Menzies Distribution is taking part in a UK trial of trucks that a part-fuelled with HVO, which has been launched by its client Ball Beverage Packaging in partnership with Coca-Cola Europacific Partners (CCEP).

Menzies Distribution in HVO trial with Ball Beverage Packaging

A year long trial has been introduced to run delivery vehicles on a mix of hydrotreated vegetable oil and diesel

Wakefield packaging site hosts sustainable fuel trial for Coco-Cola bottler

West Coast-based tech startup Corumat is making packaging from postconsumer food waste. The products use about one-third the material typically incorporated in conventional plastics. They are heat stable;

Corumat’s Food Waste-Derived Packaging Challenges Traditional Plastics

Ball Beverage Packaging and Coca-Cola Europacific Partners have announced a new UK trial of HVO part-fuelled vehicles.

Coca-Cola Europacific Partners launch new UK HVO vehicle trial

Ball Corporation BALL is scheduled to report third-quarter 2023 results on Nov 2, before the opening bell. Q2 Performance In the last reported quarter, Ball Corp’s earnings and revenues declined year over year.

Ball Corp (BALL) to Report Q3 Earnings: What's in Store?

Ball Corporation, a global leader in metal packaging and aerospace technologies, has been implementing a comprehensive growth strategy that has propelled the company to new heights. This article will provide a detailed analysis of the evolution of Ball ...

Ball Corporation’s Growth Strategy: A Comprehensive Analysis

Following the US sanction updates against Chinese semiconductor development on October 17, which established Total Processing Performance and Performance Density as the new parameters to restrict Chinese advanced computing and AI developments,

Latest US sanctions drive China to review chiplet capabilities as the way forward

Dragon Ball Daima has been confirmed as the next major anime project that will be brought to life by Toei Animation, giving anime fans a much different take on Goku. Daima might not be what many ...

What Is Dragon Ball Daima?

The UK’s largest aluminium can plant in Kettering, Northamptonshire, owned by Ball has been named Business of the Year at a respected regional business awards. The NNBN awards took place last week, and Ball Beverage Packaging was awarded first place in ...

Ball Kettering plant stars at Northamptonshire business awards

Get the most recent info and news about Ball on HackerNoon, where 10k+ technologists publish stories for 4M+ monthly readers.

Ball Corporation supplies aluminum packaging products to the beverage, personal care, automotive, paint, healthcare, and household products industries. It operates in four segments: Beverage Packaging, North and Central America; Beverage Packaging, South America; Beverage Packaging, Europe; and Aerospace. The company manufactures and sells aluminum beverage containers to fillers of carbonated soft drinks, beer, energy drinks, and other beverages. It also develops spacecraft, sensors and instruments, radio frequency systems, and other technologies and products for the civil, commercial, and national security aerospace markets, as well as offers defense hardware, antenna and video tactical solutions, civil and operational space hardware, and systems engineering services. In addition, the company designs, manufactures, and tests satellites, remote sensors, and ground station control hardware and software; and provides launch vehicle integration and satellite operational services. Further, it provides target identification, warning, and attitude control systems and components; cryogenic systems and associated sensor cooling devices; star trackers; and fast-steering mirrors to the government agencies and prime contractors. Additionally, the company manufactures and sells aerosol containers, extruded aluminum aerosol containers, and aluminum slugs. The company was founded in 1880 and is headquartered in Broomfield, Colorado.

