeles, CA
Wednesday, May 11th, 2022
2:50 PM
BIG DATA IN HEALTH CARE: PROMISES, PERILS, AND PRECISION MEDICINE
The potential of big data in healthcare relies on detecting patterns and turning high volumes of information into actionable knowledge for precision medicine and improvement of patient outcomes. Learn how data can be better accessed and synthesized, how patient data gaps can be closed, and how companies are overcoming the challenge of data analytics innovation.
Nancy Brown, Chief Executive Officer, American Heart Association
David Hodgson, Co-founder and CEO, Project Ronin
Dr. Jessica Mega, Co-founder, Chief Medical and Scientific Officer, Verily
Moderator: Michal Lev-Ram, Senior Writer, FORTUNE
Photograph by Stuart Isett/Fortune
The sculptural works at Conductors Project as part of SafARI 2014 acknowledge the old binaries of the natural/artificial and synthesize these elements into a cohesive whole, a transfigured coral reef composed of the artefacts of throwaway society. Minerals crystallize within this toxic environment, intermingling with the remnants of consumption allowing a new landscape to emerge, one inseparable from mediatisation.
Australia prides itself on it’s unique wilderness but our Great Barrier Reef policy, completely ignores the impacts of mining industrialization and does nothing to stand in the way of the reef being turned into a dumping ground for dredge spoil and a shipping super highway for mining companies.
The selection of materials is critical to uncovering the content in ACAB’s work, ‘things we need’ exhibited in both Museum & St James station materials include; expanding foam, LED lights, plastic bottles, joysticks, Q-Tips, crystal growths, 6-pack rings, promotional detritus, defunct cables for outmoded technologies, brand-name sneakers, artificial plants and flowers, an old Playstation, Australiana souvenirs, caulking silicone, a reindeer from an outdated Myer windows display, McDonalds wrappers, headphones, TV remotes, a genuine fake Rolex, bubblewrap, webcams, Barbie, mobile phones, soft toys, film reels, polystyrene, answering machines, softdrink cans, astro turf, motherboards, Ray Ban sunnies, Ultra-Violet light and a plastic hamburger.
Credit: Alison Hathaway/ Clinton Global Initiative
CGI America 2014
Like many of their megacity counterparts, America’s small and mid-size cities are using technology to gather and synthesize data and are applying new analytical tools to improve social service delivery, community development, decision-making, and effective city planning and design. This session will explore how American cities—in partnership with individual citizens and a range of private sector firms—are deploying innovative technology strategies to impact social programs, transportation, and urban planning.
The genetically modified soy, glyphosate containing impossible burger would be considered a NOVA Classification Group 4: Ultra-processed food, defined as:
"Ultra-processed foods are industrial formulations made entirely or mostly from substances extracted from foods (oils, fats, sugar, starch, and proteins), derived from food constituents (hydrogenated fats and modified starch), or synthesized in laboratories from food substrates or other organic sources (flavor enhancers, colors, and several food additives used to make the product hyper-palatable). Manufacturing techniques include extrusion, moulding, and preprocessing by means of frying. Beverages may be ultra-processed. Group 1 foods are a small proportion of, or are even absent from, ultra-processed products."
Crossed-eyes 3D (stereoscopic) viewing: View the two photos cross-eyed until a third image appears in the middle, which will be in stereo 3D. The brain nicely synthesizes a composite image with realistic depth and sharpness. Then put your two hands in front of your face to cover the photos on the left and right so only the middle one remains in your sight.
TCE 408H Sundown Towns in Oregon, Fall Term 2013
Course Description:
This course provided us an opportunity to research Oregon’s racist past through the exploration of Sundown Towns
Our Objectives:
1. To better understand the origins of the current racial demographics in Oregon
2. To learn how to access relevant primary source material
3. To synthesize research into a report and display for a non-academic audience
4. To better understand our own cultural knowledge and perspectives
ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Prof. Arch. Gustavo Giovannoni & "The Origins of Modern Conservation Theory in Fascist Italy," By: Prof. S. W. Semes, TRADITIONAL BUILDING PORTFOLIO (2013-14).
"The Origins of Modern Conservation Theory in Fascist Italy," By: Prof. S. W. Semes, TRADITIONAL BUILDING PORTFOLIO (2013-14).
Yes, that title is intentionally provocative and, admittedly, simplistic. But so are all attempts to associate architectural ideas or actual built forms with particular political programs. One often hears new traditional architecture dismissed because Classical forms were embraced by the Nazis and Italian fascists, even if historically various styles were used by various political movements, both democratic and authoritarian.
The relation between architectural style and politics has always been complicated, but post-war misconceptions involving the political use of traditional architecture are often simply false. For example, those who say that the Fascist regime of Benito Mussolini supported Classical architecture and discouraged Modernism have to explain how in 1938 this same government officially banned architecture in historical styles, whether in additions to historic sites or in new construction, and how suppressing traditional design has continued to be part of preservation policy worldwide until today.
