Podcasts about Layout

Setting up a new factory is a major strategic decision. It is not just about finding cheaper land, moving away from China, or following other companies into Vietnam, Mexico, or another popular manufacturing location. In this episode, Renaud speaks with David Collins, CEO of Manufacturing Transformation Group, about what companies need to think through before relocating production or building their own factory. They discuss why more companies are considering factory relocation or ownership again, especially after COVID, tariff changes, supplier dependency, and IP concerns. But David explains why the first question should not be “where should we move?” It should be “what are we actually trying to accomplish?” The conversation covers the real trade-offs between China, Vietnam, Mexico, and other locations; why labour cost should not be the only driver; how supplier location, workforce skills, logistics, and infrastructure affect the decision; and why companies need a proper BOM, cost model, and feasibility study before making a move. They also get into greenfield vs brownfield factory projects, equipment selection, factory layout, commissioning, factory acceptance testing, and why automation can be a waste of money if it does not fit the real production process. The key message: moving to a new factory is a rare chance to redesign your manufacturing system properly. But if you simply copy the same poor layout, weak supply chain, bad inventory habits, and unsuitable equipment into a new building, you may just move the mess.   Show Sections 00:00 – Introduction: setting up a new factory 01:43 – Who David Collins and Manufacturing Transformation Group are 05:04 – Why more companies are considering factory relocation 05:50 – China, Vietnam, Mexico, and the real trade-offs between locations 08:10 – Why some companies want to own manufacturing again 09:32 – Don't just move the mess to a new factory 11:45 – The first question: what are you trying to accomplish? 12:02 – Supplier location, workforce skills, logistics, and infrastructure 14:18 – Why a real BOM and cost model are essential 15:27 – Feasibility studies and idealised factory planning 16:07 – Why automation is not always the right answer 17:34 – Comparing factory setup scenarios and locations 18:16 – Why labour cost should not be the only driver 20:48 – IP risks and supplier dependency 22:15 – Learning from the problems in your current factory 23:46 – Project management during a factory move 24:03 – Greenfield vs brownfield factory projects 26:09 – Layout planning, implementation, and local specialists 27:13 – On-the-ground project management and construction risks 28:33 – Equipment commissioning and factory acceptance testing 29:50 – Choosing equipment that fits your real needs 31:41 – Equipment maintenance, spare parts, and supplier risks 32:40 – Why factory setup is a once-in-a-decade decision 34:12 – Disciplined planning and avoiding old mistakes 36:45 – Closing thoughts   Related content How To Plan for Transferring Production To a New Factory: 45 Point Checklist Transfer Manufacturing From One Chinese Factory To Another With Fewer Risks How To Diversify Manufacturing Sources Out of China and Cut Risk Sofeast can help you > Electronic Production Transfer from China to India OR Malaysia Supply Chain Risk Management, Part 5: Moving Manufacturing to Vietnam, Thailand, Malaysia, or India (Pros & Cons) Production Transfer: A Roadmap (Assembly Operations Only) Get in touch with us Connect with us on LinkedIn Contact us via Sofeast's contact page Subscribe to our YouTube channel Prefer Facebook? Check us out on FB

In this episode of Unpacking Iconic Homes, we explore one of the most famous interiors in television history: Carrie Bradshaw's apartment from Sex and the City.Unlike many of the homes we've covered, Carrie's apartment isn't iconic because it was luxurious or perfectly designed. It's iconic because it conveyed Carrie's personality and a lifestyle many of us coveted. From the walk-in wardrobe and writing desk to the mismatched furniture and mint-green walls, every corner reflected the character who lived there.We unpack why this tiny(ish) Manhattan apartment captured the imagination of an entire generation - and what it can teach us about creating homes with personality rather than perfection.What we cover: Why Carrie's apartment became as famous as the character herself  The fantasy of independent city living in New York  How the apartment expresses Carrie's personality The famous walk-in wardrobe The writing desk as the true heart of the home  Mixing furniture, colours and styles without everything matching  How the apartment evolved alongside Carrie throughout the series Design details discussed: The iconic brownstone stoop  Coloured walls - mint green / dusty blue / lavender / blush Parquet floors Layout - circular floorplan with kitchen in the middle Eclectic vintage-inspired furnishings  Open shelving and personal collections  The writing nook at the window Carrie's walk-in closet  Art, books and meaningful objects used as décor How to recreate this look:Use your books and magazines as decorCreate a reading/writing nook by a windowMix furniture stylesAdd colour to rental walls (if allowed)Use freestanding storageKey takeaways: Our homes should express our personalities  Character is more important than perfection  Mixing styles can feel more authentic and interesting than matching everything  Homes should evolve as your life evolves  The best interiors feel personal, not staged This episode is a reminder that great homes don't need to be perfect - they need to feel like you.Follow the podcast on Instagram @ripitup_podcast_official, or follow us - Jenny is @workerscottage and Kate is @victorianrathmines

The crew discusses a massive new update out of Kmart Australia, where it looks like a bit of common sense is finally returning to the retail giant! Stores across the ditch are officially undergoing a major layout change to fix some of shoppers' biggest pet peeves. While Aussies are celebrating the revamp, there is unfortunately no word yet on whether these highly anticipated changes will make their way over to Kmart stores in New Zealand. Love the show? Rate us 5-stars on Apple Podcasts or Spotify, and follow Si, Lana & The Breakfast Club on rova so you never miss an episode of our award-winning show!

Best of Podcast: Buchformat, Layout und Satzspiegel (Wiederholung der Folge 244)

ATLP Rewind - Episode Originally Released June 5, 2025Sometimes, an old layout is worth saving, especially one that is rich in history and has been touched by some model railroading greats. This is the story of the Rochester Model Railroad Club and their efforts to take their 1980's layout from DC to DCC and make it a layout that is modernized and interactive. Club members Ed O'Connell and Rob Bartels tell us about taking on this challenge and how, in the end, they will have a layout that continues to tell the story of the Lehigh Valley.Learn more about this episode on our website:aroundthelayout.com/rewindThank you to our episode sponsor, Oak Hill Model Railroad Track Supply:https://ohrtracksupply.com/Thank you to our episode sponsor, NarrowThrottle by Scott Thornton:https://narrowthrottle.square.site/Thank you to our episode sponsor, ScaleSigns.com:https://scalesigns.com/Visit our website at aroundthelayout.comBecome a member of our Operating Crew for chances to win and much more!aroundthelayout.com/crewAround The Layout Podcast is a production of Thirty Five Productions LLC©2026 Thirty Five Productions LLC. All rights reserved.The views and opinions expressed by hosts and guests are their own and do not necessarily reflect those of Thirty Five Productions LLC or our sponsors.Use of any trademarks or trade names is for identification purposes only and does not imply endorsement.No portion of this podcast may be reproduced, distributed, or transmitted in any form or by any means without the prior written permission of Thirty Five Productions LLC, except for brief quotations used for purposes of review, commentary, or promotion.

ⓦ weekly52 Blog Podcast Video & Artworkhttps://weekly52.de/weekly/478ⓦ

In vielen Fertigungen ist Papier noch immer der Standard. Aber was passiert, wenn sich ein Maschinenplan ändert und der gedruckte Zettel schon im Umlauf ist? In dieser Podcastfolge sprechen wir über E-Labels in der Fertigung: Was können sie wirklich, wann lohnt sich der Umstieg?

ATLP Rewind - Originally Released May 20, 2025It's time for part 2 with author and model railroader Thomas Klimoski, and joining us to dig into operations on small layouts is our resident expert on the topic, Don Irace. Tom talks about how a smaller layout can still pack a full operations experience with some good planning and can be beneficial for those who don't have a huge crew or the time to maintain a massive empire.Learn more about this episode on our website:aroundthelayout.com/rewindThank you to our episode sponsor, Oak Hill Model Railroad Track Supply:https://ohrtracksupply.com/Thank you to our episode sponsor, NarrowThrottle by Scott Thornton:https://narrowthrottle.square.site/Thank you to our episode sponsor, ScaleSigns.com:https://scalesigns.com/Visit our website at aroundthelayout.comBecome a member of our Operating Crew for chances to win and much more!aroundthelayout.com/crewAround The Layout Podcast is a production of Thirty Five Productions LLC©2026 Thirty Five Productions LLC. All rights reserved.The views and opinions expressed by hosts and guests are their own and do not necessarily reflect those of Thirty Five Productions LLC or our sponsors.Use of any trademarks or trade names is for identification purposes only and does not imply endorsement.No portion of this podcast may be reproduced, distributed, or transmitted in any form or by any means without the prior written permission of Thirty Five Productions LLC, except for brief quotations used for purposes of review, commentary, or promotion.

Your furniture might not be the problem. It might just be where it's sitting. In today's Five Minute Fix, we're talking about one of the biggest layout mistakes I see in homes all the time: furniture that feels awkward, disconnected, or “off” in the room…even when the pieces themselves are beautiful. Because here's what most people do: They push every piece against the walls hoping the room will feel bigger. But instead? The room often ends up feeling cold, disconnected, and surprisingly harder to use. In today's episode, you'll learn: Why floating furniture away from the walls can actually make a room feel larger and cozier The hidden reason your seating arrangement may feel uncomfortable or awkward What designers mean by “conversation zones” and why they matter A simple furniture shift you can try in five minutes that changes the entire feel of a room How rugs help anchor furniture and create connection between pieces Why rooms need “pathways” instead of just empty space One of the biggest mindset shifts in decorating is realizing: Open space alone does not create good flow. Connection does. When furniture is too spread out, every piece starts feeling isolated instead of intentional. But when pieces are pulled together thoughtfully, your room immediately starts feeling warmer, more conversational, and more inviting. And friend…this is one of those fixes that costs absolutely nothing to try. Ready to go beyond quick fixes? Inside The Collective, I help you figure out layouts, scale, styling, flow, and all the little details that make a home finally feel pulled together—without second-guessing every decision. Join us inside The Collective   // Links mentioned in show: // Become a Design Bestie by joining the newsletter: https://bit.ly/designbestie Email: https://figandfarmathome.com Join The Collective (monthly membership): https://www.figandfarmathome.com/thecollective Book a Decorating SOS Coaching Call: https://www.figandfarmathome.com/decorating-sos Instagram: https://www.instagram.com/figandfarm/ FREE Facebook Community: https://www.bit.ly/design101group

La ricerca continua. La pazienza finisce.Ultimate Spider-Man: Incursion 4, scritto da Deniz Camp e Cody Ziglar, disegnato da Jonas Schwarf, edito da Panini Comics.