Ball

Authors:
(1) Hoon Kim, Beeble AI, and contributed equally to this work;
(2) Minje Jang, Beeble AI, and contributed equally to this work;
(3) Wonjun Yoon, Beeble AI, and contributed equally to this work;
(4) Jisoo Lee, Beeble AI, and contributed equally to this work;
(5) Donghyun Na, Beeble AI, and contributed equally to this work;
(6) Sanghyun Woo, New York University, and contributed equally to this work. Editor's Note: This is Part 12 of 14 of a study introducing a method for improving how light and shadows can be applied to human portraits in digital images. Read the rest below. Table of Links Abstract and 1. Introduction
2. Related Work
3. SwitchLight and 3.1. Preliminaries
3.2. Problem Formulation
3.3. Architecture
3.4. Objectives
4. Multi-Masked Autoencoder Pre-training
5. Data
6. Experiments
7. Conclusion Appendix A. Implementation Details
B. User Study Interface
C. Video Demonstration
D. Additional Qualitative Results & References B. User Study Interface Our user study interface is outlined as follows: Participants are shown an input image next to a diffused ball under the target environment map lighting. The primary objective is to compare our relighting results with baseline methods, as depicted in Fig. 11. Evaluation focuses on three criteria: 1. Consistency of lighting, 2) Preservation of facial details, and 3) Retention of the original identity. This comparison aims to determine which image best matches the lighting of the diffused ball while also maintaining facial details and original identity. To ensure unbiased evaluations, we randomized the order of presentation. Participants evaluated 30 random samples from a set of 256. This dataset included 32 portraits from the FFHQ dataset [25], each illuminated under eight distinct lighting conditions. This paper is available on arxiv under CC BY-NC-SA 4.0 DEED license. Authors: (1) Hoon Kim, Beeble AI, and contributed equally to this work; (2) Minje Jang, Beeble AI, and contributed equally to this work; (3) Wonjun Yoon, Beeble AI, and contributed equally to this work; (4) Jisoo Lee, Beeble AI, and contributed equally to this work; (5) Donghyun Na, Beeble AI, and contributed equally to this work; (6) Sanghyun Woo, New York University, and contributed equally to this work. Authors: Authors: (1) Hoon Kim, Beeble AI, and contributed equally to this work; (2) Minje Jang, Beeble AI, and contributed equally to this work; (3) Wonjun Yoon, Beeble AI, and contributed equally to this work; (4) Jisoo Lee, Beeble AI, and contributed equally to this work; (5) Donghyun Na, Beeble AI, and contributed equally to this work; (6) Sanghyun Woo, New York University, and contributed equally to this work. Editor's Note: This is Part 12 of 14 of a study introducing a method for improving how light and shadows can be applied to human portraits in digital images. Read the rest below. Editor's Note: This is Part 12 of 14 of a study introducing a method for improving how light and shadows can be applied to human portraits in digital images. Read the rest below. Editor's Note: This is Part 12 of 14 of a study introducing a method for improving how light and shadows can be applied to human portraits in digital images. Read the rest below. Editor's Note: This is Part 12 of 14 of a study introducing a method for improving how light and shadows can be applied to human portraits in digital images. Read the rest below. Table of Links Abstract and 1. Introduction 2. Related Work 3. SwitchLight and 3.1. Preliminaries 3.2. Problem Formulation 3.3. Architecture 3.4. Objectives 4. Multi-Masked Autoencoder Pre-training 5. Data 6. Experiments 7. Conclusion Abstract and 1. Introduction Abstract and 1. Introduction 2. Related Work 2. Related Work 3. SwitchLight and 3.1. Preliminaries 3. SwitchLight and 3.1. Preliminaries 3.2. Problem Formulation 3.2. Problem Formulation 3.3. Architecture 3.3. Architecture 3.4. Objectives 3.4. Objectives 4. Multi-Masked Autoencoder Pre-training 4. Multi-Masked Autoencoder Pre-training 5. Data 5. Data 6. Experiments 6. Experiments 7. Conclusion 7. Conclusion Appendix A. Implementation Details B. User Study Interface C. Video Demonstration D. Additional Qualitative Results & References A. Implementation Details A. Implementation Details B. User Study Interface B. User Study Interface C. Video Demonstration C. Video Demonstration D. Additional Qualitative Results & References D. Additional Qualitative Results & References B. User Study Interface Our user study interface is outlined as follows: Participants are shown an input image next to a diffused ball under the target environment map lighting. The primary objective is to compare our relighting results with baseline methods, as depicted in Fig. 11. Evaluation focuses on three criteria: 1. Consistency of lighting, 2) Preservation of facial details, and 3) Retention of the original identity. This comparison aims to determine which image best matches the lighting of the diffused ball while also maintaining facial details and original identity. To ensure unbiased evaluations, we randomized the order of presentation. Participants evaluated 30 random samples from a set of 256. This dataset included 32 portraits from the FFHQ dataset [25], each illuminated under eight distinct lighting conditions. This paper is available on arxiv under CC BY-NC-SA 4.0 DEED license. This paper is available on arxiv under CC BY-NC-SA 4.0 DEED license. available on arxiv

