Category: mryvecio

Construction spending up from a year ago

first_imgMessage* Email Address* Construction spending for the month was estimated to be $1.4 trillion, seasonally adjusted, which is a marginal 0.3 percent gain from August, according to the Census Bureau’s monthly report.September’s spending represents a 1.5 percent year-over-year increase from $1.39 trillion in 2019.Private residential construction was once again responsible for the majority of construction costs — and the only sector tracked by the report that saw month-over-month growth. Private homebuilders’ work was estimated at $610 billion in September, seasonally adjusted, up 2.8 percent from August’s $594 billion.Sentiment among homebuilders hit an unprecedented high level last month, though buyer demand for newly built homes waned. Home prices continue to climb, however, amid record low levels of inventory. Housing starts in September were up 2 percent from August and 11 percent year-over-year.Nonresidential private construction totaled $464 billion in September, down 1.5 percent from August’s estimated $471 billion. Public construction spending was also down with a total spend of $339 billion. That’s a drop of 1.7 percent from August’s $344.8 billion.Contact Erin Hudson Share on FacebookShare on TwitterShare on LinkedinShare via Email Share via Shortlink Share via Shortlinkcenter_img Full Name* Homebuilders continue to be responsible for the majority of dollars spent on construction (iStock)Construction spending this year is up 4.1 percent from last year, according to new data for September.During the first nine months of the year, some $1.058 trillion has been put toward public and private construction, compared with $1.016 trillion for the same period in 2019.The housing sector powered the gain, though growth tapered off in September.Read moreNew home sale prices rise but buyers are hanging backHousing starts jump as homebuilder confidence improvesBuilding up: Homebuilder confidence hits new highs TagsConstructionDevelopmentHousing Marketlast_img read more