Künstliche Intelligenz – kurz KI – ist seit ein paar Jahren in aller Munde. Für viele Auto:rinnen stellt sich die Frage, wie und ob sie KI-gestützte Werkzeuge, etwa ChatGPT von OpenAI, in ihrem Schreibprozess nutzen sollten. In der Selbstverlagsbranche erleben wir einen grundlegenden Wandel, der nicht nur Chancen eröffnet, sondern auch neue Herausforderungen und ethische Fragen aufwirft. Hier die wichtigsten Aspekte, die ich in dieser Folge anspreche: 1. KI ist allgegenwärtig und nicht mehr wegzudenken     Künstliche Intelligenz (KI) ist - unabhängig von Ablehnung oder Skepsis – bereits überall in unserem Alltag und in der Buchbranche präsent ist und auch bleiben wird.   2. Jede Nutzung fördert die Weiterentwicklung von KI     Jede Anfrage und Nutzung einer KI trägt zur Weiterentwicklung und zum Training der jeweiligen Software bei. Nutzende sollten sich der Verantwortung bewusst sein, welchem System sie ihre Daten und Anfragen anvertrauen.   3. Vorsicht bei Recherche: Überprüfen von KI-Ergebnissen notwendig     KI-Textmaschinen können auch Falschaussagen liefern. Deshalb ist ein Gegencheck bei anderen Quellen unerlässlich, um Fehler oder erfundene Informationen zu vermeiden.   4. KI arbeitet oft nach "Was will die Nutzer:in hören"     KI-basierte Textgeneratoren sind so programmiert, dass sie Aussagen oft so generieren, wie sie dem Nutzenden gefallen könnten – nicht zwingend die objektive Wahrheit.   5. OpenAI/ChatGPT hat sich zum profitorientierten Unternehmen gewandelt     ChatGPT startete als Open-Source-Projekt, ist nun aber klar gewinnorientiert, wobei Investoren wie Microsoft involviert sind, was zu anderem Geschäftsgebaren führt.   6. Datenschutz und moralische Bedenken bei US-Anbietern     Tom Oberbichler unterstreicht die Problematik der Datennutzung und -weitergabe bei US-basierten KI-Systemen. Die erhobenen Daten dienen vor allem der Gewinnmaximierung und gezielter Werbung.   7. KI wird auch militärisch verwendet     Ein wesentlicher Ablehnungsgrund für Tom Oberbichler: KI wird von Staaten wie Israel und den USA militärisch oder für Überwachungszwecke eingesetzt.   8. Chinesische KI-Alternativen als weniger kommerzielle Option     Tom Oberbichler nutzt bewusst chinesische Tools wie DeepSeek oder Ernie, da sie kostenfrei sind und nicht primär der Profitorientierung westlicher Firmen folgen.   9. Jede KI hat ihre Eigenheiten und Anwendungsbereiche     Die Wahl der passenden KI hängt von individuellen Anforderungen, ethischen Werten und gewünschten Ergebnissen ab. Nicht jede Maschine ist für jeden Zweck gleichermaßen geeignet; Experimente sind sinnvoll und notwendig für optimale Ergebnisse.   10. Gesetzliche Maßnahmen sind schwierig und langsam      Die Hoffnung, dass Gesetze die Verbreitung und Nutzung von KI eindämmen könnten, ist naiv. Vielmehr plädiere ich für realistische, gemeinsame Forderungen, wie z. B. eine Kopierabgabe für KI-Outputs. # KI im Selfpublishing: Chancen, Risiken und eigene Verantwortung  ## Wie Autoren und Autorinnen mit ChatGPT & Co. produktiv und reflektiert umgehen können   Künstliche Intelligenz – kurz KI – ist seit ein paar Jahren in aller Munde. Für viele Auto:rinnen stellt sich die Frage, wie und ob sie KI-gestützte Werkzeuge, etwa ChatGPT von OpenAI, in ihrem Schreibprozess nutzen sollten. In der Selbstverlagsbranche erleben wir einen grundlegenden Wandel, der nicht nur Chancen eröffnet, sondern auch neue Herausforderungen und ethische Fragen aufwirft.   ---   ## KI: Von der Science-Fiction zur Alltagsrealität   Was vor wenigen Jahren nach Zukunftsmusik klang, ist längst Gegenwart: Ob beim Schreiben in Word, der Nutzung von Suchmaschinen oder beim professionellen Layout von Büchern – künstliche Intelligenz ist überall. Fast unbemerkt haben große Anbieter wie Microsoft, Google, Adobe oder Amazon ihre Systeme „intelligent" gemacht. Wer einen Text am Rechner schreibt, arbeitet praktisch immer auch mit KI-basierten Algorithmen.   Nach meiner Ansicht ist es illusorisch, sich dem grundsätzlich zu entziehen. Der technische Fortschritt verschwindet nicht mehr aus unserem Alltag, sobald er profitabel ist. Die entscheidende Frage ist daher nicht mehr, ob wir KI in der Buchbranche erleben, sondern vielmehr: Welche KI-Tools nutzen wir? Und nach welchen Kriterien wählen wir diese aus?   ## ChatGPT, OpenAI und die neue KI-Landschaft   ChatGPT von OpenAI wurde in Rekordzeit zu einem der populärsten KI-Tools weltweit. Laut Berichten lag der Marktanteil zum Teil bei über 87 Prozent – eine beeindruckende Zahl, die jedoch in den letzten Monaten leicht rückläufig war, da immer mehr Menschen kritisch hinterfragen, mit welchem Anbieter sie arbeiten möchten.   Was unterscheidet die verschiedenen Lösungen? Zunächst die Qualität der Ergebnisse. Mindestens genauso wichtig ist jedoch die Frage der Werte und Interessen, die hinter einer Software stehen. So startete OpenAI ursprünglich als Non-Profit-Initiative, ehe Investoren wie Microsoft einstiegen und einen klaren Renditefokus einforderten. Immer wieder gibt es Berichte über Trägheit der Software oder spürbar schlechtere Ergebnisse vor der Einführung einer neuen, kostenpflichtigen Version – ein billiger „Schaustellertrick" zur Absatzförderung.   Schwerwiegender sind freilich die ethischen Implikationen: Die militärische Nutzung von KI – etwa zur Zielidentifikation im Krieg oder zur Massenüberwachung – ist längst Realität. Ich kann nur unterstreichen, dass sich jeder, der KI-Tools aktiv nutzt, immer auch fragen muss, ob und wie er oder sie Teil von Entwicklungen werden möchte, die diesen Einsatz indirekt unterstützen.   ## Wahrheit oder Wunsch? – KI-Tools als Recherchehilfen   KI ist kein Orakel und schon gar keine zuverlässliche Quelle. Als Tom ich z.B. ChatGPT nach mir selbst fragte, fand er zu seiner Überraschung heraus, dass die KI mir fälschlicherweise auch eine Karriere als erfolgreicher Fantasy-Autor zuschrieb (ich habe noch keine Zeile Fantasy geschrieben …). Das illustriert: KI ist darauf optimiert, plausible, aber nicht notwendigerweise wahre Antworten zu liefern. Wer KI für die Recherche nutzt, muss unbedingt kritisch gegenprüfen und darf sich nicht auf die Maschinen verlassen.   Nicht weniger problematisch ist die Datensammelwut großer US-amerikanischer Konzerne wie Google, Facebook oder Microsoft. Hier werden Informationen hauptsächlich gesammelt, um Werbung gezielt zu steuern und Gewinne zu maximieren. Für mich ist das mit ein Grund, nach alternativen KI-Angeboten zu suchen.   ## KI-Alternativen: Ein Blick nach China   Mit Anbietern wie „DeepSeek" und „Ernie" gibt es KI-Textmaschinen aus China, die in vielerlei Hinsicht mit den US-Produkten konkurrieren können – und das sogar kostenfrei. Ich schätze besonders DeepSeek für zuverlässige Texterstellung sowie eine klare Sitzungsstruktur: Am Ende jeder Sitzung sind die Konversationsregeln gelöscht – ein kleiner, aber feiner Beitrag zu mehr Datenschutz.   Faszinierend ist für ihn auch, wie simpel und direkt das Arbeiten mit diesen Tools oft ist. Die oft propagierten teuren Prompting-„Crash-Kurse" sind meist gar nicht nötig – die chinesischen Tools liefern intuitive Bedienbarkeit. Besonders bei Stilwünschen, etwa zum Thema Gendern, reagieren sie flexibel und anforderungsgerecht.   ## Ethische Verantwortung: Wo ziehe ich persönlich meine Grenze?   Die Frage nach Moral und persönlicher Verantwortung zieht sich durch das gesamte KI-Thema. Ich lege dir nahe, dir genau zu überlegen, wie und warum du eine bestimmte KI-Lösung nutzt. Denn spätestens, wenn KI-Tools für militärische Zwecke oder zur Diskriminierung eingesetzt werden, sollte jede:r für sich klären, wo die eigene rote Linie verläuft.   Auch politische Forderungen an Gesetzgeber und Interessenvertretungen müssen klar definierbar und umsetzbar sein. Vorschläge wie eine allgemeine "Kopierabgabe" für KI-Nutzung zur fairen Verteilung an Kreative werden diskutiert, sind aktuell aber noch nicht umgesetzt. ## Chancen für Selfpublisher: Mit KI wachsen – aber reflektiert!   Was können Autor:innen, Selfpublisher:innen und andere Kreative lernen? Wie schon in der englischsprachigen Buchszene geht es nicht nur um juristische Risiken, sondern vor allem darum, wie und in welcher Form du KI hilfreich für den persönlichen Bucherfolg nutzt. KI kann Bearbeitungen vereinfachen, den Schreibprozess inspirieren oder beim Plotten unterstützen. Indem du sie bewusst und kritisch anwendet, profitierst du von der Textmaschine deiner Wahl.   Doch: Die Verantwortung liegt beim Menschen. Niemand sollte blind folgen, sondern Informationsquellen prüfen, ethische Faktoren reflektieren und eigene Erfahrungen sammeln. Ohne dich gibt es kein gutes Buch!   ## Bewusst entscheiden, ausprobieren, austauschen   Die KI-Entwicklung lässt sich nicht aufhalten. Für Selfpublisher:innen ist jetzt der beste Zeitpunkt, sich aktiv mit dem Thema auseinanderzusetzen, verschiedene Tools zu testen und sich eine fundierte Meinung zu bilden. Ich lade dich dazu ein, deine eigenen Erfahrungen zu teilen, neue Lösungen kennenzulernen, aber immer auch kritisch zu bleiben.   Letztlich entscheidet jeder und jede für sich, mit welcher KI, für welche Zwecke und unter welchen Bedingungen er/sie schreibt. Reflexion, Austausch und klare Werte sind dabei der beste Kompass.   Du hast eigene Erfahrungen mit KI beim Schreiben gemacht? Teile sie gerne in den Kommentaren!  Hier die Links, die ich im Podcast anspreche, und weiterführende Informationen, Tipps und Erfahrungsberichte rund um Bücher, eBooks und deinen Erfolg: Hier kommst du zu dem Blogbeitrag über ChatGPT, den ich im Podcast erwähne: https://mission-bestseller.com/chatgpt-von-openai-als-ki-nutzen/ Hier findest du meinen ersten Artikel zu der Problematik von Amazon und der Politik: https://mission-bestseller.com/amazon-und-die-politik-ein-dilemma-fuer-unabhaengige-autorinnen-und-autoren/ Und wenn du trotz alledem wie ich weiterhin über Amazon KDP (Kindle Direct Publishing) veröffentlichst, dann brauchst du diesen Kurs, um deinem Buch mehr Sichtbarkeit zu verschaffen: https://mission-bestseller.com/keywords Hier kommst du zum Mission Bestseller Schreib-Bootcamp: https://mission-bestseller.com/bootcamp   Hier findest du alles rund ums Selfpublishing: https://mission-bestseller.com Einige der Links auf dieser Seite sind Affiliate-Links und ich erhalte eine Provision, wenn du über sie kaufst, die sich nicht auf deinen Kaufpreis auswirkt.