Scientists Use Portraits and Balls to Test an AI’s Relighting Abilities

Joe Rogan is ten years older than me. So, when I say that I totally dig his tech-time-travelling vibe, I mean it. A time leap from cord phones to the newest iPhones can only be compared to Kubrick’s from bone to satellite scene in “2001: A Space Odyssey.” https://youtu.be/avjdKTqiVvQ?si=utAq8sni-PGK3-MN&embedable=true I still remember when my baby girl, who was still in kindergarten at the time, smashed her grandfather’s Nokia phone into pieces. She thought it was broken because the screen was unresponsive. We laughed when she asked what all those buttons were for. My father wasn’t angry. He just couldn’t get used to touchscreen phones. “Nah, leave it. Nowadays, kids are born with a remote in their hands. I’ll get a new phone. Let’s play. I kept some of your plushies. Disney is timeless.” Here’s the thing. GenZs, and especially Generation Alpha, take all these tech wonders for granted. I used to run with a walkman. Now, I feel so blessed and grateful for being able to use Galaxy Buds. The Joe Rogan Experience Episode #2220 You should definitely watch this one with Francis Foster and Konstantin Kisin as guests. It’s refreshing to talk about tech and AI even for a moment rather than to admire the presidential candidate’s superpower to talk for three hours straight without going to a bathroom. Joe was spot on comparing 2014 and 2024 from a tech perspective. In essence, nothing changed, dramatically. Now, I’m paraphrasing: But, 2034 it’s going to be bananas because of AI. Look, there’s no way to sugarcoat the fact that AI is a serial job killer. It is what it is. The next inevitable industrial revolution. You just can’t have it both ways, can you? Denis Villeneuve made my little boy’s dreams come true with his movie adaptation of “Dune.” It was an epic mind-blowing experience. And, the part two as a complete IMAX show, it’s impossible to describe. So, when Rogan expressed his concerns about the year 2034, I put two and two together. So many people lost their jobs because of AI and automation. Look, there’s no need to take this the wrong way. I have a law degree and I write. Do you know what happens with lawyers and accountants in “The Hitchhiker's Guide to the Galaxy?” Well, Google it, if you committed a heresy of not reading all the books. My brutally honest point being: hey, we can survive the AI purge of designers and writers, but as Rogan pointed it out, the truckers are the next level. The mega-cities fully dependent on supply lines. The millions of trucker jobs. The scene is set for the Great Revolt also known as… The Butlerian Jihad 2.0 “After two generations of chaos led by the Butlerians, the god of machine-logic was overthrown by the masses and a new concept was raised: "Man may not be replaced." The Jihad itself had finished with the complete destruction of all intelligent machines that were originally built by humans throughout the worlds, but it proved to have many profound impacts on the socio-political and technological development of humanity throughout the new empires that emerged, including a large technological reversal of the entire human civilization.” I will let the Dune Wiki Fandom page make the long Butlerian Jihad story short. Thou shalt not make a machine in the likeness of a human mind “Even the simplest computers and calculators were banned, with the penalty for building or owning such a thinking machine technology being put to trial and sentenced to immediate death. This lack of thinking technology created a severe gap in humanity's quality of life, revolving around a need for humans to perform complex logical computations and calculations. This gap led to the creation of the mentat order: the Bene Gesserit, and the Spacing Guild.” Now, I have to walk on eggshells. It’s ridiculous to think of truckers as tech destroyers. I have friends who depend on tech to stay in touch with their loved ones while on the road for weeks, sometimes even months. But, at the same time, it’s not unimaginable for some self-driving trucks to be set on fire in the not-so-distant future. So, compromises would have to be made. We won’t have AI gods, but self-driving AI trucks can save lives on ice roads. “Ice road truckers face a fatality rate of 112 deaths per 100,000 workers. The most common cause of death for ice road truckers is vehicle accidents, often due to icy road conditions and poor visibility. Despite the danger, ice road truckers are essential for transporting goods to remote areas in Alaska and northern Canada. One study found that the risk of dying on an ice road is 21 times higher than the risk of dying in a regular car accident. Ice road truckers are more likely to suffer from fatigue-related accidents due to long, grueling hours on the road.” So, hit the road Jack in your truck, and you, I’m looking at you, AI: we need to talk. Joe Rogan is ten years older than me. So, when I say that I totally dig his tech-time-travelling vibe, I mean it. A time leap from cord phones to the newest iPhones can only be compared to Kubrick’s from bone to satellite scene in “2001: A Space