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Dish: Tropical Fruit and also Rum Punch

Exotic Fruit as well as Rum Punch

ACTIVE INGREDIENTS:

2 12-ounce containers mango nectar
2 12-ounce containers guava nectar
2 mugs tinned bitter pineapple juice
1 1/2 mugs tinned coconut lotion, well blended
1/4 mug fresh lime juice
2 mugs brownish-yellow (gold) rum
17 mugs ice
Fresh pineapple or lime wedges

PREP WORK:

Integrate mango nectar, guava nectar, pineapple juice, coconut lotion, lime juice and also brownish-yellow rum in big bottle. (Punch can be prepared 1 day in advance.
Incorporate 1 mug strike as well as 2 mugs ice dices in blender or food processor as well as mix till thick as well as smooth. Repeat with staying strike in sets.

Integrate mango nectar, guava nectar, pineapple juice, coconut lotion, lime juice and also brownish-yellow rum in huge bottle. (Punch can be prepared 1 day in advance. Incorporate 1 mug strike and also 2 mugs ice dices in blender or food processor and also mix till thick as well as smooth. Repeat with staying strike in sets.

Posted 12 Sep 2023 00:03 by | Uncategorized | No comments

From The Most Exquisite Man To The Wind Whisperer | CRAFT Animation Festival, Indonesia, Presents Official Selection

Like every two years, we will take our audience and the Jury on the most diverse, colorful and exciting animation journey. 46 animated movies (18 students and 34 professionals) in the INTERNATIONAL COMPETITION and 11 in the SHORTS FOR KIDS COMPETITION the films were selected by our core team (Chonie Prysilia, Piotr Kardas, Hizkia Subiyantoro) for the 4th International CRAFT Animation Festival in Malang, West Indonesia – the only festival in all of Asia focusing on a classic, physical approach to the art of animated films; stop-motion, traditional, craftsmanship scenography and puppets, charcoal drawings, materialistic cut-outs, skillful use of paint or sand – this is our universe. But because we love diversity, we also appreciate digital craftsmanship. Therefore, we are pleased to welcome 4 digital films in the non-competitive program SOUTH-EASTERN ASIA FOR KIDS and as many as 17 films in the DIGITAL WORLD PANORAMA.

International Competitions and Panorama are only part of the CRAFT Festival. Equally important is the SEA COMPETITION, during which this year we will present 12 great films (6 student and 6 professional). The SEA COMPETITION is unique for CRAFT because it is the only one in the world dedicated to animated films from Southeast Asia. Therefore, all animation techniques are included in the competition.

The 4th CRAFT International Animation Festival will be held for the first time in Malang, East Java, from October 23-28, 2023.

INTERNATIONAL COMPETITION OF STOP-MOTION & TRADITIONAL TECHNIQUES IN ANIMATION (NO DIGITAL 3D/2D, OR WITH USING ONLY PARTLY)

A MOST EXQUISITE MAN (Estonia 2021, 14:46), Director: Jonas Taul

ALL IS LOST / org. Todo está perdido (Spain 2022, 07:05), Directors: Carla Pereira, Juanfran Jacinto

ANA MORPHOSE (Portugal 2023, 09:47), Director: Joao Rodrigues

BLOOMING BRAIN / org. Kwitnący mózg (Poland 2022, 10:02), Director: Edyta Adamczak

BOX CUTTERS (France, Netherlands, South Africa 2023, 08:24), Director: Naomi Van Niekerk

CORNUCOPIA (Austria, Bulgaria 2022, 07:49), Directors: Ani Antonova, Dimiter Ovtcharov

CRAB / org. Krab (Poland, France 2022, 08:42), Director: Piotr Chmielewski

CURIOSA (United Kingdom 2022, 09:30), Director: Tessa Moult-Milewska, National Film and Television School