Dal profondo dell'underground alle sponde del Giappone: l'orrore cambia stile.Samuel Stern 71 "Generi Vol. II", scritto da Massimiliano Filadoro, Gianmarco Fumasoli e Marco Scali, disegnato da Francesca Biscotti, Andrea Menichini, The Sando e Alekos Reize, edito da Bugs Comics.

Nick Jeffery and John Granger sat down last weekend to discuss John's post, The Literary Alchemy of Hallmarked Man: What Do the Structural Models Tell Us? They'd talked about this subject briefly before John had written it up and he came to rather different conclusions in the process of writing and preparing slides for the post, all of which are rolled out in this inquisition.The questions Nick asked are below after the links in the post in case you want to follow up on what is said above about literary alchemy, the sequence of colors and symbols, and about the structural models for understanding the Strike series, especially Extended Play and Tetractys Theory.Enjoy!Links for Follow-Up and Easy Reference: Strike Alchemy* Literary Alchemy – A Primer for Those Interested in J. K. Rowling's Artistry* ‘Literary Alchemy' Pillar Post* Metallurgical, Literary, and Psychological Alchemy: Is Jung a Good Guide for Understanding J. K. Rowling's Artistry and Meaning?* The Literary Alchemy of Hallmarked Man: What Do the Structural Models Tell Us?* , ‘The Connection of Ring Composition and Literary Alchemy in the Layout of the Seven Book Harry Potter Series.' (William Sprague)* ‘Parallel Series Idea' Pillar Post* Robin Ellacott and Reverse Alchemy: Transformation Through the First Three Strike Texts (Louise Freeman)* ‘Troubled Blood: Strike's Transformation'* ‘Water, water everywhere: Baptism, baths, rivers, rain and showers as unifying themes in The Running Grave' (Louise Freeman)Seven Structural Theories for Strike Ten Book Series* (1) straight up Decalogy, no structural connection between books;* (2) Big Ring Composition, Double Wedding Band (Louise Freeman);* (3) Seven book series with Trilogy finale (Nick Jeffery, John Granger);* (4) Extended Play theory (John Granger per ‘Kathleen'),* (5) Sonnet Corona Form (Robyn Gomillion);* (6) Tetractys theory (Evan Willis with back-up explanations here, follow-up from Evan here); and* (7) Celtic Cross (John Granger) scroll down to bottom).Tetractys Theory in Depth:* Alastair Fowler's Triumphal Forms* Why the Cormoran Strike Novels are a Ten Book Series: Mythological Clues and Tetractys Parallelism with a Touch of Tarot Reveal the Strike Series Structural Echoes with Rowling's First Ten Book Set [Evan Willis, 10 July 2023]* Is Tetractys Theory the Best Explanation of Why the Cormoran Strike Series is Ten Books in Length? First Thoughts on Evan Willis' Numerological Exegesis of Rowling's Two Ten Novel Series and the Meaning of This Structure [John Granger, 18 July 2023]* Evan Willis: Running Grave Review In which the Tetractis theory is revisited in light of Strike 7 and the Theory is Updated [Evan Willis, 30 September 2023]* See The Literary Alchemy of Hallmarked Man: What Do the Structural Models Tell Us? for excerpts from and discussion of each.* The Tetraktys Tarot Card Spread!The Charts!The Ten Questions and John's Answers (notes!)1. So, John, you finally got the alchemy post you promised an age ago; what was the hold-up?· Tried to put too much into the posts…· Changed my mind several times as I was writing them!· had to relearn Tetractys ideas!2. You start off this Alchemy of Hallmarked Man discussion with a review of the literary alchemy of the first three Harry Potter novels; why did you have to reach that far back?· Because of the Parallel Series Idea, not alchemy at all, oddly enough.· Rowling seems to be writing Strike decalogy in parallel with Potter to include its alchemical sequences so I reviewed the ‘Reverse Alchemy' theory, how that worked for Strikes 1-3 but broke down at 6 and 7· To get Hallmarked Man‘s alchemical stage right, I wanted to figure out why Ink Black Heart and Running Grave weren't the alchemical stages we'd expect3. Some of our listeners may not have the literary alchemy three stages firmly in mind; can you go over what they are and why they're important in Rowling Studies?· Black, White, Red stages: what each represents in metallurgical and literary alchemy;· Rowling's one interview comment about alchemy, her PotterMore notes about colors;· Rowling's use in Harry Potter‘s last three books, fourth book, and first three books;· Galbraith's use in Strike series' first three books, fifth book, and six and seven;· Ward on astrology in CSL's Narniad ('Donegality'); similar use of alchemy in Rowling-Galbraith4. So the alchemical parallelism seemed to stop at Ink Black Heart but the other correspondences continued?· That's right, the first seven books paralleled their Harry Potter apposite numbers in structure, plot points, and some symbolism but the last two broke from the alchemical pattern;· I decided that the best place to look for a way that the new pattern could be explained would be looking at the seven theories about the Strike-Ellacott series structure;· If a specific structure had a very clear idea about the alchemical stage sequencing in the books, then I'd have a real head-start in what to look for in Hallmarked Man.5. The Seven theories -- last time we talked it was six! Remind me what they are and what each says about the alchemy...· No structure, Big Ring/Double Wedding Band, Septology and trilogy combo, Extended Play, Corona Sonnet, Tetractys, and Celtic Cross (see links above!);· Only Extended Play and Tetractys theories had clear theories about the alchemy; and· Oddly enough, they both explained why Hallmarked Man had to be considered an albedo or white novel even though they disagreed about what Ink Black Heart and Running Grave were...6. We've got slides here that help make what seems hopelessly nerdy something you can see. We'll start way back with the ring structure of The Harry Potter series and work our way toward Evan Willis' Tetractys ideas.· Harry Potter series, Sprague/Thacker ‘Reverse Alchemy:' Slides 1 and 2 (see above)7. And via the Parallel Series Idea we should see those same relationships that were found in the Potter books in the Strike series?· Extended Play idea: Slides 3 and 4 (see above)· Where it breaks down -- Running Grave like Troubled Blood an “aquatic Nigredo“8. And you think the Tetractys idea is better. We really need to have Evan on the show to talk about where he learned about this figure, its use in English literature prior to Rowling, and why he thinks Rowling is writing her second ten book series. Can you summarize his two Hogwarts Professor posts on this subject and why Rowling Readers will benefit from learning about this ancient ten point peg board model?· See Tetractys pyramid slides above;· Four levels: meaning of monad, dyad, triad, quaternity symbolism; (first Evan Willis post above)· Pyramid to climb, something akin to four levels of reading and knowledge; [Fowler, Triumphal Forms]· Benefit to Rowling Readers: Willis thinks the second Quaternion parallels Rowling's first -- and the differences explain the alchemical stage of Running Grave;· It also was used to predict three things about Hallmarked Man: it was all about silver, it would be an albedo or White stage novel, and it would parallel The Ickabog9. Three bullseyes with a special merit badge for figuring out the silver part before the title was announced. Let's go to the Tetractys slides for the Potter and Strike series:· All above!10. Both the Extended Play and Tetractys theories, then, have Hallmarked Man as an albedo. How will that influence your examination of Strike 8 for its alchemical symbols and sequences as well as your interpretation of them?· I'll be looking for the alchemical signatures of the second stage, leukosis or the ‘whitening,'· I'll be looking for evidence that contradicts the albedo dyad idea, and· I'll be researching if alchemical ideas, as in, say, incest, ‘Jason and the Medea,' and ‘dog and b***h,' are best read as white stage tokens This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit hogwartsprofessor.substack.com/subscribe

Al and Kevin talk about Little Rocket Lab. Timings 00:00:00: Theme Tune 00:00:30: Intro 00:02:32: What Have We Been Up To 00:24:37: I Know What You Released Last Month 00:25:27: Game News 00:42:24: Little Rocket Lab 01:39:03: Outro Links Fantasy Life i on Mobile Bubblegum Galaxy Study Mode Cozy Caravan “An Excess of Accessories” Update Out and About “Invasives and Sustainable Harvesting” Update Heartopia “Modular Streets Festival” Pack Wholesome Direct Rocket Lab Screenshots: Layout 1 Layout 2 Layout 3 Toasty Lighthouse Broken Postcard Contact Al on Mastodon: https://mastodon.scot/@TheScotBot Email Us: https://harvestseason.club/contact/