Odyssey.” https://youtu.be/avjdKTqiVvQ?si=utAq8sni-PGK3-MN&embedable=true https://youtu.be/avjdKTqiVvQ?si=utAq8sni-PGK3-MN&embedable=true I still remember when my baby girl, who was still in kindergarten at the time, smashed her grandfather’s Nokia phone into pieces. She thought it was broken because the screen was unresponsive. We laughed when she asked what all those buttons were for. My father wasn’t angry. He just couldn’t get used to touchscreen phones. “Nah, leave it. Nowadays, kids are born with a remote in their hands. I’ll get a new phone. Let’s play. I kept some of your plushies. Disney is timeless.” Here’s the thing. GenZs, and especially Generation Alpha, take all these tech wonders for granted. I used to run with a walkman. Now, I feel so blessed and grateful for being able to use Galaxy Buds. The Joe Rogan Experience Episode #2220 The Joe Rogan Experience Episode #2220 You should definitely watch this one with Francis Foster and Konstantin Kisin as guests. It’s refreshing to talk about tech and AI even for a moment rather than to admire the presidential candidate’s superpower to talk for three hours straight without going to a bathroom. Joe was spot on comparing 2014 and 2024 from a tech perspective. In essence, nothing changed, dramatically. Now, I’m paraphrasing: But, 2034 it’s going to be bananas because of AI. But, 2034 it’s going to be bananas because of AI. Look, there’s no way to sugarcoat the fact that AI is a serial job killer. It is what it is. The next inevitable industrial revolution. You just can’t have it both ways, can you? Denis Villeneuve made my little boy’s dreams come true with his movie adaptation of “Dune.” It was an epic mind-blowing experience. And, the part two as a complete IMAX show, it’s impossible to describe. So, when Rogan expressed his concerns about the year 2034, I put two and two together. So many people lost their jobs because of AI and automation. Look, there’s no need to take this the wrong way. I have a law degree and I write. Do you know what happens with lawyers and accountants in “The Hitchhiker's Guide to the Galaxy?” Well, Google it, if you committed a heresy of not reading all the books. My brutally honest point being: hey, we can survive the AI purge of designers and writers, but as Rogan pointed it out, the truckers are the next level. The mega-cities fully dependent on supply lines. The millions of trucker jobs. The scene is set for the Great Revolt also known as… The Butlerian Jihad 2.0 The Butlerian Jihad 2.0 “After two generations of chaos led by the Butlerians, the god of machine-logic was overthrown by the masses and a new concept was raised: "Man may not be replaced." The Jihad itself had finished with the complete destruction of all intelligent machines that were originally built by humans throughout the worlds, but it proved to have many profound impacts on the socio-political and technological development of humanity throughout the new empires that emerged, including a large technological reversal of the entire human civilization.” "Man may not be replaced." I will let the Dune Wiki Fandom page make the long Butlerian Jihad story short. I will let the Dune Wiki Fandom page make the long Butlerian Jihad story short. Dune Wiki Fandom page Thou shalt not make a machine in the likeness of a human mind Thou shalt not make a machine in the likeness of a human mind Thou shalt not make a machine in the likeness of a human mind “Even the simplest computers and calculators were banned, with the penalty for building or owning such a thinking machine technology being put to trial and sentenced to immediate death. This lack of thinking technology created a severe gap in humanity's quality of life, revolving around a need for humans to perform complex logical computations and calculations. This gap led to the creation of the mentat order: the Bene Gesserit, and the Spacing Guild.” Now, I have to walk on eggshells. It’s ridiculous to think of truckers as tech destroyers. I have friends who depend on tech to stay in touch with their loved ones while on the road for weeks, sometimes even months. But, at the same time, it’s not unimaginable for some self-driving trucks to be set on fire in the not-so-distant future. So, compromises would have to be made. We won’t have AI gods, but self-driving AI trucks can save lives on ice roads. We won’t have AI gods, but self-driving AI trucks can save lives on ice roads. “Ice road truckers face a fatality rate of 112 deaths per 100,000 workers . The most common cause of death for ice road truckers is vehicle accidents, often due to icy road conditions and poor visibility. Despite the danger, ice road truckers are essential for transporting goods to remote areas in Alaska and northern Canada. One study found that the risk of dying on an ice road is 21 times higher than the risk of dying in a regular car accident. Ice road truckers are more likely to suffer from fatigue-related accidents due to long, grueling hours on the road.” 112 deaths per 100,000 workers So, hit the road Jack in your truck, and you, I’m looking at you, AI: we need to talk. So, hit the road Jack in your truck, and you, I’m looking at you, AI: we need to talk.