Embracing the light in the music of Ori and the Will of the Wisps

first_imgEmbracing the light in the music of Ori and the Will of the WispsComposer Gareth Coker on how his close relationship with Moon Studios was instrumental in the emotive sequel to Ori and the Blind ForestRebekah ValentineSenior Staff WriterFriday 13th March 2020Share this article Recommend Tweet ShareCompanies in this articleMoon StudiosFor almost as long as Moon Studios has been shaping the adventures of a small, bright forest spirit named Ori, the music of Gareth Coker has been underscoring his every movement.Coker was a part of Ori and the Blind Forest when the game was a prototype, when Moon Studios founder Thomas Mahler found him “out of the blue” before the game was even pitched to Microsoft. He was asked to compose for what the studio had so far, with the promise that if Microsoft accepted the pitch, he’d be fully on board.The sequel, Ori and the Will of the Wisps, launched this week. So that pitch seems to have gone well for everyone involved.”We can have a really tight relationship between music and animation. That’s a very old-school Disney thing” Coker’s way of working, which he says is unique in the industry, has proved vital for both Ori games. He compares the design and story of the games to a Pixar movie in the way they aim to evoke emotions in the player, which means that music is a crucial component extremely early on in development.”Most composers for a game are going to come onto a project and they’re just going to be handed the cutscenes and told, ‘Write the music for this,” he says. “But I write music to very rough animatics and storyboards, and that allows me to write a piece of music that flows. So sometimes my music isn’t exactly the same length or timed perfectly to what’s happening in the animatic.”But then after I’ve done a piece of music that feels musically right, but does follow the base outline of the animatics, we’ll send it back to the animation team. And then they’ll get in and do all the detail and do the animation to the music.”This is very, very luxurious. I’ve never had this on any other project. But what it means is, especially in a game which is mostly wordless, we can have a really tight relationship between music and animation. That’s a very old-school Disney thing that we’re trying to do. It’s something that’s extremely important to Thomas [Mahler]. I’m very lucky to work with someone who is a big believer in the power of music. He doesn’t believe it should just be underscore.”I don’t think it would be a bad thing to say that we like to hit the audience over the head sometimes with music. We’re pretty direct. We’re maybe a little bit on the nose. But look at the game — the whole game is a little bit on the nose. I think that we want people to feel something when they play, and I think most games and a lot of films actually are almost afraid of doing that.”We’re maybe a little bit on the nose. But look at the game — the whole game is a little bit on the nose” “When it comes to gameplay, I learn the speed of the game. Especially in a platformer, we place such heavy emphasis on how good the movement is. But learning the speed is incredibly important for me to decide what general speed the music is going to be.”I think every game has a core tempo. I’m going to use Doom as an example. Doom’s gameplay has a tempo, and has a feel, and it’s fairly consistent. The music has that core identity and core feel that is prevailing in every single piece of music in the game. When you play the game a lot, it starts to provide answers for you.”This is far easier to do with scripted sequences, such as cutscenes, Coker says. Both Ori games, however, tend to play a bit differently. While there are cutscenes, much of the Metroidvania structure ideally has the player in a state of platforming flow when they’re moving from one obstacle to another. That flow is interrupted somewhat by combat, but Coker goes out of his way not to emphasize the video gamey-ness of battles.”If you heard a combat track every time you were in and out [of combat], it starts to feel gimmicky, or it reminds you that you’re playing a video game — ‘Look, the music’s changing, you must fight now’.”I actually want to communicate to the player that you don’t have to kill everything. The only time we play combat music in Ori and the Will of the Wisps is when you have to kill something to progress. We’re a game that emphasizes movement, and we want to tell the player that it’s okay to skip the monsters, but the chances are most players will take them out anyway.””If you heard a combat track every time you were in and out [of combat]… it reminds you that you’re playing a video game” In Will of the Wisps, though, that got more complicated. Ori and the Blind Forest, while it included combat, bypassed traditional boss battles in favor of chase or escape sequences, where Ori rapidly platformed his way out of a sudden, pursuing threat. Ori and the Will of the Wisps introduces boss battles for the first time, but combines them with chase sequences in the style of its predecessor.That, combined with more complex and changing environments from the first game, naturally means Coker is composing a lot more music for Will of the Wisps.”This is a huge generalization but it’s just my overriding feeling,” he says. “[Other games] might have one piece of music per environment and that’s it. You’ll have the winter music and the desert music and that’s absolutely fine. But if you’re in there for a while, you’re used to the loop and it has an identity.”Coker uses a technique he refers to as “switches” throughout the levels of Will of the Wisps, where he’ll keep the musical theme the same but make slight adjustments to volume, pitch, instrumentation, tempo, or other elements as the player moves through the environment and makes changes. One early example takes place in a large room where Ori has to flip several literal switches to proceed, but each switch rotates the room 90 degrees. With each mechanical switch, Coker triggers a musical switch.However, Coker tries to avoid having these switches happen while the player is in the “flow” of platforming, so as not to distract or break up the mood.”If I was to poke a criticism of my work on the first game, it’s that it’s almost too reliant on that singular theme” “If you are within each environment, you will be able to recognize each music per environment, you’ll still have that basic feel,” he says. “While you’re in the winter area, the music will change within the winter area. But we’ll all still feel like the winter, the winter suite of music or the winter symphony of music, and then you go to the desert and you’ll have the desert suite of music. So it’s both a macro and micro approach and it required far too much brain power and I’m glad it’s done.”But again, I wouldn’t have been able to do that if I hadn’t been brought on to the project as early as I was because I needed to see how the game would be mapped out, and finding those switches because we have more switches than what I’m using.”Those who have played Ori and the Blind Forest will easily recognize its most prominent, main theme. It does a lot of emotional heavy lifting, and it reappeared at the tail end of the game’s E3 2017 reveal trailer — naturally sparking a very particular audience reaction. But now, in the sequel, Coker admits he had to be a bit more careful with that melody.”If I was to poke a criticism of my work on the first game, it’s that it’s almost too reliant on that singular theme,” he says. “But the great thing about that now is if you’ve played the first game, you know what that theme is. So I can use it less in the second game. The term I’ve used to describe the theme for the second game is the ‘golden bullet’. I know that when I fire it, it will hit every single time. So I only use it when I absolutely need it.”Throughout our conversation, Coker offers numerous thoughts on game design and platforming that aren’t explicitly related to musical composition. But his in-depth knowledge of intricate facets of Ori’s design reveals just how involved he’s been on a technical level, and how seemingly small gameplay nuances either influenced or were influenced by his work.Related JobsSenior Game Designer – UE4 – AAA United Kingdom Amiqus GamesProgrammer – REMOTE – work with industry veterans! North West Amiqus GamesJunior Video Editor – GLOBAL publisher United Kingdom Amiqus GamesDiscover more jobs in games It’s an approach that he acknowledges wouldn’t work on every other game, offering Mortal Kombat as an example of an IP where a composer already has a pretty good idea of what’s going to be happening and how the game needs to feel without being deeply engrossed in a prototype.”I think the most important thing for a studio to do is to find a way to work with a composer that you feel most comfortable with,” he says. “Because if the studio is comfortable with the working method, then the composer is going to be comfortable with the working method. Obviously it’s a major commitment to work on projects for this long, but having that freedom in the beginning allows me to hit the accelerate button at the end.”I don’t think it’s good enough anymore to have one [music] track per level. I think gamers, especially in the last few years, are very, very aware of music in games, and especially when it’s not implemented well. I think like five to ten years ago, you could get away with adequate implementation, but now you notice in a game or feel it in a game when the implementation isn’t quite right. It’s important to advocate on the studio side to have a composer who can work within your workflow.”Celebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Daily Update and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesOri director criticises developers for overhyping games with “lies and deception”Update: Thomas Malher apologised for his Resetera post, saying he “did not choose the right tone or platform” to express his thoughtsBy Marie Dealessandri 3 months agoMoon Studios CEO calls out console firms for hardware secrecyThomas Mahler says Nintendo NX will “just not have any software support” at launch due to lack of devkitsBy Matthew Handrahan 5 years agoLatest comments Sign in to contributeEmail addressPasswordSign in Need an account? Register now.last_img read more