DAVEY’S LULLABY (United States 2022, 09:29), Director: Adam Deyoe

DEADLINE (Israel 2023, 12:49), Director: Idan Gilboa

DOT (Iran 2022, 08:12), Director: Mohammad Zare

EYEBALL / org. MEDAMA (Japan 2021, 08:39), Director: Anna Yamamoto

FROM OUR SIDE / org. In quanto a noi (Italy 2022, 05:04), Director: Simone Massi

GREYLANDS (Switzerland 2023, 11:36), Directors: Charlotte Waltert, Alvaro Schoeck

HALF EMPTY (Poland 2022, 04:52), Director: Katarzyna Orłowska, University of the Arts in Poznan (UAP)

HEXED (Spain 2021, 04:33), Directors: Louise Bongartz, D. Forest Gamble, Francisco Martins Fontes, BAU Design College of Barcelona

HIDDEN LIFE (Estonia 2022, 08:21), Directors: Kadi Sink, Silver Strazdins, Sigrit Villido, Estonian Academy of Arts

I WOULD BE A MUSICIAN / org. Byl bych muzikantem (Czech Republic 2023, 11:16), Director: Dita Stuchlíková

INNERMOST (China 2022, 15:00), Director: Maing Caochong

JOURNEY IN AMNESIA / org. Voyage en amnésie (Belgium 2021, 05:27), Director: Anouk Kilian-Debord, ENSAV La Cambre

KRAFT PAPER / org. Jõupaber (Estonia 2021, 04:00), Director Ida Lepparu, Estonian Academy of Arts

KUUMBA UMBO / Birth of Form (Belgium, United States 2022, 06:39), Director Ekaterina Ogorodnikova

LAST WORD (South Africa 2023, 10:00), Director: Diek Grobler

MAGNIFIED CITY (Japan 2022, 11:34), Director: Isaku Kaneko

NIGHT (Palestine, Germany, Jordan, Qatar 2021, 15:57), Director: Ahmad Saleh

PALOMAR GOES TO THE CITY / org. Palomar va in Città (Italy 2022, 05:30), Director: Mario Kreill

PIECE OF SOLITUDE (Iran 2021, 09:10), Director: Elaheh Ghomeishi, Tehran University of Art

PUPPET STORY / org. 인형 이야기 (South Korea 2022, 14:30), Director: Park se hong

REST IN PIECE (Germany 2022, 09:35), Director: Antoine Antabi

SWALLOW FLYING TO THE SOUTH (United States 2022, 17:38), Director: Mochi Lin, Rhode Island School of Design

THE BOLT’S STORY / org. Dasten-e-Pich (Iran 2023, 12:57), Director: MohammadReza Alimorad

THE BUILDING AT 9 ETZELST. (Israel 2022, 08:52), Directors: Bar Vaknine, Tamar Sharvit, Bezalel Academy of Arts and Design

THE DOG’S LEASH / org. La bride (Belgium 2022, 03:48), Director: Nicolas Piret, ENSAV La Cambre

THE FAMILY PORTRAIT (Croatia, France, Serbia 2023, 14:35), Director: Lea Vidakovic

THE HOUR COAT (United States 2022, 12:40), Director: Amy Kravitz

THE OLD HAG AND THE CROW / org. La vieja y el cuervo (Mexico 2023, 05:55), Director: María Lucía Bayardo

THE PINK JACKET / org, Casaco Rosa (Portugal, France 2022, 08:20), Director: Mónica Santos

THE SAUSAGE RUN (Germany2021, 09:45), Director Thomas Stellmach

THE TIME KEEPING HOUSE / org. A Casa Para Guardar o Tempo (Portugal 2023, 12:06), Director: Joana Imaginário

THE WIND WHISTLES / org. Fischia il Vento (United Kingdom 2021, 15:15), Director: Alessandro Dordoni

THINK SOMETHING NICE (Switzerland, Belgium 2022, 06:02), Director: Claudius Gentinetta

