![]() The fund received 5 stars for the overall, 5 stars for the three years, 5 stars for the five years and 5 stars for the 10 years. Had fees not been waived and/or expenses reimbursed currently or in the past, the Morningstar rating would have been lower. ![]() The overall rating is derived from a weighted average of three-, five- and 10-year rating metrics, as applicable, excluding sales charges and including fees and expenses. Ratings are calculated for funds with at least a three year history. Open-end mutual funds and exchange-traded funds are considered a single population for comparison purposes. Morningstar ratings are based on a risk-adjusted return measure that accounts for variation in a fund’s monthly performance, placing more emphasis on the downward variations and rewarding consistent performance. Lipper fund percentile rankings are based on total returns, excluding sales charges and including fees and expenses, and are versus mutual funds, ETFs and funds of funds in the category tracked by Lipper. Source: The Lipper one-year rank 19% (124 of 657), five-year rank 1% (1 of 586), 10-year rank 1% (1 of 454), 15-year rank 1% (1 of 332) as of March 31, 2023. ¹ Source: Bloomberg L.P., in the US based on average daily volume traded, as of March 31, 2023. ![]() Investors should always consult their own legal or tax advisor for information concerning their individual situation. Federal and state tax laws are complex and constantly changing. Investors should talk with their financial professional regarding their situation before investing. Typically, they are still more liquid than most traditional mutual funds because they trade on exchanges. While extreme market conditions could result in illiquidity for ETFs. ETFs can be traded throughout the day, whereas mutual funds are traded only once a day. Since ordinary brokerage commissions apply for each ETF buy and sell transaction, frequent trading activity may increase the cost of ETFs. Unlike ETFs, actively managed mutual funds have the ability react to market changes and the potential to outperform a stated benchmark. Most ETFs are passively managed and are structured to track an index, whereas many mutual funds are actively managed and thus have higher management fees. ETFs generally have lower expenses than actively managed mutual funds due to their different management styles. Investors should be aware of the material differences between mutual funds and ETFs. However, while mutual funds are priced once a day at the market close, ETFs can be bought and sold like individual stocks throughout the day.Ĭompared to mutual funds, ETFs tend to have better tax efficiency and more transparency, as well as lower fees on average. This article was originally published on Fool.ETFs are similar to mutual funds in that they both can provide exposure to broad areas of the market in a single investment. The $16,728 Social Security Bonus You Cannot Afford to MissĢ0 of the Top Stocks to Buy (Including the Two Every Investor Should Own) For this reason, I always suggest making investment decisions with the gross expense ratio in mind. The gross expense ratio is how much you could pay. ![]() In short, the net expense ratio is how much investors are actually paying to invest in a fund. It reflects any temporary discounts - for example, if a fund's gross expense ratio is 1.00% and the managers agree to a temporary 10-basis-point fee reduction, it would have a net expense ratio of 0.90%. This is why the net expense ratio is often lower than the gross expense ratio. Many funds offer temporary fee waivers, or discounts, in order to attract investors. Here's where the net expense ratio comes in. This includes the fees paid to the fund's managers, administrative expenses such as office space and employee salaries, and other costs like marketing expenses. The gross expense ratio accounts for all of the expenses associated with a fund. ![]() Most of the time, the two numbers are the same. However, mutual fund prospectuses generally include two expense ratios: the gross expense ratio and the net expense ratio. ![]()
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![]() ![]() The video and the thumbnail cue (watermark) helps the users to know that it is a swipeable post with multiple photos. After a few seconds, the Post to Instagram button will be enabled and the first picture will change into a video with the app watermark.The app will automatically split the photo into multiple photos. It will detect all the Panorama pictures in your Camera Roll and show it to you in Panorama tab.After the app is installed open it and allow it to access your Photos.On your iPhone or iPad install the Swipeable – Instagram Panorama app from the App Store.After you’ve multiple photos for Panorama you can simply go ahead and post them as a Gallery post on Instagram as usual.The first step in this process is to split the Panorama into multiple photos of the size that is supported on Instagram.Alternatively, you can paint in grayscale directly on the adjustment layer.Īdjustments can be accessed from the Adjustments Panel they are also available on various other panels within the Develop Persona. Typically, tonal adjustments such as Brightness/Contrast, Curves or Levels are used, while color adjustments like HSL and Recolor are popular the Black and White adjustment can be used creatively.