The 2034 Butlerian Jihad Will Be The End of AI Ballade

የ 2034 Butlerian Jihad የ AI Ballade መጨረሻ ይሆናል።

2034 maran Butlerian Jihad ukax AI Ballade ukan tukuyatapawa

La yihad butleriana de 2034 será el fin de la balada de la IA

A Jihad Butleriana de 2034 será o final da balada da IA

Jihad Butlerian 2034 Akan Menjadi Akhir dari AI Ballade

2034年のバトラー派のジハードはAIバラードの終焉となる

2034 жылғы Батлериялық жиһад AI балладының соңы болады

2034 watapi Butlerian Jihad nisqa AI Ballade nisqap tukukuyninmi kanqa

Jihaadka Butlerian 2034 wuxuu noqon doonaa dhamaadka AI Ballade

Батлеріанський джихад 2034 року стане кінцем AI Ballade

I-Butlerian Jihad ka-2034 iyakuba sisiphelo se-AI Ballade

2034 年巴特勒圣战将是 AI 叙事曲的终结

Hey there, fellow tech enthusiasts! My name is and today, I want to share with you some insides of mine. As a seasoned developer who's seen the ebb and flow of the digital tide, let's dive into the swirling vortex of what the future might hold for us in 2024. Grab your digital crystal ball, folks, because here come some spicy predictions! Alex Cloudstar, The Era of Augmented Reality 🌐 Picture this: virtual worlds blending seamlessly with our reality. That’s right, folks, AR is about to take a massive leap in 2024. From enhancing customer experiences in retail to transforming education, this tech is set to reshape how we interact with the world. Get ready for a mix of Pokémon GO-like experiences and practical applications that’ll blow your socks off! But I can’t say that I am a fan of this. Just like with other forms of technology, there's a risk of over-reliance and addiction. People might become so engrossed in AR experiences that they neglect real-world responsibilities or become detached from reality. While AR can create immersive experiences, it might also lead to further social detachment. If individuals start preferring virtual interactions over real-world interactions, it could potentially worsen issues related to social isolation and decrease physical human contact. AI, AI, AI Everywhere 🤖 Artificial Intelligence is no longer the next big thing; it's the now big thing. In 2024, we'll see AI continue to weave itself into our daily lives, from predictive analytics guiding business decisions to AI-powered assistants handling more complex tasks. But fear not, humans, for we shall remain the masters behind the machines! Quantum Computing: Unlocking the Unthinkable 🔐 Hold onto your hats, folks, because quantum computing is inching closer to reality in 2024. We're talking about mind-boggling computational power that could revolutionize industries, from healthcare to finance, solving problems that were once deemed unsolvable. It's like upgrading from a bicycle to a warp-speed spaceship! Sustainable Tech 🌱 With great tech comes great responsibility. In 2024, the tech world is taking a giant leap toward sustainability. From eco-friendly data centers to renewable energy-powered devices, the focus on reducing our digital carbon footprint is becoming more crucial than ever. Agrotech and Food Sustainability are essential. Technologies focusing on sustainable agriculture practices, precision farming, and resource-efficient techniques like vertical farming or smart irrigation play a crucial role in ensuring food security while reducing environmental impact. The Rise of Privacy Tech 🔒 Privacy concerns have been making headlines for years, and in 2024, they're taking center stage. As users become more aware of their data rights, we'll witness a surge in privacy-focused tech. Encryption, decentralized systems, and user-centric platforms will shine as guardians of our digital identities. Privacy is the new black, my friends! Now, you might be wondering, "How do I prepare for this tech revolution?" Well, fear not, intrepid developers, for I've got a few tips up my sleeve: Embrace change like a long-lost friend. Keep learning, exploring new technologies, and adapting like a chameleon in a digital jungle. Stay Agile, Stay Relevant: Engage with the tech community. Attend conferences, join forums, and collaborate on projects. The collective wisdom of the crowd is a treasure trove of insights. Community is Key: With great tech comes great vulnerabilities. Prioritize security in your code and stay updated on the latest cybersecurity trends. Focus on Security: As tech evolves, consider the ethical implications of your creations. Build responsibly, with an eye toward the greater good. Ethics Matter: The future is unwritten. Embrace uncertainty, for it’s where innovation thrives. Embrace the Unknown: So, dear readers, fasten your seatbelts, charge your devices, and get ready for a rollercoaster ride through the tech-scape of 2024. It's a thrilling time to be a part of this ever-evolving industry! Until next time, happy coding, and may your bugs be minimal and your breakthroughs monumental!