OUR PATREON PAGE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/NakedNudistsAndNaturists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Welcome to "Naked, Nudists, and Naturists", the show that celebrates clothes free living, body acceptance, body image confidence, and removing all barriers to living your best life!Join host Frank Stone and correspondent Lisa Monroe, as they celebrate clothes free living with naturist stories; interviews; nude recreation; accepting your body; developing a positive self body image; and enjoying social naturism for all of the right reasons!(Please note that we are NOT about swinging, sexual activity, streaking, aggressive behavior, or anything else that deviates from the joy of appropriately living without your clothes).From our naturist studio - yes, all employees work each day in the nude (is there any other way?) - to your ears, we are all about bringing the "Naked. Nudists, and Naturists" clothes free lifestyle to all. A new show is all yours every Saturday morning at 6:00 am ET. Join us and enjoy clothes free living! Our show is on all podcast platforms, including Apple Podcasts, Spotify, Google Podcasts, iHeart Radio; and Amazon Music. Find us on Twitter and Bluesky, too! ON TODAY'S SHOW:- Naked Sports- Third Show Logistical Layout- Bob/Hank/André to:a. Relive Their Episode #100 Songb. Tell Naturism jokes!Write to us early and often - Website, Email, Spotify, or on Twitter and Bluesky, and let us know how your clothes free life is going!OUR WEBSITE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠NakedNudistsAndNaturists.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ OUR MERCHANDISE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://nakednudistsandnaturists.com/shop/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TWITTER⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://x.com/NakedForev69351⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BLUESKY⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/nakedforev69351.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠EMAIL - We want to hear from YOU, so please EMAIL us at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠NakedForeverMore@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LISTEN ON:APPLE PODCASTS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/naked-nudists-and-naturists/id1695296974⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SPOTIFY⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/66iqJxLBmseAZ6DkFlUdI5

Ryan Rarick and Lauren Merkley close out this season of the Teacher Fellows Podcast by diving into the role of the Utah State Board of Education and why educator experience is vital in public leadership. Their guest is Kacee Weaver, a Teacher Fellow and veteran Weber County educator with 20 years of experience across charter, district, private, and nonprofit settings. Now a candidate for State School Board District 2, Kacee shares what motivated her run: a desire to fix repeated systemic mistakes and a firm stance against rhetoric urging families to leave public schools—which she views as a vital community service. In this episode, Kacee discusses: Bridging the Gap: How the Fellowship clarified the flow of policy from the Capitol to the classroom. Trusting the Experts: The need for instruction aligned with research and student development. Removing Barriers: Addressing the unique challenges faced by economically disadvantaged and multilingual students. Student Well-being: The urgent need for program stability and addressing Utah's high suicide rates through family collaboration. Kacee concludes with a powerful call for educators to vote and find their voices. To learn more about her platform, visit kaceeforutahschools.com.LAYOUT: 00:00 Welcome and Banter 00:41 Season Recap and Catch Up 01:28 Why Teacher Voice Matters 02:26 Meet Kacee Weaver 03:43 Why Run for School Board 06:56 Teacher Fellows to Policy 11:04 Fixing Utah Education 15:20 Making the Case for Public School 17:45 Call to Vote and Speak Up 19:45 How to Support Kacee 20:22 Host Takeaways 25:38 Closing and Next Season   GUESTS ON EPISODE:

Sie sind quasi die Schutzengel der Gebäude in Wien: Die Bauinspektion ist ein wesentlicher Bestandteil der Baupolizei. Hier werden Baustellen genauso kontrolliert wie bestehende Gebäude und Kleingärten. Speziell wenn Mängel oder Gefahrdrohende Zustände gemeldet werden, ist die Bauinspektion rasch zur Stelle, um sich ein Bild zu verschaffen und im Ernstfall zügig Maßnahmen einzuleiten. Wir sprechen mit einer Werkmeisterin über ihren Job in einer Männerdomäne und klären auf, wann man von „Gefahr im Verzug“ sprechen kann.Shownotes:https://www.wien.gv.at/advuew/internet/AdvPrSrv.asp?Layout=stelle_at&Type=K&stellecd=2012091317031691&STELLE=Yhttps://www.wien.gv.at/advuew/internet/AdvPrSrv.asp?Layout=stelle_at&Type=K&stellecd=2012091414462326&STELLE=Yhttps://www.wien.gv.at/advuew/internet/AdvPrSrv.asp?Layout=stelle_at&Type=K&stellecd=2012091716213064&STELLE=Yhttps://www.wien.gv.at/advuew/internet/AdvPrSrv.asp?Layout=stelle_at&Type=K&stellecd=2014012915093240&STELLE=Yhttps://www.toechtertag.at/betrieb/cmp_69316443974720/?companypage=0Wenn euch die Folge gefallen hat, freuen wir uns, wenn ihr unseren Podcast bewertet und abonniert (falls ihr das noch nicht gemacht habt).Feedback könnt ihr uns auch an podcast(at)ma53.wien.gv.at schicken.Folgt uns auf unseren Social Media Kanälen:https://www.facebook.com/wien.athttps://bsky.app/profile/wien.gv.athttps://twitter.com/Stadt_Wienhttps://www.linkedin.com/company/city-of-vienna/https://www.instagram.com/stadtwien/Und abonniert unseren täglichen Newsletter:http://wien.gv.at/meinwienheuteWeitere Stadt Wien Podcasts:Historisches aus den Wiener Bezirken in den Grätzlgeschichtenbüchereicast der Stadt Wien Büchereien

What if your home is holding you back instead of moving you forward? For many homeowners, spaces are designed for who they were, not who they are becoming.  Vera Blouin, founder of BLOU INK, joins Host Carol Morgan on Atlanta Real Estate Forum to explain how intentional home design rooted in spatial psychology and identity-based design can reshape not only a space but also daily habits, mindset and personal growth. Blouin challenges traditional design norms and offers a more strategic, human-centered approach to creating environments that evolve alongside the people who live in them.  What Is “Spatial Dissonance” and Why Does It Matter?  Blouin introduces the concept of “spatial dissonance,” a feeling many homeowners experience but struggle to define.  “Spatial dissonance is the in-between space of who you were and who you're becoming, and it's actually a powerful place to be,” Blouin said.  Rather than signaling a need to start over or to hold on to the past, this moment reflects personal evolution. The issue is not the belongings themselves but the mismatch between a person's current identity and their environment.  “Your home is still holding on to a different season of life,” Blouin said.  Identity-Based Design: Moving Beyond Aesthetics  BLOU INK challenges conventional home design by shifting the focus away from finishes, furniture and visual trends. Design begins with a foundational question: who the homeowner is today, and who they are becoming next?  Through identity-based design, Blouin aligns physical environments with personal evolution, transforming a home from a static backdrop into an active system that can either reinforce old habits or support new ones. This approach moves design beyond aesthetics and into behavioral and psychological territory.  “When I walk into a client's home, I'm not asking, ‘What's your design style?' I can figure that out,” Blouin said. “What I'm really looking for is who are you becoming, and is your environment currently supporting that?”  Blouin designs with daily life in mind, including how people move through rooms, start and end their days and experience focus, rest and intention. In this framework, design focuses less on visual harmony and more on functional alignment between environment and identity.  How Spatial Psychology Shapes Daily Life  Blouin's work is grounded in spatial psychology, the study of how physical environments influence human behavior. Even small design choices can affect productivity and stress levels. For example, a desk facing a wall with no natural light can create mental blocks, while repositioning it toward a window can improve clarity and focus.  The Hidden Impact of Clutter and Layout  “Clutter isn't physical… it's a signal of what's going on mentally,” said Blouin.  What homeowners often label as “mess” is actually a visible expression of cognitive overload. When a space feels disorganized, it often reflects how information, stress and priorities are processed internally.  Layout plays an equally important role in shaping daily experience. Furniture placement, traffic flow and spatial barriers all influence how easily someone moves through their home and completes routine tasks. Even small disruptions can introduce friction that accumulates over time, subtly affecting focus and energy.  In this framework, organization focuses less on visual tidiness and more on removing obstacles that interfere with how people live. Blouin describes this process as eliminating unnecessary “blocks” in the environment that slow down momentum and reduce clarity.  “Reincarnating” a Room: Letting Go to Move Forward  In her book, The Reincarnated Room, Blouin expands on the idea of design as a tool for personal transformation. She compares the process to a caterpillar transforming into a butterfly and emphasizes the importance of embracing discomfort and uncertainty.  “It isn't about making it prettier. It's about allowing it to become something entirely new,” Blouin said.  Designing for Life Transitions  Career changes, growing families, relocations, empty nesting or lifestyle shifts often surface the same realization: the home no longer functions the way life now demands.   When identity shifts, the environment must also shift to remain supportive. Without that adjustment, homes can begin to feel misaligned, still organized around routines, priorities and emotional needs that no longer exist. Homeowners can use this transition as a diagnostic moment to decide what happens next.  Instead of rushing to fix a space during moments of change, homeowners gain clarity by allowing the home to reveal what needs to evolve. Over time, this leads to environments that not only accommodate life transitions but actively support them.  “Home shouldn't just hold your life, it should move you forward,” Blouin said.  By integrating spatial psychology and identity-based design, BLOU INK helps homeowners and industry professionals rethink how spaces shape behavior, mindset and daily life. The firm's approach reframes home design as a tool for personal growth and long-term alignment. To learn more about BLOU INK, visit https://BLOUINK.com/. Blouin's book, The Reincarnated Room, is available on the website and Amazon.  About BLOU INK  BLOU INK is a design strategy firm founded by Vera Blouin that specializes in spatial psychology and identity-based design for residential environments. The firm works with homeowners and industry professionals to create intentional, behavior-driven spaces that improve daily function and support evolving lifestyles. BLOU INK currently serves clients in Atlanta, Miami and Dallas.  Podcast Thanks       Thank you to Denim Marketing for sponsoring Atlanta Real Estate Forum Radio. Known as a trendsetter, Denim Marketing has been blogging since 2006 and podcasting since 2011. Contact them when you need quality, original content for social media, public relations, blogging, email marketing and promotions. A comfortable fit for companies of all shapes and sizes, Denim Marketing understands marketing strategies are not one-size-fits-all. The agency works with your company to create a perfectly tailored marketing strategy that will suit your needs and niche. Try Denim Marketing on for size by calling 770-383-3360 or by visiting www.DenimMarketing.com.        About Atlanta Real Estate Forum Radio       Atlanta Real Estate Forum Radio, presented by Denim Marketing, highlights the movers and shakers in the Atlanta real estate industry – the home builders, developers, Realtors and suppliers working to provide the American dream for Atlantans. For more information on how you can be featured as a guest, contact Denim Marketing at 770-383-3360 or fill out the Atlanta Real Estate Forum contact form. Subscribe to the Atlanta Real Estate Forum Radio podcast on iTunes, and if you like this week's show, be sure to rate it. Atlanta Real Estate Forum Radio was recently honored on FeedSpot's Top 100 Atlanta Podcasts, ranking 16th overall and number one out of all ranked real estate podcasts.  The post BLOU INK: How Spatial Psychology Is Transforming Home Design appeared first on Atlanta Real Estate Forum.