Īny adjustment layer has self-masking properties, meaning that pixel selections are converted to masks on adjustment layer creation. ![]() They are independent non-destructive layers, meaning you can modify their settings at any time without affecting your layer content. Removing unwanted wires and mast using the Inpainting Brush ToolĪdjustments can be applied non-destructively to your photo for creative or corrective purposes. If needed, straightening a photo is easily performed by selecting Straighten on the context toolbar and then dragging along a line that you consider to be your new horizon. Use the tool to manipulate image composition either by using unconstrained or specific built-in aspect ratios (e.g. The Crop Tool draws a rectangular (or square) area on your image that will redefine your new document’s dimensions and discard the area outside the drawn crop area. Position the controller wherever you want by long-pressing its center until it pulses and then dragging it.Ĭropping an image to a 6in x 4in print size Or, you can drag to a modifier’s outer edge and then release to lock the modifier on.įor example, you can use the ⌥ (down) modifier with the Pen Tool to draw sharp (cusp) corners the ⇧ (up) modifier to draw straight brush strokes and the ⌃ (left) modifier to toggle between selecting objects when the marquee encompasses or intersects them. To show or hide it, tap Toggle Command Controller on the Document menu.ĭragging its centre button over one of its four modifier buttons-equivalent to Cmd, Shift, Opt and Ctrl on a Mac keyboard-affects actions for as long as it is held there. ![]() The Command Controller gives you access to many alternative behaviors for tools and objects. The Command Controller in its resting state with no modifiers in use (left) holding the center button over a modifier for temporary effect (center) and locking it on for persistent effect (right) At the top right of each panel, use the pin to determine whether it stays open or automatically closes while you work in the document view.Īs you swap between tools, the context toolbar appearing directly above your workspace will change and offer settings for the newly active tool. Panels containing more settings are accessed by tapping their icons on the right. At the far right are menus for zoom level, design aids, preview mode and snapping options. ![]() To their right is the context toolbar, for quick access to important settings for your current tool or selection. Menus at the top left provide access to Personas-modes for different types of task-and common functions such as saving, exporting and layer operations. Regularly used commands are always at your fingertips by swiping three fingers down on the document view to reveal the customizable Quick Menu. For example, you can tap to select an existing object on the page or a tool you want to use, drag to create a new object or position an existing one, and pinch to zoom in or out of the page. Familiar touchscreen gestures are used to interact with the document view and the surrounding interface. 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Repeatedly, the protagonists of the Blair Witch films state their desire to document everything on camera. Heather, the urban dweller, becomes obsessed with the isolated forest, seeing it as what Scovell calls ‘the dwelling place for demons and spirits’ (2017: 49). As her camera searches the trees for every hanging stick figure, it becomes clear that she wants to attempt to capture all of them. Cynthia Freeland argues that The Blair Witch Project’s Heather is ‘too insistent on filming every little thing, putting them in danger by lingering too long, trying to capture things she perhaps should not have’ (2004: 198). The issue of how much and what quality of footage is enough for proof thus features prominently in the films. The characters also strive to document the existence of the witch from local folklore who is ostensibly responsible for their deaths. While not referring to the characters in found footage films, Bazin calls this desire a ‘primitive need to have the last word in the argument with death by means of the form that endures’ (1945: 196). The characters in the Blair Witch films wish to offer whoever finds their footage a representation of the reality of what happened to them, documenting the last moments of their lives in order to preserve their own image. Andr é Bazin refers to this as the ‘mummy complex’, whereby the appearance of the human body can be snatched ‘from the flow of time, to stow it away neatly, so to speak, in the hold of life’ (1945: 195). The human desire to live on in some way beyond death or to prolong life is not new, and the recording technologies that have developed through the twentieth century can be seen as a way of preserving human life in some form beyond death. The characters do try very hard, however, to preserve a record of what happens to them in the woods, even keeping their cameras filming as they are in great danger. Both films evince this tendency toward subtlety (although Blair Witch is significantly less so than its predecessor) as well as a definite resistance to offering the viewer clear images or audio of the supernatural. ![]() The hunt for proof is often difficult, and Joseph Laycock argues that ‘to preserve verisimilitude, these films cannot rely on music or lavish special effects and must be extremely subtle in their portrayal of supernatural phenomena’ (2011: 14). The more extraordinary the events are, the less believable they may be to audiences, and therefore the aesthetic strategies attempt to combat the disbelief of the viewer. The Blair Witch films become evidence of what occurred to the characters, as recorded by those who were there. The films place the camera as a profilmic element at the centre of the characters’ searches for proof. After exploring how an impression of authenticity is created in both films through a modern digital camera aesthetics that has substantively changed in the seventeen years between the release of these two films, I then examine how the folklore established in The Blair Witch Project is developed in the distinctive aesthetics of the 2016 sequel.