Tech Predictions for 2024: Taking A Peak Into a Senior Developer's Crystal Ball

Scientific American, Vol. XXXVII.—No. 2. [New Series.], July 14, 1877 by Various, is part of the HackerNoon Books Series. You can jump to any chapter in this book . IMPROVED BILLIARD BALL HOLDER. here IMPROVED BILLIARD BALL HOLDER. The usual receptacle for the fourth ball, when only three balls are used in the game of billiards, is placed at the side of the table. As this is both inconvenient and unsightly, a neat device, clearly shown in the annexed illustration, has been invented, which is intended to be attached to a gas fixture over the table. A plate or sign is also added on which the number of a table—in case several tables are employed, as in a billiard saloon—may be inscribed. The form and design of the arrangement may of course be varied in many ways. Patented May 2, 1876. For further particulars, address the manufacturer, Mr. H. W. Collender, 738 Broadway, New York city. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Various (2012). Scientific American, Vol. XXXVII. —No. 2. [New Series.], July 14, 1877. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/38481/pg38481-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

IMPROVED BILLIARD BALL HOLDER

Scientific American Supplement, No. 717, September 28, 1889, by Various, is part of the HackerNoon Books Series. You can jump to any chapter in this book . THE SHIP IN THE NEW FRENCH BALLET OF THE "TEMPEST." here THE SHIP IN THE NEW FRENCH BALLET OF THE "TEMPEST." A new ballet, entitled the "Tempest," by Messrs. Barbier and Thomas, has recently been put upon the stage of the Opera at Paris with superb settings. One of the most important of the several tableaux exhibited is the last one of the third act, in which appears a vessel of unusual dimensions for the stage, and which leaves far behind it the celebrated ships of the "Corsaire" and "L'Africaine." This vessel, starting from the back of the stage, advances majestically, describes a wide circle, and stops in front of the prompter's box. As the structure of this vessel and the mechanism by which it is moved are a little out of the ordinary, we shall give some details in regard to them. First, the sea is represented by four parallel strips of water, each formed of a vertical wooden frame entirely free in its movements (Fig. 2). The ship (Figs. 1, 2, 3, 4 and 5) is carried by wheels that roll over the floor of the stage. It is guided in its motion by two grooved bronze wheels and by a rail formed of a simple reversed T-iron which is fixed to the floor by bolts. In measure as it advances, the strips of water open in the center to allow it to pass, and, as the vessel itself is covered up to the water line with painted canvas imitating the sea, it has the appearance of cleaving the waves. As soon as it has passed, the three strips of water in the rear rise slightly. When the vessel reaches the first of the strips, the three other strips, at first juxtaposed against the preceding, spread out and thus increase the extent of the sea, while the inclined plane of the preceding tableau advances in order to make place for the vessel. The shifting of this inclined place is effected by simply pulling upon the carpet that covers it, and which enters a groove in the floor in front of the prompter's box. At this moment, the entire stage seems to be in motion, and the effect is very striking. We come now to the details of construction of the vessel. It is not here a question of a ship represented simply by means of frames and accessories, but of a true ship in its entirety, performing its evolutions over the whole stage. Now, a ship is not constructed at a theater as in reality. It does not suffice to have it all entire upon the stage, but it is necessary also to be able to dismount it after every representation, and that, too, in a large number of pieces that can be easily stored away. Thus, the vessel of the Tempest, which measures a dozen yards from stem to stern, and is capable of carrying fifty persons, comes apart in about 250 pieces of wood, without counting all the iron work, bolts, etc. Nevertheless, it can be mounted in less than two hours by ten skilled men. The visible hull of the ship is placed upon a large and very strong wooden