AfDB to tackle Africa’s climbing youth unemployment rate

first_img“If we fix the youth unemployment challenge, Africa will gain 10-20% annual growth,” says AfDB President Akinwumi Adesina. The African Development Bank (AfDB) Group intends to create 25 million jobs to benefit 50 million youth over the next 10 years through skills development.This vision will be implemented through the Presidential Youth Advisory Group (PYAG) that was inaugurated on the side-lines of the 6th EU-Africa Business Forum in Abidjan on Monday.PYAG comprises nine members under the age of 40 who have made significant contributions to the creation of employment opportunities for African youth.#Selfie time: members of new Presidential Youth Advisory Group pose with @akin_adesina. These young successful leaders and #entrepreneurs will work with #AfDB to equip African youth with the right skills to get decent and meaningful jobs. https://t.co/h2rioSoTSg #Jobs4Youth pic.twitter.com/0LMDyhxKNj— AfDB_Group (@AfDB_Group) November 29, 2017The PYAG members in no particular order are: Ashish Thakkar, CEO, Mara Group, Uganda (Chair); Uzodinma Iweala, award-winning author, Nigeria; Mamadou Touré, Founder / CEO, Africa 2.0 / Ubuntu Capital, Cameroon; Vanessa Moungar, Director Gender Women and Civil Society Department, Chad ; Francine Muyumba, President, Panafrican Youth Union, Democratic Republic of Congo; Jeremy Johnson, Co-founder, Andela, USA; Clarisse Iribagiza, CEO, Hehe, Rwanda; Ada Osakwe, CEO, Agrolay Ventures, Nigeria; and Monica Musonda, CEO of Java Foods, Zambia.“This is a huge opportunity for Africa. If we fix the youth unemployment challenge, Africa will gain 10-20% annual growth. That means Africa’s GDP will grow by $500 billion per year for the next 30 years. Africa’s per capita income will rise by 55% every year to the year 2050,” said Adesina.Youth unemployment rateAdesina remarked that out of the 13 million youths that enter the labour market each year, only 3 million (about 33% of African youth) are in wage employment, while the rest are underemployed or in vulnerable employment.The annual gap of more than 8 million jobs is projected to get worse, with the number of youth expected to double to more than 800 million in the next decade.“Africa has an unemployment crisis among its youth,” he stressed, noting that unless employment opportunities are created for them, Africa’s rapidly growing population of youths can give rise to serious social, economic, political and security challenges.“Sixty-six million African youths earn less than $2 a day, less than the price of a hamburger,” the Bank President emphasised.“Sixty-six million is 8 times the population of Switzerland, 6 times the population of Belgium, the same as that of the UK, France or Italy, and 80% of Germany’s population,” he added. UNDP China, CCIEE launch report to facilitate low-carbon development Previous articleNatural gas market to seek flexible solutionsNext articleMozambique: firms can now acquire shares in HCB Babalwa BunganeBabalwa Bungane is the content producer for ESI Africa – Clarion Events Africa. Babalwa has been writing for the publication for over five years. She also contributes to sister publications; Smart Energy International and Power Engineering International. Babalwa is a social media enthusiast. Generation Finance and Policy AFD and Eskom commit to a competitive electricity sector center_img RELATED ARTICLESMORE FROM AUTHOR Low carbon, solar future could increase jobs in the future – SAPVIA BRICS Featured image: Stocklast_img read more