īoth Blair Witch films address amateur camera operators’ craving to preserve an experience of the world by recording what they see. While The Blair Witch Project and Blair Witch share many similarities in their representation of proof, there are notable differences regarding the diegetic technology that the characters have at their disposal. The characters in these films are at once sceptical of the existence of a historical witch haunting the area and yet also open-minded enough to take their modern camera technology and try to capture evidence of a supernatural phenomenon-one rooted in the local folklore of Maryland’s woods.ĭevelopments in camera technology in the years between the production of The Blair Witch Project and Blair Witch complicate the capturing of proof, and I argue that this leads to different responses from viewers of the two films. ![]() The film ‘basks in its rural/urban divide, where the naive students have completely underestimated both the landscape and the power of its folklore’ (2017: 117). ![]() Adam Scovell notes that the narrative of The Blair Witch Project ‘is quintessential Folk Horror through its use of rurality’. Both The Blair Witch Project (Daniel Myrick and Eduardo Sánchez, 1999) and its second sequel Blair Witch (Adam Wingard, 2016) dramatise the search for proof of supernatural occurrences. These films frequently combine contemporary anxieties over digital technology (Blake and Aldana Reyes 2016) with more archaic fears such as witches, trolls and demons. Found footage horror films can be significant examples of folk horror, juxtaposing modern technology with its capture of ancient monsters of folklore. ![]() ![]() ![]() Overall, I would recommend it, as it greatly simplifies the job of a developer and makes it pleasant. The integration with GitHub makes collaborating really easy. P圜harm has auto-saving, which is useful in case of crashes, and automatically re-opens the last project I was working on when I restart it which decreases the time taken before I can start working. The interface is pleasant, it is easy to open new files from the same directory, any folder can be opened as a P圜harm project and every extension can be opened, such as readmes. Kommentare: My experience with P圜harm has been very positive. I would also suggest Pycharm team to consider the feature of integrating Notepad applciation with Pycharm. The other dislike I have is regarding the memory usage whenever I open 3 python projects at the same time my PC turns out to be extremely slow. They can also improve the error statements for me the errors after compiling the code are not quite clear. However, the paid version features a lot more learning models and modules. I have been using the free version for electronics hardware coding and I find it suitable for that. The paid version is needed for higher level codings like machine learning models. There are two versions of Pycharm a free (community) version and a paid (business) version. Pycharm is great to save time while performing code developement. I always use Pycharm to edit my code, compile it, and debug it if needed. I have used it in Linux and windows, and I did not find any dislikes. It is supported in Linux, MAc,a nd sindows. The most important thing about Pycharm is that it is not heavy on your system. Pycharm helps me to improve the efficiency and quality of my Python development. It is a great and inexpensive IDE for code modification, debugging, and compiling. Kommentare: Overall, Pycharm makes your code developement easy, fast, and enjoyable. Although most of the features are available out of the box, it is not that straightforward to use especially when you are still starting your development career. Pycharm might not be that useful when used by beginner programmers. It's a one tool that offers the full development experience. Third feature is the database viewer, Pycharm database viewer is really handy since you don't need to have a seprate client to view your database. second feature it the Git integration, this is very useful especially I frequently push my code remotely and it also helps me track the Git tree structure when I am rebasing to master. Pycharm lets you debug a program just by simply setting a breakpoint and it also offers a console and a tab to watch the variables. The most impactful features for me is first the debugging. One of which is Git integration, debugging code without using pdb, viewing databases, viewing dataframes while debugging and comparing specific files to specific branches. It offers a lot of handy features that I am currently utilizing when developing software. Kommentare: Overall, I found Pycharm an IDE that I would be