Canva's mission is to empower the world to design, and by most measures, it's working. Millions of people create content in Canva every day, which means design is no longer something that belongs exclusively to designers. Now, with the acquisition of Affinity, Canva is making a move into professional territory. So what does that actually mean for those of us who make a living in this space? In this episode, Theresa Jackson sits down with Steve Caplin to dig into Affinity by Canva: what it is, how it works, and why the conversation around it goes well beyond the software itself. They give an honest take on where Affinity genuinely impresses and where it still comes up short for professional work, covering the same questions a lot of designers are already wrestling with about their role in a changing industry. If you've felt friction between your design team and the non-designers who use Canva, or if you've found yourself wondering how your job is evolving, this one's worth your time. Episode Highlights Switching between Vector, Pixel, and Layout within a single document is a departure from everything most designers are used to, and Theresa and Steve get into why that matters Theresa calls Affinity Canva's "olive branch" to professional designers, and unpacks why that framing deserves a second look Affinity's live filters and real-time previews create a noticeably different editing experience, and the episode explores what that unlocks "Free" as a pricing strategy has real implications for who gets to call themselves a designer The episode covers what Affinity still lacks, particularly around publishing workflows, automation, and accessibility, and why those gaps keep professionals anchored to InDesign and Adobe The tension between design teams and non-designers using Canva is real, growing, and worth talking about openly Designers are once again being asked to justify their value, and this conversation doesn't shy away from that The bigger question isn't which tool to use; it's what's shifting in the design industry and how to position yourself within that shift Resources CreativePro Week 2026, Nashville, June 29–July 3, 2026: https://creativeproweek.com/ CreativePro Events: https://creativepro.com/events/ Save $100 on any CreativePro event in 2026 with the discount code PODCAST: https://creativepro.com/events/ Get $15 off one year of CreativePro membership with the discount code PODCAST: https://creativepro.com/become-a-member/ Steve Caplin: https://stevecaplin.com/ Theresa Jackson's Self Portrait with Photoshop Displacement Map Filter: https://mir-s3-cdn-cf.behance.net/project_modules/max_3840_webp/00bfb313226357.56271a3df0ccf.jpg Canva Create Keynote: https://www.youtube.com/live/9HkO8masPT0 Affinity Download: https://www.affinity.studio/download Affinity for Photoshop Users by Steve Caplin: https://creativepro.com/affinity-photoshop-users/ YouTube: Displace Filter in Affinity: https://youtu.be/_9ZFMs1GkPg

Im Juli 2024 hat die Stadt Wien die Regelungen für Kurzzeitvermietungen über Plattformen wie Airbnb und Booking verschärft. Zur selben Zeit wurde bei der Baupolizei das „Referat Kontrolle Kurzzeitvermietung“ gegründet. Georg ist einer der Mitarbeiter*innen des Referats- er erzählt uns, wie er überhaupt zur Baupolizei gekommen ist und wie sein beruflicher Alltag so aussieht. Aber damit nicht genug: Warum Airbnb und Co. so beliebt sind, was die Kolleg*innen bei ihren Kontrollen erleben und warum sogar (internationale) Fernseh-Teams ihre Arbeit begleiten wollen, verraten wir ebenfalls in dieser Episode!Shownotes:https://www.wien.gv.at/pdf/ma37/merkblatt-verwendung-wohnungen-kurzzeitvermietung.pdfhttps://www.wien.gv.at/pdf/ma37/faq-verwendung-wohnungen-kurzzeitvermietung.pdfhttps://www.wien.gv.at/wohnen/ausnahmebewilligung-kurzzeitvermietunghttps://mein.wien.gv.at/formularserver-mw/user/formular.aspx?path=(mw%2fstandard)&pid=06a2e3ecbb6b4302b4f134a505de83b8&pn=B66dd500d2b90494bb5f2df753c0e8857&data=%3Coptional%3Enein%3C%2Foptional%3Ehttps://www.wien.gv.at/advuew/internet/AdvPrSrv.asp?Layout=stelle_at&Type=K&stellecd=2024070216483087&STELLE=YWenn euch die Folge gefallen hat, freuen wir uns, wenn ihr unseren Podcast bewertet und abonniert (falls ihr das noch nicht gemacht habt).Feedback könnt ihr uns auch an podcast(at)ma53.wien.gv.at schicken.Folgt uns auf unseren Social Media Kanälen:https://www.facebook.com/wien.athttps://bsky.app/profile/wien.gv.athttps://twitter.com/Stadt_Wienhttps://www.linkedin.com/company/city-of-vienna/https://www.instagram.com/stadtwien/Und abonniert unseren täglichen Newsletter:http://wien.gv.at/meinwienheuteWeitere Stadt Wien Podcasts:Historisches aus den Wiener Bezirken in den Grätzlgeschichtenbüchereicast der Stadt Wien Büchereien

Tyler and Marcello break down the NXL Dover field layout live with the GOAT members. If you might be playing this field then you absolutely must watch this episode. Even if you're not, it will give you a peak not how the pros dissect the field. The show ends with Sam Monville and Pat McKenna discussing their new app, PBStats.app We highly recommend watching this episode on YouTube to see what we are talking about!JOIN THE DISCORD:https://www.patreon.com/bePatron?u=34554029SHOW SPONSORS:https://www.lonewolfpaintball.com/Support the showJoin the PTG community by clicking the orange

In this episode of Mining Minds, we go behind the scenes of the Elko Mining Expo — a 40-year legacy event that transforms a tight-knit mining community into a global hub of innovation, networking, and opportunity. Sitting down with the powerhouse team at the Elko Convention Center & Visitors Authority, this conversation uncovers the hardwork, coordination, and passion required to bring over 6,000+ attendees, hundreds of vendors, and massive equipment displays together—year after year. From humble beginnings and small-town roots to managing one of the most anticipated mining events in the industry, Selina Morales and Kimberly Longley share their personal journeys, the evolution of the expo, and what it truly takes to execute an event of this magnitude with a team of just ten people. But this episode goes deeper than logistics. It explores the heart of mining communities — the families, the kids, the traditions, and the future workforce. With new ideas like live podcasting, technical sessions, and even a first-ever Miner's Poetry Contest, this year's expo is pushing boundaries and redefining what connection and storytelling in mining looks like. Join us at the 2026 Elko Mine Expo on June 4th at 10:00 AM for a compelling look at the past, present, and future of our industry. We'll be kicking off the event with a live opening session panel podcast featuring some of the most influential voices in mining. And for the first time, Mining Minds will be hosting the Miner's Poetry Contest on June 5th from 10:00 AM to 2:00 PM. From elementary-aged kids to teenagers, to miners and their spouses, we want to hear the voices that truly tell the story of who we are, the experiences we've lived, and what makes this industry so special. Submit your entry by "brassing in" at MiningMindsLLC.com.   Episode Sponsors: Safety First Training & Consulting Motor Mission Machine & Radiator  Heavy Metal Equipment & Rentals    Chapters:  02:50 Selena Background 05:28 Planning the Expo 07:13 Kimberly Background 09:18 Convention Center Events 14:54 Expo Growth Upgrades 20:57 Layout and Expansion 26:52 Expo Week Breakdown 31:57 Networking and Engagement 33:15 Booths Networking Value 37:42 Miners Poetry Contest 52:59 40th Anniversary Plans 56:07 Live Podcast Announcement

Brian and Elliot are joined by Lone Archivist, layout designer known for their work on DIE, Orbital Blues, Hull Breach and more. We discuss the fundamentals of good layout, why white space is just as important as content, and how to hone your layout skills from your first indesign session.Talk of the Table is hosted by Elliot Davis and Brian Flaherty.Links:Back Jupitor in Eb MinorLone ArchivistLone on BlueskyLone Recommends:The work of Sean McCoy and Johan NohrThe Wipeout Design Manual by The Designer's RepublicOur Links:Support TotT on PatreonMany Sided NewsletterMany Sided Media DiscordCredits:Edited by Elliot DavisProduced by Many Sided MediaAdvertising Inquiries: https://redcircle.com/brands

Pictures & Diagrams of Layout of Shulchanot - Document for Daf 99 by Simon Wolf

The All Local Afternoon Update for Friday, April 17th,2026

Brewhouse design decisions have long-term consequences. Layout, drainage, flooring, access, and workflow choices made early can either support efficient operations or create daily friction that is expensive to fix later. In this session, we'll bring together an architect, a flooring specialist, and experienced brewery operators to walk through real-world brewhouse design dos, don'ts, and practical recommendations. The focus is not on theory or perfect builds, but on what actually works once the tanks are full, the floors are wet, and the brew team is trying to get through a long day safely and efficiently.This conversation features:Chris Klein (Cascade Floors)Curtis Holmes (Alaskan Brewing)Dustin Hauck (Hauck Architecture)Join us in person for CBP Connects ChicagoJune 15-17, 2026Come get inspired, leave with actionable strategies: https://cbpconnects.com/