SHOCKING VIDEO: Battle for sports in Maglaj begins!

first_imgShareTweetShareShareEmail Click to comment VIDEO: Handball is awesome… ShareTweetShareShareEmailCommentsSerbia, Bosnia and Herzegovina and Croatia suffered a huge damage after the cataclysmic floods last May. Many cities was totaly under water, a lot of people lost everything they had and many serious infrastructure problems stayed after the water ceased to wild…One of the cities which was totally flooded is Maglaj in Bosnia and Herzegovina. One of the symbol of this small town, place of gathering of the whole sports local population and the only place where children can play sports – Sports hall is totally devastated.There is no more sports activity in Maglaj. How long will sports team and schools will be out of the home – nobody can predict. Damage is estimated at 400.000 EUR. That sum is necessary for the reconstruction.Media and every kind of action began! The most popular Maglaj’s athletes right now, twins brothers, handball players, goalkeeper Benjamin and line-player Senjamin Buric, who were part of the Bosnian team who qualified over Iceland for the World Championship 2015 in Qatar made the VIDEO in cooperation with Balkan-Handball.com in order to show the world the level of catastrophe in their born city.„Let’s back sports, handball in Maglaj“ – say brothers.„This battle will be long and tough, but we had to fight for the sponsors who will help us“ – add RK Gorenje players.If you can and want to help – please donate some small sum on the account for the „reconstruction of Maglaj’s hall“ or just share this link.#HELPMAGLAJACCOUNT NUMBER1990460003561840 Sparkasse Bank VTK TV INTRO: Are you ready? Recommended for you 120 SECONDS SHOW – Mattias Andersson! Related Items:Benjamin and Senjamin Buric, handball video, Maglaj Leave a Reply Cancel replyYour email address will not be published.Comment Name Email Website Save my name, email, and website in this browser for the next time I comment.last_img read more

Zeelo launches luxury coach service

first_imgOn-demand coach provider Zeelo has launched a new luxury coach service called ZeeloLux for travel to sports and music events.Zeelo uses AI to find surges in travel demand and fill them with coachesZeelo uses artificial intelligence to detect surges in travel demand that aren’t met by existing transport options. It uses this knowledge to provide direct coach routes, hiring coaches from operators.For ZeeloLux, the start-up specifies executive coaches with leather seats, tables, wi-fi and toilets onoard, as well as snacks and bubbly served by an onboard host.ZeeloLux will make its debut on 13-16 March for the Cheltenham Festival. Zeelo plans to roll out ZeeloLux coaches for other major sporting events later in the year, including Ascot and Henley Royal Regatta.Zeelo says that coach operators working with it can reduce their vehicles’ downtime, while Zeelo shoulders the risk by hiring the coaches. It gives coach operators tools to use the service, including a scheduling system.Co-founder Barney Williams says: “We are currently working with thousands of coach operators up and down the country to reinvent the way groups travel and provide hundreds of luxury coaches for fans to major events.“If our partners are successful, then we are successful. We want to help operators grow their business through providing them with access to new customers.”He adds: “While the Cheltenham races are synonymous with luxury, getting to and from the racecourse can be a cramped and longwinded affair.“With ZeeloLux we are able to offer passengers two of life’s most important luxuries, time and legroom. No more standing in someone’s armpit on the train or having to drive: We take you right to the racecourse with a drink in hand.”Zeelo was founded in February 2017 by Mr Williams, Sam Ryan and Dani Ruiz. They sold their previous start-up JumpIn, a taxi booking and sharing app for students, to Addison Lee in 2014 while still at university. Zeelo received £1.2m in seed funding in November last year from a number of investors, including Manchester-based Swans Travel.last_img read more