using for the next few years and I don't think that I am switching soon. ![]() Other than that I have no issues with it. I don't have any major critiques of the IDE but I would say perhaps having a co-pilot would be an incredible improvement to make it an even better IDE. In short Pycharm is awesome and I recommend you start using it. They work incredibly hard and it shows in their work. I would definitely recommend Pycharm or any JetBrains product for that matter. I also like how I could split the screen multiple parts fairly easily for code review. Also it helps finish my code blocks automatically which is great. The code editing tools are amazing, the code improvement recommendation system that they have is definitely a plus to have, sometimes the IDE recommends me to do certain actions I would have never have thought of on my own. Having everything present in a single place like that definitely makes my life much easier as an engineer. I love how convenient and easy it is to use. I have been using this IDE for a short time now. ![]() I would absolutely recommend this product for any software engineer, machine learning engineer or even a data scientist who wants to do some scripting work. I believe I will continue to use it in my professional career. Kommentare: My overall experience has been great thus far. ![]() ![]() ![]() She discovered a forgotten age when the Creator was honoured as female and humanity lived in peaceful societies completely free of war. After a fateful encounter with a high initiate of the ancient Fellowship of Isis, she began researching the history of Judaism and Christianity to find out how and when the Divine Feminine became lost. ("Wo/men" is coined to keep this point before the reader.) The real divisions are.Called through her dreams by the Priestesses of Isis, Tricia McCannon set out on a spiritual journey into the Mysteries of the Goddess. Some women belong to the ruling elite, while others live at the bottom of the kyriarchal pyramid we are divided by differences of class, race, religion, age, sexual orientation, health, etc. Gender dualism is not the only source of oppression, she argues, because there are sociopolitical differences among women. Her chief target is not "patriarchy" but "kyriarchy," viz., a pyramidal system of power relations. Schussler Fiorenza sets out "to uncover the hidden frames of meaning that determine malestream as well as feminist christological discourses" (3), to assess their deleterious effects on the lives of "women in the global village," to de-stabilize their apparently common-sense articulations, and then to promote multiple, non-exclusive christological images that will make possible a different church and a different world-different because radically democratic. Extensive new biblical research appears in the chapter devoted to weighing the value of the Wisdom tradition for feminist christologies. ![]() Each chapter opens with summations, analyses, and assessments of the work of other-chiefly feminist-theologians and concludes with her own proposed reconstruction of the question. ![]() After describing her method and purpose in chapter one, Schussler Fiorenza addresses the following critical BOOK REVIEWS 489 issues: (1) the theological relevance of Jesus' maleness (2) anti-Judaism (the shadow-side of asserting Jesus' liberating uniqueness) (3) the theology of the cross (4) the usefulness of early Christian Wisdom (Sophia) discourses and (5) mariology and the feminine naming of the Divine. In this book, Elisabeth Schussler Fiorenza engages five "hotly debated issues" in feminist christology, using the critical feminist liberation methodology she has developed, and working from within the hermeneutical spacean ekklesia ofwo/men-she has constructed. University ofNotre Dame Notre Dame, Indiana DAVID 8. The care with which Michael Stebbins has exposed Lonergan's method and its results hardly frees them from contestation, but at least makes his sometimes cryptic remarks accessible to all those who have the stamina to explore these issues, and so leaves both philosophers and theologians without excuse for attending to so demanding a synthesis. All that is required is to note that sin is a surd in the system the reach of free creatures is to be able to deny their very destiny by acting in such a way as to cut that very action out of the finality that makes an action part of God's plan. In fact, all of the theorems are in place to assert this one, since God as cause of being "is above and beyond the created orders of necessity and contingence" (262). not a new fact but a new way of intelligibility relating a set of facts already affirmed as true" (261). The final chapter introduces a corollary to the philosophical therapy of the preceding one: the efficacy of the creator as transcendent agent, here explicated characteristically as "the theorem of divine transcendence" (259), which, "precisely because it is a theorem. "Divine concourse" will not be pictured as though creator and creature were rowing in tandem, but as the very empowering of a free agent to act. This scheme offers a viable and coherent alternative to the presumed "vital act" of later scholastics, introducing a metaphysics that allows the "cause of being" to "rule the will" (248) without constraining it. All this shows how Aquinas's understanding of freedom is inextricably linked with a metaphysics of creation: rather than