In 1931, the Italian Charter of Restoration was drafted by Gustavo Giovannoni, just returned from the conference that produced the Charter of Athens, the first international agreement on the conservation of monuments. Giovannoni's charter, entirely consonant with international norms at the time, reflected the traditional idea that new construction in historic settings should be stylistically harmonious, though distinguishable from the historic monument. For additions:
"The essential criterion to be followed should be that of limiting new elements to the minimum possible; such new elements should be given a character of nude simplicity in correspondence to the constructive scheme; and the continuation of the existing lines in a similar style can only be admitted when treated in geometric expressions without decorative individuality. Such additions should be carefully and evidently designated, either by the use of materials different from the originals or by the adoption of simple moldings without carving, or with marks or inscriptions, such that a restoration would never risk deceiving scholars or represent the falsification of a historical document." (Author's translation) This approach, undoubtedly inspired by Valadier's early 19th-century restoration of the Arch of Titus in Rome, assumes that the new construction, like the old, will also have moldings and carving – if simplified – and does not mention avoiding stylistic contrast because no one had yet imagined Libeskind-like glass shards erupting from the façade of a valued historic building.
But the Fascist government was divided on architectural matters. From the beginning of the regime in 1922, Mussolini refused to recognize a "fascist style," though both traditionalists and the modernist Rationalists lobbied for this distinction. Instead, he would support now one and now the other until, in the 1930s, a semi-official style emerged in the "stripped classicism" that sought to synthesize the Classical and modern.
Giovannoni remained a Classicist throughout his career and led the traditionalist camp, but he was opposed by Giulio Carlo Argan and Cesare Brandi, two young protégés of the Minister of Public Education, Giuseppe Bottai, a supporter the Modernist camp. In 1938, Bottai appointed Giovannoni to chair a commission to study the 1931 Charter but, seeing no reason to rewrite his own work of seven years before, he soon resigned. Bottai then formed another commission, with Argan and Brandi as members, to write a new Charter. Argan, in clear opposition to Giovannoni, wrote that "every imitation (of historic architecture) is an outrage against rather than an homage to history." In his Charter, the eighth point reads:
"For obvious reasons of historical dignity and for the necessary clarity in current artistic consciousness, the construction of buildings in historic styles is absolutely to be avoided, even in areas not having monumental or landscape interest, since this represents a double falsification with respect to both the ancient and the recent history of art." (Author's translation)
This notion of "double falsification" is significant: Argan is concerned with protecting current trends in modern art from the perceived danger of historical imitation as much as protecting historic resources from the possibility of confusion with imitative new work. While Giovannoni emphasized the continuity of the past and present, Argan defends the "difference" between them, on which the entire Modernist enterprise depends. Argan saw conservation as a means of promoting the interests of the Modernist avant-garde, and this view remains a potent subtext in the field today. In 1942, Argan's Charter was issued as an "Instruction" with the force of law to conservation and building officials, just as Allied bombs were falling on Italian cities and the regime itself was crumbling. While the war prevented its enforcement, the "Instruction" remained the last word of the Fascist government on architectural and conservation matters.
The postwar government canceled the 1942 law and reinstated Giovannoni's 1931 Charter, under which postwar reconstruction was completed to popular acclaim. But Brandi, who remained head of the national institute for restoration in Rome, protested, calling the reconstruction of the Trinita' Bridge in Florence, blown up by the retreating Nazis, a "fake." In 1963, he published his Theory of Restoration, in which he attacked reconstruction or restoration that sought to recapture the historic form, or additions in forms or materials not plainly modern, because they violate the narrative of modern art history. His book was the basis for the 1964 Charter of Venice, which required that additions to historic sites "bear a contemporary stamp."
Brandi was an author of the 1972 Italian Charter of Restoration, still in effect, which definitively replaced the 1931 standards with a Modernist approach. Similar thinking, albeit in a more moderate form, inspired the Secretary of the Interior's Standards for Rehabilitation of 1977, which requires additions to be both "differentiated" from and "compatible" with historic fabric, a provision often interpreted as banning new traditional work for the very reasons cited by Argan, though the wording is actually more in line with Giovannoni's style-neutral standard.
The next time you hear that new traditional design is "false history" or "diminishes authentic historic fabric," you can point out that this same view was, between 1938 and 1942, the official policy of fascist Italy. That means that either the view itself is suspect for that reason or the political context of architectural ideas is not a decisive factor in determining their validity. In either case, contemporary preservation philosophy has some explaining to do. TB
Note: Primary source material can be found in the article by Paolo Nicoloso, "La 'Carta del restauro' di Giulio Carlo Argan," Annali d'architettura, Rivista del Centro Internazionale di Studi di Architettura Andrea Palladio, no. 6, Milan: Electa, 1994, pp. 101-115.