I sit down with Amir, who's back on the pod, and we walk through the full stack of taking a business idea from zero to a validated, A/B-tested landing page in a single session. I use Idea Browser's new MCP integration with Claude Code to pull project context, generate a lead magnet concept, design a landing page in Paper, and then wire up analytics and live experiments through HumbleLytics — all without writing a single line of front-end code manually. We cover the tools, the workflow, and why this stack creates massive arbitrage for marketers and builders right now. Timestamps 00:00 – Intro and Episode Preview 02:30 – Building a Growth Strategy with Idea Browser 06:10 – Designing Landing Pages in Paper 08:38 – Refining Copy, Layout, and Components in Paper 20:06 – Deploying Landing Page and Adding HumbleLytics Analytics 28:38 – Running A/B Experiment on the Headline 32:44 – The Arbitrage Opportunity and Closing Thoughts Links Mentioned: Amir's Agentic Marketing Skill: https://startup-ideas-pod.link/amir_marketing_skill Key Points Idea Browser now connects to Claude Code as an MCP, letting you pull project context, growth strategies, and skills directly into the terminal for building and iterating on business ideas. Paper replaces the traditional Figma-to-developer handoff by letting you design, iterate, and refine landing pages visually — all connected to Claude Code so changes stay in sync. HumbleLytics enables no-code A/B experiments that dynamically update page content without deploying new code, so you can test headlines, CTAs, and layouts in real time. Storing performance context (A/B results, revenue data, growth metrics) back into Idea Browser compounds your results over time because every future decision is informed by past data. This full stack — Idea Browser, Paper, Claude Code, HumbleLytics — creates a significant arbitrage opportunity right now because almost nobody is using it at this level. The #1 tool to find startup ideas/trends - https://www.ideabrowser.com LCA helps Fortune 500s and fast-growing startups build their future - from Warner Music to Fortnite to Dropbox. We turn 'what if' into reality with AI, apps, and next-gen products https://latecheckout.agency/ The Vibe Marketer - Resources for people into vibe marketing/marketing with AI: https://www.thevibemarketer.com/ FIND ME ON SOCIAL X/Twitter: https://twitter.com/gregisenberg Instagram: https://instagram.com/gregisenberg/ LinkedIn: https://www.linkedin.com/in/gisenberg/ FIND AMIR ON SOCIAL Humblytics: https://humblytics.com/?via=community X/Twitter: https://x.com/amirmxt Youtube: https://www.youtube.com/@amirmxt

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

Disney Cruise Line now has two private destinations… but which one actually delivers the better day? In this episode of Where We Roam, John, Dayna, and special guest Jess break down Castaway Cay vs. Lookout Cay at Lighthouse Point—and it gets surprisingly competitive. Dayna just sailed back-to-back itineraries hitting BOTH islands in the same week, giving us a rare side-by-side comparison, while Jess brings fresh perspective from recent sailings. We're scoring each destination across what actually matters: Beaches (spoiler: this one isn't close

Show Notes The hosts have surprisingly practical discussion: maps in tabletop RPGs and why so many of them just don't work. At their core, maps aren't just visuals. They help players navigate, understand space, and engage with the world. But not all maps serve the same purpose. Some guide movement, some highlight important features, and others exist purely for combat or immersion. But there are so many ways that maps can go wrong. Maps should be built around intent and scale. A single room, a dungeon, a city, and a world map all need different levels of detail and serve different roles. Treating them the same is where things fall apart. At the room level, simplicity wins. You don't need perfect art, but provide just enough detail to support the scene. A few objects, a clear focal point, and something interesting to discover can turn even a basic box map into something memorable. But every detail you include matters because players will assume it's important. Dungeons scale that idea up. They're just collections of rooms, but they need to make sense. Layout, distance, and flow all affect gameplay, especially when combat, stealth, or noise comes into play. A good dungeon map isn't just connected rooms; it's a space that feels intentional and playable. City maps shift focus again. You don't need every building, just the parts players care about. A few landmarks, key districts, and notable locations are enough to give the city identity without overwhelming the table. And at the largeer scales the advice is simple: don't overbuild. Focus on major features and let the rest grow as the campaign does. Players won't see most of it anyway. The takeaway is clear: maps don't need to be perfect but they do need to be useful. Whether you're sketching quick shapes or using advanced tools, the goal is always the same: help your players understand the world and make interesting decisions inside it. Key Takeaways Maps serve multiple roles in tabletop RPGs including navigation, immersion, combat clarity, and storytelling Not all maps are created equal and design depends heavily on scale such as room, dungeon, city, region, and world Good map design starts with intent and what the map is meant to help players do Overly detailed maps can mislead players because anything visible will be treated as important Simple maps can work effectively when supported by clear description and purpose A strong room design includes set dressing, a focal point, and a hidden or revealed element Dungeon maps should make logical and mechanical sense including layout, sound distance, and flow Hallways and room placement directly impact encounter design and player strategy City maps should focus on landmarks, districts, and important locations rather than every building Regional and world maps should prioritize major features such as mountains, rivers, and capitals Players rarely explore everything so maps should focus on likely points of interaction Maps can enhance immersion in virtual tabletop play but may hinder roleplay if overused Pre-made maps can inspire encounters but may require improvisation to match the scene Tools like Dungeon Alchemist, Inkarnate, and Dungeon Scrawl can speed up map creation The best maps are not the most detailed but the ones that support gameplay and storytelling effectively Welcome to the RPGBOT Podcast. If you love Dungeons & Dragons, Pathfinder, and tabletop RPGs, this is the podcast for you. Support the show for free: Rate and review us on Apple Podcasts, Spotify, or any podcast app. It helps new listeners find the best RPG podcast for D&D and Pathfinder players. Level up your experience: Join us on Patreon to unlock ad-free access to RPGBOT.net and the RPGBOT Podcast, chat with us and the community on the RPGBOT Discord, and jump into live-streamed RPG podcast recordings. Support while you shop: Use our Amazon affiliate link at https://amzn.to/3NwElxQ and help us keep building tools and guides for the RPG community. Meet the Hosts Tyler Kamstra – Master of mechanics, seeing the Pathfinder action economy like Neo in the Matrix. Randall James – Lore buff and technologist, always ready to debate which Lord of the Rings edition reigns supreme. Ash Ely – Resident cynic, chaos agent, and AI's worst nightmare, bringing pure table-flipping RPG podcast energy. Join the RPGBOT team where fantasy roleplaying meets real strategy, sarcasm, and community chaos. How to Find Us: In-depth articles, guides, handbooks, reviews, news on Tabletop Role Playing at RPGBOT.net Tyler Kamstra BlueSky: @rpgbot.net TikTok: @RPGBOTDOTNET Ash Ely Professional Game Master on StartPlaying.Games BlueSky: @GravenAshes YouTube: @ashravenmedia Randall James BlueSky: @GrimoireRPG Amateurjack.com Read Melancon: A Grimoire Tale (affiliate link) Producer Dan @Lzr_illuminati

Show Notes The hosts have surprisingly practical discussion: maps in tabletop RPGs and why so many of them just don't work. At their core, maps aren't just visuals. They help players navigate, understand space, and engage with the world. But not all maps serve the same purpose. Some guide movement, some highlight important features, and others exist purely for combat or immersion. But there are so many ways that maps can go wrong. Maps should be built around intent and scale. A single room, a dungeon, a city, and a world map all need different levels of detail and serve different roles. Treating them the same is where things fall apart. At the room level, simplicity wins. You don't need perfect art, but provide just enough detail to support the scene. A few objects, a clear focal point, and something interesting to discover can turn even a basic box map into something memorable. But every detail you include matters because players will assume it's important. Dungeons scale that idea up. They're just collections of rooms, but they need to make sense. Layout, distance, and flow all affect gameplay, especially when combat, stealth, or noise comes into play. A good dungeon map isn't just connected rooms; it's a space that feels intentional and playable. City maps shift focus again. You don't need every building, just the parts players care about. A few landmarks, key districts, and notable locations are enough to give the city identity without overwhelming the table. And at the largeer scales the advice is simple: don't overbuild. Focus on major features and let the rest grow as the campaign does. Players won't see most of it anyway. The takeaway is clear: maps don't need to be perfect but they do need to be useful. Whether you're sketching quick shapes or using advanced tools, the goal is always the same: help your players understand the world and make interesting decisions inside it. Key Takeaways Maps serve multiple roles in tabletop RPGs including navigation, immersion, combat clarity, and storytelling Not all maps are created equal and design depends heavily on scale such as room, dungeon, city, region, and world Good map design starts with intent and what the map is meant to help players do Overly detailed maps can mislead players because anything visible will be treated as important Simple maps can work effectively when supported by clear description and purpose A strong room design includes set dressing, a focal point, and a hidden or revealed element Dungeon maps should make logical and mechanical sense including layout, sound distance, and flow Hallways and room placement directly impact encounter design and player strategy City maps should focus on landmarks, districts, and important locations rather than every building Regional and world maps should prioritize major features such as mountains, rivers, and capitals Players rarely explore everything so maps should focus on likely points of interaction Maps can enhance immersion in virtual tabletop play but may hinder roleplay if overused Pre-made maps can inspire encounters but may require improvisation to match the scene Tools like Dungeon Alchemist, Inkarnate, and Dungeon Scrawl can speed up map creation The best maps are not the most detailed but the ones that support gameplay and storytelling effectively Welcome to the RPGBOT Podcast. If you love Dungeons & Dragons, Pathfinder, and tabletop RPGs, this is the podcast for you. Support the show for free: Rate and review us on Apple Podcasts, Spotify, or any podcast app. It helps new listeners find the best RPG podcast for D&D and Pathfinder players. Level up your experience: Join us on Patreon to unlock ad-free access to RPGBOT.net and the RPGBOT Podcast, chat with us and the community on the RPGBOT Discord, and jump into live-streamed RPG podcast recordings. Support while you shop: Use our Amazon affiliate link at https://amzn.to/3NwElxQ and help us keep building tools and guides for the RPG community. Meet the Hosts Tyler Kamstra – Master of mechanics, seeing the Pathfinder action economy like Neo in the Matrix. Randall James – Lore buff and technologist, always ready to debate which Lord of the Rings edition reigns supreme. Ash Ely – Resident cynic, chaos agent, and AI's worst nightmare, bringing pure table-flipping RPG podcast energy. Join the RPGBOT team where fantasy roleplaying meets real strategy, sarcasm, and community chaos. How to Find Us: In-depth articles, guides, handbooks, reviews, news on Tabletop Role Playing at RPGBOT.net Tyler Kamstra BlueSky: @rpgbot.net TikTok: @RPGBOTDOTNET Ash Ely Professional Game Master on StartPlaying.Games BlueSky: @GravenAshes YouTube: @ashravenmedia Randall James BlueSky: @GrimoireRPG Amateurjack.com Read Melancon: A Grimoire Tale (affiliate link) Producer Dan @Lzr_illuminati

Trong Modern Trade, không có gì là ngẫu nhiên: một chai tương ớt đặt ngang tầm mắt hay kem đánh răng nằm cạnh kệ nước súc miệng. Tất cả đều là kết quả của những bài toán kinh doanh được tính toán đến từng centimet. Nếu Layout là “chiến lược dàn trận” của toàn cửa hàng, thì Planogram chính là điểm chạm quyết định tới 70% hành vi mua sắm của người tiêu dùng khi lướt qua quầy kệ. Trong tập này sẽ giải mã “bí mật” Planogram và cách tối ưu lợi nhuận trên từng bước chân của shopper.Xem thêm bài viết chi tiết tại đây.