fastening on choosing as the paradigm offreedom, as modem "lib~ ertarians" presume, everything turns on the orientation of our created natures, which as created need to be moved to act. Yet without the actual willing of "the universal good" (246), there could be no rational choice at all. Yet such a movement is the precondition for freedom of choice, which must then ascertain which means are expedient to reach that end, and often errs in its deliberations. In lieu of an abstract, here is a brief excerpt of the content:Ĥ88 BOOK REVIEWS requires that it be moved by the One who creates it with that orientation. ![]() ![]() ![]() The best metronomes: other features to look for The most technologically-advanced models are wearables that resemble smartwatches and offer haptic feedback in the form of pulsed vibrations felt through the wrist, as well as the more conventional audible click or beep. Though we’d also recommend the best guitar tuners for players wanting a more dedicated tool. Some have basic built-in tuners, handy for guitarists, violinists, or anyone whose instrument requires a regular tune-up before practice sessions or performances. They tend to be small enough to be nonchalantly chucked into an instrument case before or after a lesson. These days, the wooden casing is sometimes swapped out for a lighter, plastic equivalent, which can make the unit easier to carry around, but the basic principle remains unchanged.Įlectronic metronomes are battery-powered and much more accurate than their traditional mechanical counterparts, and these days come brimming with additional features. Pendulum metronomes look great on the lid of a grand or upright piano, and have been a standard feature of music rooms since their invention in the early 1800’s. Some models also feature a bell that can be used to indicate the downbeat, the time signature of which can be changed by pulling out a dedicated knob on the side of the unit. The traditional, pyramid-shaped wooden mechanical metronome is usually clockwork, involving a pendulum equipped with a sliding weight that you move up and down to determine the tempo. For this scenario, a hardware metronome is an essential accessory, but they’re also useful in a live band setting for keeping everyone in sync.Īs mentioned above, metronomes fall into two broad categories: mechanical and electronic. If you’re learning or practicing an acoustic instrument, you’ll at some point need to focus on how to play in time, especially if you’re a classical player aiming to take graded exams. Digital pianos also now all feature a built-in metronome as a matter of course, as do the best electronic drum sets. ![]() (Image credit: Future) Best metronomes: mechanical vs digital metronomesĭedicated hardware metronomes may be looked on as something of a redundancy to DAW-based musicians, as all computer-based workstations have a built-in metronome of some sort to keep you in time while recording new parts. So here we present our pick of the best metronomes available in 2020… So the best metronomes offer a choice of at least two tick sounds, and some high-end digital metronomes enhance their appeal to traditionalists by using samples of traditional clockwork metronomes for their tick sounds. Many musicians prefer classic, unpitched ticks to the pitched beeps offered by some models, as pitched sounds can interfere with the pitch of the piece you’re playing, especially if you’re particularly pitch-sensitive. How loud and/or annoying is the metronome sound - does it beep or tick? Can you change it to suit the environment? Can it be heard over the sound of your instrument? Literally the heart of every metronome is the sound it makes while ticking. An even better one will allow you to select and even edit your own beat variations and subdivision patterns to suit your playing. The best metronomes are able to handle a variety of different time signatures, placing the downbeat sound correctly after the required number of sub-beats. That’s great if you’re practicing or playing in regular 4/4 time, but what about other time signatures such as 3/4, 12/8 or even 7/4? Mechanical metronomes often use a physical bell, while digital variants will employ an alternative pitched sound or louder tick for the downbeat. Metronomes can indicate the downbeat of each bar by a variation in the tick sound. It then interprets the speed of your taps to the nearest whole bpm value and continues to tick at that set speed. You’ll see this function on many of the best metronomes and it gives you the ability to set the metronome’s tempo by literally tapping a button or pad on the front of the device. This is in keeping with the traditional Italian musical terms for tempo (such as andante, allegro, etc) that you’d find marked on a musical score. Digital metronomes offer the ability to set specific tempo values precisely, while mechanical versions often just provide a set of preset values at selected intervals across the range. Measured in beats per minute (BPM), the range of click speeds you can dial in normally spans a ponderous 30bpm to a frantic 250bpm. Surprisingly, for a device designed to do just one job - to go ‘tick’ at a particular set speed - there are a number of things to look out for when choosing the best metronome for you. MusicRadar's got your back Our team of expert musicians and producers spends hours testing products to help you choose the best music-making