Poland to withdraw from treaty on violence against women

first_imgPoland signed the Istanbul Convention for the prevention and combating of violence against women and domestic violence in 2015 under the previous administration of centrist party Civic Platform (PO). But since the ruling Law and Justice (PiS) party came to power in 2015, it has said that it would withdraw the country from the treaty.Critics of the treaty believe that the convention violates parents’ rights by requiring schools to teach children about gender ideology that go against Polish family traditions. PiS has recently been ramping up its stance against LGBTQ rights and abortion.The convention, which came into force on August 1, 2014, has been signed by 45 countries and the EU, and ratified by 34 countries. Poland will begin the process of withdrawing from a treaty to prevent violence against women, which the right-wing government in Warsaw says imposes controversial ideologies about gender, Justice Minister Zbigniew Ziobro said Saturday.Zbigniew Ziobro told a news conference that his ministry would take steps next week to withdraw from the treaty, known as the Istanbul Convention, as “it contains elements of an ideological nature, which we consider harmful,” according to Reuters,Thousands of people, mostly women, protested in the capital and other cities on Friday after the government had signaled it was planning to withdraw from the convention. In Warsaw, a crowd of several hundred protesters gathered before the headquarters of Ordo Iuris, an ultra-conservative association that has campaigned against the convention.last_img read more

Grace Potter Reveals Winter Tour Schedule

first_imgTouring in support of her recent release Midnight, the powerful singer/songwriter Grace Potter has revealed her plans for 2016. After winding down this year with a string of December shows, Potter will hit the ground running in January with a show at the Minglewood Hall in Memphis, TN on 1/13. That tour wraps up a full month later in Colorado, before a second leg picks up in March and carries Potter to the inaugural Okeechobee Festival in Florida, as well as a handful of dates in Australia and New Zealand.Grace Potter Heats Up The NorVa With Smokin’ Solo Band PerformanceThe full schedule can be seen below, with fan club tickets and more information available via Potter’s official website. Grace Potter Tour DatesDec. 2 Englewood, NJ—Bergen Performing Arts CenterDec. 3 Northampton, MA—Calvin TheatreDec. 4 Asbury Park, NJ—Paramount TheatreDec. 5 Ithaca, NY—State TheatreDec. 6 Buffalo, NY—Town BallroomDec. 8 Concord, NH—Capitol Center for the ArtsDec. 10 Huntington, NY—The ParamountDec. 11 Philadelphia, PA—The FillmoreDec. 12 New Haven, CT—College Street Music Hall Jan. 13 Memphis, TN—Minglewood HallJan. 15 Birmingham, AL—Iron CityJan. 16 Atlanta, GA—The Tabernacle Jan. 17 Miramar Beach, FL—30A Songwriters FestivalJan. 20 Roanoke, VA—Berglund CenterJan. 21 Washington, DC—9:30 ClubJan. 22 Washington, DC—9:30 ClubJan. 24 Wilmington, NC—Humanity and Fine Arts CenterJan. 26 Athens, GA—Georgia TheatreJan. 28 Mobile, AL—Saenger TheatreJan. 29 Houston, TX—House of BluesJan. 30 Austin, TX—Austin City Limits Live at Moody TheatreJan. 31 San Antonio, TX—Aztec TheatreFeb. 4 Boulder, CO—Boulder TheaterFeb. 5 Aspen, CO—Belly UpFeb, 6 Aspen, CO—Belly UpFeb. 8 Jackson Hole, WY—Jackson Hole Center for the ArtsFeb. 10 Missoula, MT—The Wilma TheatreFeb. 11 Boise, ID—Knitting FactoryFeb. 12 Portland, OR—Roseland Theatre Feb. 13 Seattle, WA—ShowboxMarch 4 Okeechobee, FL—Okeechobee Music and Arts FestivalMarch 19 Auckland, NZ—Auckland City LimitsMarch 25 Tyagarah, AU—Byron Bay BluesfestMarch 26 Tyagarah, AU—Byron Bay Bluesfest[Photo via Sam Shinault]last_img read more