On this episode of Next on the Tee, I'm joined by two incredible guests who bring both legendary perspective and modern innovation to the game. First up is my annual Masters week conversation with the great Gary Player. Mr. Player shares insights from his three Masters victories, how Mr. Palmer lost his focus and opened the door to Mr. Player's win in 1961, perhaps the greatest shot I've ever seen leading this win in '74, and how he nearly shot 27 on the back 9 in '78, leading to his 3rd Green Jacket. You'll also hear what it takes to develop a true championship mindset, how discipline, fitness, and preparation fueled his success and longevity in the game, and why his book Don't Choke should be required reading for every junior player. We finish talking about what today's players can learn from the legends, and why growing the game and giving back remain so important to him. Then, I'm joined by world-renowned golf course designer Agustin Piza, who takes us inside the art and strategy of course design. Augie explains what separates a good course from a great one, how architecture influences shot-making and decision-making, and how modern design is evolving for today's golfer. He also shares stories from his work around the world, with Nicklaus Construction, Tom Fazio, and Gary Player, plus his involvement in designing holes for TGL. You'll also hear how Alister MacKenzie redesigned bunkers for the British military to help disguise where their soldiers were set up during World War 1. Augie is a brilliant designer who thinks outside the box, has a fresh take, and an amazing artistic eye. His passion for design and the game shines throughout our conversation. You're really going to enjoy the segment. This episode is a perfect blend of legendary wisdom and forward-thinking innovation—one that will not only entertain you but might just change the way you see and play the game. #golf #golfpodcast #golfinstruction #golftips #golfstories #golflegends #garyplayer #masters #themasters #golfmindset #golftraining #golfcourse #golfcoursedesign #golfarchitecture #agustinpiza #jacknicklaus #tomfazio #tglgolf #pgatour #championshipgolf #golfstrategy #improveyourgolf #nextonthetee

Copeland E3 Tiles, Layout Stuff, Firmware & Atlanta Hood Rat Sh$t Episode-- 514 E3 Tile Chaos to Clean Startup Screens: Organizing CO₂ Racks, Layouts, and a Firmware ‘Oops'Brett Wetzel and Kevin Compass kick off this rowdy Advanced Refrigeration Podcast episode with travel talk and a quick rant about getting an E3 to communicate after an IP change, then jump into turning a messy CO₂ rack tile setup into something actually usable. They walk through creating and reorganizing tile groups (receiver, gas cooler, suction groups, oil separator, cases, etc.), explain why breaking menus down makes troubleshooting faster, and show how to build custom layout/startup screens with the key points techs actually need (pressures, temps, valve %, superheat). Along the way they discover icon management, debate the “misc/other” junk-drawer tabs, fumble through the lack of search, and even start a firmware/display update while joking about what might slam shut if it goes sideways. They finish with a quick Modbus address tip and plans for future E3 training videos.

E3 Tile Chaos to Clean Startup Screens: Organizing CO₂ Racks, Layouts, and a Firmware ‘Oops'Brett Wetzel and Kevin Compass kick off this rowdy Advanced Refrigeration Podcast episode with travel talk and a quick rant about getting an E3 to communicate after an IP change, then jump into turning a messy CO₂ rack tile setup into something actually usable. They walk through creating and reorganizing tile groups (receiver, gas cooler, suction groups, oil separator, cases, etc.), explain why breaking menus down makes troubleshooting faster, and show how to build custom layout/startup screens with the key points techs actually need (pressures, temps, valve %, superheat). Along the way they discover icon management, debate the “misc/other” junk-drawer tabs, fumble through the lack of search, and even start a firmware/display update while joking about what might slam shut if it goes sideways. They finish with a quick Modbus address tip and plans for future E3 training videos.

Time Stamps: 00:00 Intro   02:24 Meet Racing Jason   05:04 Building the Viral Backyard Track   06:33 How He Got Into RC & Racing   09:36 Sprint Car Racing Background  16:14 From Racing to DirtFish Instructor   19:02 Backyard Track Vision & Growing RC  21:15 Are RC Race Days TOO Long?   23:21 The Problem with Current Formats   29:30 Backyard Track in Action  33:29 Jason's NEW Race Format Explained   36:05 Can This Work at Big Races?   41:07 Making RC More Exciting to Watch   44:12 Do We Need a Pro RC Series?  50:53 How Do We Grow RC?   58:12 Woes of Turn Marshaling 1:02:59 Track Design & Layout   1:04:15 How to Build Your Own RC Track  1:13:47 What is DirtFish Rally School?   1:19:29 RC vs Full Scale Racing  1:27:54 Final Thoughts   1:32:00 Outro   Show #348 – Racing Jason & His Awesome Backyard RC Track In this episode of the No Name RC Podcast, Lefty sits down with Racing Jason — the creator behind one of the most talked-about backyard RC tracks in the world. Jason shares his journey from growing up around off-road racing to competing in full-scale sprint cars, and how that passion led him into RC and building a unique track layout deep in the Pacific Northwest. We dive into: • The evolution of his backyard RC track and design ideas • His background in full-scale racing and transition into RC • His role as a driver instructor at DirtFish Rally School • The current state of RC racing formats and why change is needed • Ideas for shorter race days and more engaging racing • Hosting backyard races and experimenting with new formats • Advice for anyone looking to build their own RC track This is a great conversation about creativity in RC, growing the hobby, and thinking differently about how we race. If you have guest suggestions or want to be featured on the show, reach out — we're always looking to highlight people doing cool things in RC. Thank you to the NNRC squad around the world for your continued support.

In this episode, Cody & Meagan take you inside one of the most iconic luxury resorts in the world—Waldorf Astoria Grand Wailea. Fresh off their trip to Maui, they break down the full guest experience from arrival to departure, sharing what this property gets right—and what independent operators can learn from it.This isn't just a review—it's a masterclass in luxury hospitality, design, and service execution.

ATLP Rewind - Episode Originally Released March 17, 2025Want to know what the "Right-Sized Layout" is for you? Start with a mirror. That's just some of the advice shared by author and model railroader Thomas Klimoski. Tom wrote the book "Building The Right-Sized Layout" and he walks us through the thought process to ensure that you're on track for the layout that's a perfect fit for you. Then Tom and I listen to the answers to the Question of the Month - What is the ideal length of an operating session and why?Learn more about this episode on our website:aroundthelayout.com/rewindThank you to our episode sponsor, ScaleSigns.com:https://scalesigns.com/Thank you to our episode sponsor, Oak Hill Model Railroad Track Supply:https://ohrtracksupply.com/Thank you to our episode sponsor, Tully Models:https://tullymodels.comVisit our website at aroundthelayout.comBecome a member of our Operating Crew for chances to win and much more!aroundthelayout.com/crewAround The Layout Podcast is a production of Thirty Five Productions LLC©2026 Thirty Five Productions LLC. All rights reserved.The views and opinions expressed by hosts and guests are their own and do not necessarily reflect those of Thirty Five Productions LLC or our sponsors.Use of any trademarks or trade names is for identification purposes only and does not imply endorsement.No portion of this podcast may be reproduced, distributed, or transmitted in any form or by any means without the prior written permission of Thirty Five Productions LLC, except for brief quotations used for purposes of review, commentary, or promotion.

In this podcast, Jon Teater (Whitetail Landscapes) and Cody Altizer (Give for Grouse) delve into the intricate relationships within ecosystems, emphasizing the importance of habitat types, specialist species, and the interconnectedness of forest life. It highlights the significance of historical context in understanding current conservation efforts and the role of native shrubs and food sources in supporting wildlife. The discussion also touches on sustainable practices for wildlife management and the ongoing research efforts aimed at preserving biodiversity. Takeaways Continuous learning is essential for personal and professional growth. Understanding habitat types is crucial for effective conservation. Specialist species play a vital role in maintaining ecosystem balance. Ants are integral to forest ecosystems and their health. Historical knowledge informs current conservation practices. Native shrubs provide essential food sources for wildlife. Sustainable practices are necessary for ecosystem health. Research efforts are critical for wildlife conservation. Interconnectedness of species highlights the complexity of ecosystems. Effective habitat management requires a holistic approach.   Social Links https://whitetaillandscapes.com/ https://www.facebook.com/whitetaillandscapes/ https://www.instagram.com/whitetail_landscapes/?hl=en https://www.facebook.com/GiveforGrouse/ https://www.youtube.com/@GiveforGrouse https://podcasts.apple.com/us/podcast/give-for-grouse-podcast/id1856599149 Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Zachariah Peterson joins Chris to discuss doing PCB layout and creating content for engineers looking to learn more about how to build their own PCBs

Tonight, on Trackside with Curt Cavin and Kevin Lee, they recap Josef Newgarden winning a very successful series return to Phoenix in a collaboration weekend with NASCAR. In the second segment, Curt and Kevin breakdown races from Christian Rasmussen, David Malukas, Mick Schumacher, and more. They later talk about the track layout for the Freedom 250 GP of Washington DC To wrap up another edition of the show, Kevin talks about the TV ratings from Phoenix and previews the upcoming weekend schedule from Arlington.See omnystudio.com/listener for privacy information.