gear for you. ![]() ![]() ![]() ![]() The data is currently being evaluated and is due to be published this year. Egger and his team have been sampling the surface water in front of and behind the cleanup system on a weekly basis to compare the composition of neuston, to understand which species to look out for, what effect the cleanup system has, and whether there are seasonal differences in how many neuston are present. ![]() In recent years, neuston have become a particular focus. We also actively contribute to the understanding of an ecosystem that we barely know,” says Matthias Egger, whose role is to conduct research that helps TOC engineers further develop and scale up its cleanup system. But as a private player operating in international waters where few rules apply, TOC is not required to publish these. “We do much more than just clean, which is difficult enough. In addition to collecting plastic, TOC conducts its own ocean research, as well as environmental impact assessments that determine and describe the potential damage of the cleanups. They then photographed 22 of these samples. They did the same in the periphery and outside the patch for comparison. Behind them they towed a small net along the surface of the water every day to take samples of floating marine life and plastic debris. A sailing crew accompanied long-distance swimmer Benoît Lecomte as he swam right through the patch. Add to this wind and swirling ocean currents, which bring plastic and neuston in from afar, and “patches” form.īack in 2019, a rare occurrence allowed Helm, who is an assistant professor at Georgetown University in Washington, DC, to study the contents of the Great Pacific Garbage Patch. It’s not that the plastic is somehow creating an opportunity for life to emerge, says marine biologist and corresponding author Rebecca Helm, but rather that plastic debris and organisms tend to float up and clump together in water, like cereal in a bowl. ![]() That they are, essentially, disrupting a marine habitat.Īccording to a new study, floating marine life, known as “neuston,” often ends up in the same places as plastic. But more recently, new charges have been laid at the door of TOC: that its cleanup efforts are capturing not only plastic but also sea creatures that live among it. To Boyan Slat, the founder of TOC, this cleanup work “signifies an age in which we’re starting to correct the problems we ourselves have created.” To TOC’s critics, the project is costly and inefficient-a distraction from the root of the problem, which is too much plastic being discarded and not enough preventing it from getting into the sea. In this area, which is roughly three times the size of France, at least 400 times the amount of plastic extracted by TOC remains, to which more is added every day as it is discarded from boats or flows into the sea from rivers. Since 2021, the nonprofit has recovered 200 tons of plastic in the Great Pacific Garbage Patch, an area between California and Hawaii that is notorious for its floating waste, which is concentrated there by ocean currents. The Ocean Cleanup (TOC) is the world’s largest organization working to remove floating plastic from the ocean. But they’re aiming to catch something else: plastic. You could be forgiven for thinking they are trawlers. Pulled behind them is a giant U-shaped barrier, which almost looks like a fishing net. In the northern Pacific Ocean, two sky-blue ships are sailing parallel to one another, several hundred meters apart. ![]() ![]() ![]() Read more: Best Vinyl Cutting Machines For T-Shirts You can also draw your shape with this vinyl cutting software. You can control the font, design, and shape. It is an electronic cutting software that is compatible with automatic cutting machines. The sure cuts a lot free download will help you and all the beginners with easy and user-friendly free-size cutting and plotting. This sure cuts a lot of software is a free software for Mac for Vinyl Xname, which is compatible with both. This also works with 10 best plotter cutters. This software is compatible with control cutting, and it also offers a spool function. You don’t require the disc for the activation of the software you can easily use the USB interface for the functioning of the software. It can work incredibly for laser point 2 and Graphtec software. 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If you have a small business, then free sign cutting software will work the best for you. Let’s find some of the vinyl decal software and vinyl cutting programs to get your business started. Some of the software is compatible with both Windows and Mac OS however, you need to ensure which software is compatible with which operating system. Whether you find the best vinyl cutting machine or not, you will still need to find the vinyl cutter software to stay updated. ![]() ![]() ![]() What Are the Benefits of Using HTML5 Ads? Since they work as a mini webpage, you can use interactive elements when creating your HTML5 ad to make it more appealing to your audience. To better understand them, imagine that an HTML5 ad is like a mini webpage with multiple file types (like HTML, JS, CSS, etc.). Now, we can move on with the definition of HTML5 ads. Therefore, you don’t need any plugins to make HTML5 work. HTML5 is supported by every type of web browser on every operating system. 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