Fonte | source:
By: Prof. S. W. Semes, TRADITIONAL BUILDING PORTFOLIO (2013-14).
traditionalbuildingportfolio.com/opinions/forums/fascist....
s.v.,
-- Prof. S. W. Semes, The Origins of Modern Conservation Theory in Fascist Italy: An Expanded Edition, TRADITIONAL BUILDING PORTFOLIO (August 22nd, 2013).
traditional-building.com/Steve_Semes/?p=707
-- Prof. S. W. Semes, Another 20th-Century Hero: Gustavo Giovannoni, TRADITIONAL BUILDING PORTFOLIO (August 22nd, 2013).
traditional-building.com/Steve_Semes/?p=435
Foto | Fonte | source:
-- In: Fig. 5 at p. 17 of pp. 36, Belén Calderón Roca, La herencia de Gustavo Giovannoni: Estudio del "conservacionismo sincrético" de Leopoldo Torres Balbás a través de su faceta como historiador de la arquitectura, Universidad de Córdoba [Spain], [2013-14].
www.uco.es/arte/revista/numeros/01/art03-herencia-gustavo...
-- Fonte | varii: Prof. Arch. Gustavo Giovannoni = ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA: Prof. Arch. Gustavo Giovannoni (1874-1947) – Scuola Romana Di Storia Dell’ Architettura – Restauro Dei Monumenti (1946)
rometheimperialfora19952010.wordpress.com/?s=+Gustavo+Gio...
Lahore, August 28, 2018: At an event held today, USAID’s Punjab Youth Workforce Development (PYWD) project presented its recently published Technical and Vocational Education and Training (TVET) Skills Gap Analysis Report — the most up-to-date account of current and future employment trends in four districts of Southern Punjab. The report synthesizes the findings of 7 studies/reports produced on skills gaps in the country, highlighting their relevance in today’s context, and bringing to light future job opportunities. The report also calls attention to newly emerging sectors in Multan, Bahawalpur, Lodhran and Muzaffargarh, including hospitality and healthcare. Present at the event were representatives from the private sector, vocational training providers including Technical Education and Vocational Training Authority (TEVTA), Punjab Vocational Training Council (PVTC), and donors supporting youth capacity-building initiatives in Pakistan.
Speaking at the event, USAID Deputy Mission Director Clay Epperson remarked, “This Skills Gap Analysis Report provides insight into the hiring trends of the market while understanding the needs of the job seekers. Through the PYWD Project, USAID is helping Pakistan maximize job creation in the productive sectors.”
The event provided a platform for TVET sector public-private stakeholders, including Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ), Punjab Skills Development Fund, TEVTA, PVTC, and Akhuwat, to discuss the findings of the Skills Gap Analysis and propose the best ways to increase youth employment in Pakistan.
During the seminar, USAID’s PYWD project and Allied Solar Private Limited signed a Memorandum of Understanding to provide self-employment opportunities for graduating students in solar panel installation.
USAID’s PYWD Project is providing skills-based training programs for 10,000 youth, including 35 percent females, between the ages of 16 and 29 in the southern Punjab districts of Multan, Lodhran, Bahawalpur, and Muzaffargarh. The three-year program complements the Government of Punjab’s policy to provide skill development opportunities for youth. In addition to contributing to Punjab’s overall economic growth, the project also fosters socially constructive attitudes among youth for increased stability and improved livelihoods.
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Many camera geeks say that "E18-55 OSS" is not very nice lens. Indeed, this lens is not good at shooting landscape or portrait photos. However, believe it or not, I found this is really nice to take close-up images of tiny flowers or insects.
This image was synthesized from three RAW images.
More info here: www.youtube.com/watch?v=5FRZj74T1_w
The Beat Destructor is a small hand held beat maker that synthesizes industrial beats with various sounds and tempos.
On 9 and 10 November 2011, the ILRI Board of Trustees hosted a 2-day 'liveSTOCK Exchange' to discuss and reflect on livestock research for development. The event synthesized sector and ILRI learning and helped frame future livestock research for development directions. The liveSTOCK Exchange also celebrated the leadership and contributions of Dr. Carlos Seré as ILRI Director General (photo credit: ILRI/Zerihun Sewunet).
The genetically modified soy, glyphosate containing impossible burger would be considered a NOVA Classification Group 4: Ultra-processed food, defined as:
"Ultra-processed foods are industrial formulations made entirely or mostly from substances extracted from foods (oils, fats, sugar, starch, and proteins), derived from food constituents (hydrogenated fats and modified starch), or synthesized in laboratories from food substrates or other organic sources (flavor enhancers, colors, and several food additives used to make the product hyper-palatable). Manufacturing techniques include extrusion, moulding, and preprocessing by means of frying. Beverages may be ultra-processed. Group 1 foods are a small proportion of, or are even absent from, ultra-processed products."