Hospitals Deporting Uninsured Patients

first_imgOLOMC , Guatemala — High in the hills of Guatemala, shut inside a one-room house, Luis Alberto Jimenez has no idea of the legal battle that swirls around him in the lowlands of Florida.Beaming at his toothless mother, his sole caregiver, Jimenez remains cheerily oblivious that he has come to represent the collision of two flawed U.S. systems, immigration and health care.Click here to read more.last_img

CLC discusses assault

first_imgThe Campus Life Council (CLC) met Monday afternoon at their final weekly meeting of the fall semester. Luis Llanos, chair of the Diversity Council, updated the CLC about group’s resolution passed about a month and a half ago and passed on to administrators last Thursday. “I have been in contact with the administration [about the resolution],” Llanos said.  “They’re going to meet up next week and then we will discuss all the points in depth. They have all been positive about it.” The focus of the meeting turned to student government’s campaign against sexual assault on campus. Student Body President Alex Coccia said plans are underway for a spring semester project. “When we come back in the spring semester, student government is facilitating a student engagement campaign,” Coccia said. “The campaign title is ‘One is Too Many.’” Student government is getting four or five people will to run and facilitate a pledge against sexual assault in each residence hall, he said. Student government will train the dorm representatives in the spring semester. “We want to make sure the people who are doing the conversations feel comfortable talking about it,” he said. “We want them to feel knowledgeable about reporting and logistics of the dialogue. From there, we’re really going to try and adapt and evolve the campaign.” Coccia said the campaign is open to as many people who want to be involved, with plans to weave the initiative into freshman orientation and dorm mass homilies in the future. “Student government is facilitating [the campaign],” Coccia said. “But we want anyone that wants to be involved to be involved.” Llanos asked what is being doing for off-campus students since sexual assault may happen there also. Coccia said logistically, that aspect is more difficult, but still possible. “We will focus on [University] Edge and [Irish] Row, but we’re also looking at social media pledges and getting off-campus people involved,” he said. Annie Selak, Walsh Hall rector, said there is the potential of communication breaking down since the campaign is on a representative basis in different dorms.   Pasquerilla East Hall rector Cindy Broderick said it will be important to make sure proper support structures are in place to maintain the campaign and also support  students who have been affected by sexual assault. Contact Kyle Witzigman at [email protected]last_img read more

Walter Jones indicted for Avery Trace murder

first_img Port Arthur had five homicides in all of 2017.The spate of violence this year was behind Port Arthur Police Chief Patrick Melvin’s decision to form a task force that includes city police and federal partners, such as the FBI, U.S. Attorney’s Office, Drug Enforcement Agency and Alcohol, Tobacco, Firearms and Explosives.It also encouraged a citizen’s march against violence last Saturday in Port Arthur.Avery Trace has hired off-duty police officers — two officers on weekdays, four at night; four officers all day and night during the weekends — to address violence that has continued for six months at the apartments. Staff reportA Jefferson County grand jury has indicted Walter Stevens Jones, 20, of Port Arthur for murder in connection with the March 16 shooting death of Joseph Boudreaux, 25, at Avery Trace Apartments at 4260 Highway 365. A probable cause affidavit said the shooting death — the seventh in Port Arthur in 2018 — occurred around 12:30 p.m. Three witnesses said they saw the shooting.Officers said they found Boudreaux on the ground in the far east parking lot of the apartment complex and he appeared to have been shot multiple times.Jones was arrested three days later and bond was set at $1 million.last_img read more