framework, formed of twenty-six trusses. In the center, there are two longitudinal trusses about three feet in height by twenty-five in length, upon which are assembled, perpendicularly, seven other trusses. In the interior there are six transverse pieces held by stirrup bolts, and at the extremity of each of these is fixed a thirteen-inch iron wheel. It is upon these twelve wheels that the entire structure rolls. There are in addition the two bronze guide wheels that we have already spoken of. In the rear there are two large vertical trusses sixteen feet in height, which are joined by ties and descend to the bottom of the frame, to which they are bolted. These are worked out into steps and constitute the skeleton of the immense stern of the vessel. The skeleton of the prow is formed of a large vertical truss which is bolted to the front of the frame and is held within by a tie bar. On each side of this truss are placed the (Figs. 1 and 3), which are formed of pieces of wood that are set into the frame below and are provided above with grooves for the passage of iron rods that support the foot rests by means of which the supernumeraries are lifted. As a whole, those rods constitute a jointed parallelogram, so that the foot rest always remains horizontal while describing a curve of five feet radius from the top of the frame to the deck of the vessel. They are actuated by a cable which winds around a small windlass fixed in the interior of the frame. parallels The large mast consists of a vertical sheath 10 ft. high, which is set into the center of the frame, and in the interior of which slides a wooden spar that exceeds it by 5 ft. at first, and is capable of being drawn out as many more feet for the final apotheosis. This part of the mast carries three footboards and a platform for the reception of "supers." It is actuated by a windlass placed upon the frame. To form the skeleton of the vessel there are mounted upon the frame a series of eight large vertical trusses parallel with each other and cross-braced by small trusses. The upper part of these supports the flooring of the deck, and their exterior portion affects the curve of a ship's sides. It is to these trusses that are attached the panels covered with painted canvas that represent the hull. These panels are nine in number on each side. Above are placed those that simulate the nettings and those that cover the prow or form its crest. The turret that surrounds the large mast is formed of vertical trusses provided with panels of painted canvas and carrying a floor for the figurants to stand upon. The bowsprit is in two parts, one sliding in the other. The front portion is at first pulled back, in order to hide the vessel entirely in the side scenes. It begins to make its appearance before the vessel itself gets under way. Light silken cordages connect the mast, the bowsprit, and the small mast at the stern. On each side of the vessel, there are bolted to the frame that supports it five iron frames covered with canvas (Fig. 3), which reach the level of the water line, and upon which stand the "supers" representing the naiads that are supposed to draw the ship upon the beach. Finally at the bow there is fixed a frame which supports a danseuse representing the living prow of the vessel. The vessel is drawn to the middle of the stage by a cable attached to its right side and passing around a windlass placed in the side scenes to the left (Fig. 2). It is at the same time pushed by machinists placed in the interior of the framework. The latter, as above stated, is entirely covered with painted canvas resembling water. As the vessel, freighted with harmoniously grouped spirits, and with naiads, sea fairies, and graceful genii seeming to swim around it, sails in upon the stage, puts about, and advances as if carried along by the waves to the front of the stage, the effect is really beautiful, and does great credit to the machinists of the Opera. We are indebted to and for the description and engravings. Le Genie Civil Le Monde Illustré About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Various (2006). Scientific American Supplement, No. 717, September 28, 1889. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/17755/pg17755-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