In this podcast, Jon Teater (Whitetail Landscapes) discusses various aspects of hunting property management with professional forester Tim Russell (Green Fire Forestry & Wildlife Services). They delve into the importance of understanding forest management plans, evaluating timber, and the significance of maintaining diversity in forest stands. The conversation also touches on the terminology surrounding selective cutting and the ecological role of leaf litter in forest ecosystems. Listeners gain insights into practical tools for landowners and the complexities of managing their properties effectively. This conversation delves into the complexities of forest management, focusing on leaf litter's role in soil chemistry, the challenges of oak regeneration, innovative management techniques, and the implications of clear cutting. The speakers discuss practical strategies for enhancing wildlife habitats and ensuring sustainable timber harvests, emphasizing the importance of planning, and understanding ecological dynamics.   Takeaways Understanding the neighborhood is crucial before purchasing land. Timber management should align with landowner objectives. Regular updates to forest management plans are necessary for tax benefits. Landowners can evaluate timber using basic metrics like diameter and species. Diversity in tree species is important for forest health and resilience. Selective cutting can mean different things; clarity is essential. Leaf litter is vital for nutrient cycling in forest ecosystems. Tree selection should consider both habitat and economic factors. Maintaining a balance of species prevents dominance and promotes health. Understanding the role of leaf litter can enhance forest management strategies. Leaf litter plays a significant role in soil chemistry. Different tree species affect soil pH differently. Light is often more limiting than nutrients for tree growth. Oak regeneration is a critical concern for forest management. High deer populations complicate oak seedling survival. Managing shade tolerance is essential for oak regeneration. Slash walls can be effective in protecting seedlings from deer. Clear cutting can create beneficial habitat features. Proper planning is crucial for successful timber harvests. Treating forests well leads to better wildlife outcomes. Social Links https://whitetaillandscapes.com/ https://www.facebook.com/whitetaillandscapes/ https://www.instagram.com/whitetail_landscapes/?hl=en Green Fire Forestry & Wildlife Services, LLC Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Topics: Shop layout in CAD Slip roll? UR robot on Speedio Haas machine for sale White Light interferometer Non contact measurement

Some photos take a lifetime to get. Others almost melt your shoes! In Part 2 of this conversation with former National Geographic staff photographer Robert “Bob” Madden, we dive straight into the stories behind the photographs. From documenting an erupting volcano in Hawaii to capturing what may be one of the last images of the Kauai ʻōʻō bird, and photographing in the Amazon with the Yanomami, this episode spans decades of travel and storytelling in the field. We also hear about Bob's time working inside National Geographic as Director of Layout and Design and helping guide the magazine into the early digital era. This is an adventurous conclusion to a two-part conversation filled with great stories, close calls, and reflections on a lifetime behind the camera. Grab a coffee, settle in and the talk! *****

Have you ever stared at your farm's website homepage and thought… what am I even supposed to put here? Your website is the source of truth for your brand. It's where people go to learn more, double-check you, and decide if they want to buy. And if your homepage is unclear or overwhelming, most people won't stick around. In today's episode, I'm breaking down a simple framework for what actually belongs on your farm's website homepage—so it's clear, strategic, and helps turn visitors into customers. We're talking about the specific messaging blocks every strong farm homepage is built from, and how to stack them in a way that creates clarity, builds trust, and guides people toward action. You'll learn my "pancake stack" framework, the foundational homepage sections I recommend for most farm businesses, plus optional add-ons you can pull from depending on your sales model (CSA, online store, shipping, farmers markets, meat, veggies, and more). If your homepage feels messy, confusing, or outdated, this episode will give you a much clearer path forward. Resources  Mentioned In This Episode: What email provider do I use? I recommend Kit.com (formerly ConvertKit.com) -- it is easy to use, powerful, and getting better every year. It also integrates with most e-commerce providers and tools. Use my affiliate link! Ep 19 – The Copywriting Sales Formula: PASTOR - Learn more about how this acronym can help you put your website home page "stacks" in the right order. Ep 9 – The Anatomy of a Great Lead Magnet- Not sure what a lead magnet it? This deep dive training will reveal it all. Ep 39 – Formula for a Perfect Tagline - use this episode to find your home page's header tagline Download my Free PDF: The 10 Most Common Website Mistakes -- use it to audit your own website as you review this project! https://mydigitalfarmer.com/websitemistakes

Josue Gimbernard of miniBIOTA discusses his various tank builds that links with each other, interconnecting energy, water, and nutrients that circulate on their own. We also talk about the story of how he got started into this project and the inspiration behind the different ecosystems. Josue goes into detail on his miniBiota tanks including the Freshwater Lake, The Shoreline, The Coastal, and The Seagrass Meadow Biomes, including their atmospheres, reservoirs, balance in moisture, and temperature/humidity setups. These tanks are incredibly in-depth and detailed in their construction to be as close to outdoor nature as possible and is an episode to tune into if you're curious about the science behind an ecosystem like these!SHOW NOTES: https://www.animalsathomenetwork.com/244-minibiota/SPONSORS: Visit The BioDude: https://www.thebiodude.com/ Visit Zoo Med Labs here: https://zoomed.com/JOIN US ON PATREON: https://www.patreon.com/animalsathomeLINKS FROM THE EPISODE:MiniBiota Website: https://www.minibiota.com/MiniBiota YouTube: https://www.youtube.com/@minibiota MiniBiota Instagram: https://www.instagram.com/minibiotaMiniBiota Facebook: https://www.facebook.com/miniBIOTAPhotos and Video in Episode:MiniBiota YouTube: https://www.youtube.com/ ⁨@miniBIOTA⁩  We Discuss:0:00 Introducing Josue Gimberard of MiniBiota1:05 Coming Up: The Bio Dude1:41 Coming Up: Zoo Med2:01 Welcome Josue + His Career Path7:11 Josue's Motivations for His Enclosures10:52 Layout and Components of Josue's Tanks14:59 Replicating Ecosystems16:28 Atmosphere + Reservoir Constructions in the Tanks21:30 Size of Atmosphere Thoughts23:18 Cooling or Heating the Atmosphere29:33 Creating The Rain Effect32:23 Avoiding Slime Bacteria33:29 The Bio Dude Substrates + Bug Grub34:30 The Lake Biome43:18 The Shoreline Biome49:30 Balance in Moisture for Terrestrial Biomes51:31 Soil Depth in Grassland + The Mangrove Forest Biome59:52 Managing Temperature/Humidity Probes1:09:48 Potential Salt Problems + Salt Obstacle Course Plans1:15:22 The Coastal Biome1:19:13 The Seagrass Meadow Biome1:23:59 Risk of Salinity Problems + Maintaining Balance1:25:55 Lighting Systems + Future Lighting Plans1:30:56 Will The Tanks Ever Be “Finished”?1:35:15 Zoo Med Jumping Spider Kit1:36:21 Inspirations + Mental Load of Josue's Projects1:45:39 3D Printing Uses1:50:13 Closing Thoughts

In this episode of Maximize Your Hunt, host Jon Teater discusses the essential principles of habitat management for hunting properties. He emphasizes the importance of tree planting, understanding deer behavior, and creating safe spaces to enhance deer movement and feeding. The conversation covers the challenges faced in poor habitat areas, the dynamics of deer populations, and effective design principles for habitat management. Jon shares insights on how to create a low-stress environment for deer, the significance of food sources, and long-term management strategies to build a thriving deer herd.   takeaways Building a good hunting property starts now. Tree planting is crucial for habitat improvement. Understanding deer behavior is key to management. Poor habitat areas present unique challenges. Deer population dynamics affect hunting success. Creating security is the first rule of habitat design. Curved lines in design reduce deer vigilance. Food sources should be embedded within bedding areas. Calm environments lead to predictable deer movement. Long-term management strategies are essential for success.   Social Links https://whitetaillandscapes.com/ https://www.facebook.com/whitetaillandscapes/ https://www.instagram.com/whitetail_landscapes/?hl=en Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Maximize Your Hunt, host Jon Teater discusses various aspects of hunting property management with Rocky Burrus SA Farms. They explore the challenges faced during the hunting season, including time constraints and environmental factors. The conversation delves into strategies for improving deer movement and habitat, emphasizing the importance of access and design in creating effective hunting environments. The episode also highlights the balance between family commitments and hunting, showcasing the dedication required to succeed in both areas. In this conversation, the speakers delve into the intricacies of deer habitat design, focusing on strategies to enhance food availability, manage deer movement, and create effective hunting scenarios. They discuss the importance of understanding deer behavior, the impact of habitat management on hunting success, and the social dynamics among deer that influence their presence in certain areas. The conversation emphasizes the need for careful planning and observation in wildlife management to optimize hunting experiences.   takeaways The podcast focuses on maximizing hunting property through land management. Client engagement is crucial for sharing new tools and strategies. Balancing family life with hunting commitments is a common challenge. Environmental factors significantly impact deer movement and hunting success. Access routes are essential for effective hunting strategies. Transforming habitat through logging can enhance deer behavior. Understanding deer behavior helps in planning hunting strategies. Using technology like cameras can aid in tracking deer activity. Creating a diverse habitat can attract more deer to the property. Strategic planning is key to successful hunting and property management. A patternable shape can enhance deer habitats. Understanding deer behavior is crucial for effective hunting. Bedding areas should be strategically designed for deer comfort. Water sources are essential in warmer climates for deer. Creating micro bedding areas can improve deer movement. Observation over a year can inform better habitat management decisions. Access routes should be planned to minimize disturbance. Hunting strategies should adapt to deer social dynamics. Effective hunting scenarios involve staging areas between bedding spots. A hospitable environment encourages deer to stay in the area.   Social Links https://www.facebook.com/safarmmanagement/ https://www.instagram.com/safarmmanagementservice/?hl=en  https://whitetaillandscapes.com/ https://www.facebook.com/whitetaillandscapes/ https://www.instagram.com/whitetail_landscapes/?hl=en Learn more about your ad choices. Visit megaphone.fm/adchoices

Want to Start or Grow a Successful Business? Schedule a FREE 13-Point Assessment with Clay Clark Today At: www.ThrivetimeShow.com   Join Clay Clark's Thrivetime Show Business Workshop!!! Learn Branding, Marketing, SEO, Sales, Workflow Design, Accounting & More. **Request Tickets & See Testimonials At: www.ThrivetimeShow.com  **Request Tickets Via Text At (918) 851-0102   See the Thousands of Success Stories and Millionaires That Clay Clark Has Helped to Produce HERE: https://www.thrivetimeshow.com/testimonials/ Download A Millionaire's Guide to Become Sustainably Rich: A Step-by-Step Guide to Become a Successful Money-Generating and Time-Freedom Creating Business HERE: www.ThrivetimeShow.com/Millionaire   See Thousands of Case Studies Today HERE: www.thrivetimeshow.com/does-it-work/