THE SHIP IN THE NEW FRENCH BALLET OF THE "TEMPEST."

A CHARITY BALL.

The Way We Live Now by Anthony Trollope is part of the HackerNoon Books Series. You can jump to any chapter in this book . AFTER THE BALL here AFTER THE BALL. "It's weary work," said Sir Felix as he got into the brougham with his mother and sister. "What must it have been to me then, who had nothing to do?" said his mother. "It's the having something to do that makes me call it weary work. By-the-bye, now I think of it, I'll run down to the club before I go home." So saying he put his head out of the brougham, and stopped the driver. "It is two o'clock, Felix," said his mother. "I'm afraid it is, but you see I'm hungry. You had supper, perhaps; I had none." "Are you going down to the club for supper at this time in the morning?" "I must go to bed hungry if I don't. Good night." Then he jumped out of the brougham, called a cab, and had himself driven to the Beargarden. He declared to himself that the men there would think it mean of him if he did not give them their revenge. He had renewed his play on the preceding night, and had again won. Dolly Longestaffe owed him now a considerable sum of money, and Lord Grasslough was also in his debt. He was sure that Grasslough would go to the club after the ball, and he was determined that they should not think that he had submitted to be carried home by his mother and sister. So he argued with himself; but in truth the devil of gambling was hot within his bosom; and though he feared that in losing he might lose real money, and that if he won it would be long before he was paid, yet he could not keep himself from the card-table. Neither mother or daughter said a word till they reached home and had got up-stairs. Then the elder spoke of the trouble that was nearest to her heart at the moment. "Do you think he gambles?" "He has got no money, mamma." "I fear that might not hinder him. And he has money with him, though, for him and such friends as he has, it is not much. If he gambles everything is lost." "I suppose they all do play,—more or less." "I have not known that he played. I am wearied too, out of all heart, by his want of consideration to me. It is not that he will not obey me. A mother perhaps should not expect obedience from a grown-up son. But my word is nothing to him. He has no respect for me. He would as soon do what is wrong before me as before the merest stranger." "He has been so long his own master, mamma." "Yes,—his own master! And yet I must provide for him as though he were but a child. Hetta, you spent the whole evening talking to Paul Montague." "No, mamma;—that is unjust." "He was always with you." "I knew nobody else. I could not tell him not to speak to me. I danced with him twice." Her mother was seated, with both her hands up to her forehead, and shook her head. "If you did not want me to speak to Paul you should not have taken me there." "I don't wish to prevent your speaking to him. You know what I want." Henrietta came up and kissed her, and bade her good night. "I think I am the unhappiest woman in all London," she said, sobbing hysterically. "Is it my fault, mamma?" "You could save me from much if you would. I work like a horse, and I never spend a shilling that I can help. I want nothing for myself,—nothing for myself. Nobody has suffered as I have. But Felix never thinks of me for a moment." "I think of you, mamma." "If you did you would accept your cousin's offer. What right have you to refuse him? I believe it is all because of that young man." "No, mamma; it is not because of that young man. I like my cousin very much;—but that is all. Good night, mamma." Lady Carbury just allowed herself to be kissed, and then was left alone. At eight o'clock the next morning daybreak found four young men who had just risen from a card-table at the Beargarden. The Beargarden was so pleasant a club that there was no rule whatsoever as to its being closed,—the only law being that it should not be opened before three in the afternoon. A sort of sanction had, however, been given to the servants to demur to producing supper or drinks after six in the morning, so that, about eight, unrelieved tobacco began to be too heavy even for juvenile constitutions. The party consisted of Dolly Longestaffe, Lord Grasslough, Miles Grendall, and Felix Carbury, and the four had amused themselves during the last six hours with various innocent games. They had commenced with whist, and had culminated during the last half-hour with blind hookey. But during the whole night Felix had won. Miles Grendall hated him, and there had been an expressed opinion between Miles and the young lord that it would be both profitable and proper to relieve Sir Felix of the winnings of the last two nights. The two men had played with the same object, and being young had shown their intention,—so that a certain feeling of hostility had been engendered. The reader is not to understand that either of them had cheated, or that the baronet had entertained any suspicion of foul play. But Felix had felt that Grendall and Grasslough were his enemies, and had thrown himself on Dolly for sympathy and friendship. Dolly, however, was very tipsy. At eight o'clock in the morning there came a sort of settling, though no money then passed. The ready-money transactions had not lasted long through the night. Grasslough was the chief loser, and the figures and scraps of paper which had been passed over to Carbury, when counted up, amounted to nearly £2,000. His lordship contested the fact bitterly, but contested it in vain. There were his own initials and his own figures, and even Miles Grendall, who was supposed to be quite wide awake, could not reduce the amount. Then Grendall had lost over £400 to Carbury,—an amount, indeed, that mattered little, as Miles could, at present, as easily have raised £40,000. However, he gave his I.O.U. to his opponent with an easy air. Grasslough, also, was impecunious; but he had a father,—also impecunious, indeed; but with them the matter would not be hopeless. Dolly Longestaffe was so tipsy that he could not even assist in making up his own account. That was to be left between him and Carbury for some future occasion. "I suppose you'll be here to-morrow,—that is to-night," said Miles. "Certainly,—only one thing," answered Felix. "What one thing?" "I think these things should be squared before we play any more!" "What do you mean by that?" said Grasslough angrily. "Do you mean to hint anything?" "I never hint anything, my Grassy," said Felix. "I believe when people play cards, it's intended to be ready-money, that's all. But I'm not going to stand on P's and Q's with you. I'll give you your revenge to-night." "That's all right," said Miles. "I was speaking to Lord Grasslough," said Felix. "He is an old friend, and we know each other. You have been rather rough to-night, Mr. Grendall." "Rough;—what the devil do you mean by that?" "And I think it will be as well that our account should be settled before we begin again." "A settlement once a week is the kind of thing I'm used to," said Grendall. There was nothing more said; but the young men did not part on good terms. Felix, as he got himself taken home, calculated that if he could realize his spoil, he might begin the campaign again with horses, servants, and all luxuries as before. If all were paid, he would have over £3,000! About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Anthony Trollope (2004). The Way We Live Now. Urbana, Illinois: Project Gutenberg. Retrieved October 2022 https://www.gutenberg.org/cache/epub/5231/pg5231-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

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