TIL WE MEET AGAIN (Estonia 2022, 14:09), Director: Ülo Pikkov

TRACE / org. Sleda (Bulgaria 2022, 06:42), Director: Asparuh Petrov

TXOTXONGILOA (Spain 2022, 10:05), Director: Sonia Estévez

WATER LULLABY / org. Kołyska (Poland 2022, 03:39), Director: Piotr Kaźmierczak, Student/Home Made

WIND WHISPERER / org. Testigo del Viento (Ecuador, Germany 2022, 06:30), Director: Fernanda Caicedo, Bauhaus University Weimar

***

NO DIALOGUES SHORTS ANIMATED MOVIES FOR KIDS – STOP-MOTION & TRADITIONAL TECHNIQUES IN ANIMATION

A POOR BLUE-FOOTED BOOBY GOES TO TOKYO (Japan 2021, 03:45), Directors: Haruna Ueno, Tomoko Taiga, Laputa Art Animation School

FLOWER (United States 2023, 02:04), Director: Carolyn Gair

KIDS IN WINTER (China 2022, 02:55), Director: Maing Caochong

LET’S MAKE PEACE- SNOWED IN (Iran 2022, 07:11), Director: Abdollah Alimorad

MOON MOLE (Portugal 2022, 02:28), Directors: 12th grade students., Laura Gonçalves (Guidance), Alexandra Ramires (Guidance), Leonor Pacheco (Guidance), Dimitri Mihajlovic (Guidance), Régio School

SWING (Spain 2022, 04:44), Director: Ignasi Tarruella

THE CHAMELEON (Netherlands 2022, 02:15), Director: Pim ter Braak

THE MAGIC VIOLET RABBIT (Japan 2023, 13:05), Director: Kotoko Nakamura

THE PAPER (Finland 2022, 04:47), Director: Katariina Haukka, Turku University of Applied Scienses

THE TURNIP (Estonia 2022, 07:12), Directors: Piret Sigus, Silja Saarepuu

WATER=LIFE (Iran 2021, 03:29), Director: Mohammad Zare

***

ONLY FOR THE ANIMATED MOVIES FROM SOUTH-EAST ASIAN COUNTRIES – COMPETITION OF ALL TECHNIQUES IN ANIMATION

[ ] (Philippines 2022, 07:41), Director: Lliyah Mangawang, University of the Philippines

DYING TO DEFROST (Singapore 2022, 03:53), Director: Heather Ann Abeyasekera, Nanyang Technological University

LITTLE MISS DUNGJAI / org. ด.ญ.ดั่งใจ (Thailand 2021, 07:31), Directors: Pattama Homrod, Primp Surapakpinyo, Rangsit University

MY CLOUDED MIND (Indonesia 2021, 10:13), Director: Annisa Adjam

ON THE STREET / org. บนถนน เมื่อวันวาน (Thailand 2022, 06:00), Directors: Laliphat Chaipornchalerm, Pornsawan Ingamornrat, Pornwadee Titapaisarnpon, King Mongkut’s University of Technology Thonburi

OUTSIDE MY LITTLE WORLD (Indonesia 2023, 06:05), Director: Alifio Faras, Institut Seni Indonesia (Institute Of Art Indonesia)

SPLISH SPLASH / org. Cipak Cipuk (Indonesia 2021, 09:12), Director: Andra Fembriarto

TANKBOY (Singapore 2021, 06:41), Director: Novella, LASALLE College of the Arts

TRAFFIC LIGHT (Singapore 2021, 05:52), Director: Qing Sheng Ang

THE ARCHIPELAGO / org. NUSA ANTARA (Indonesia 2021, 07:08), Directors: Azalia Muchransyah, Firman Wijasmara

THE DALANG’S TALE (Malaysia 2021, 06:10), Director: Irwan Junaidy, Maizura Abas, ‘Atiqah Mohd Abu Bakar

THE PILLAR OF STRENGTH (Malaysia 2022, 07:31), Director: Aie Ibrahim

***

SOUTH-EAST ASIA FOR KIDS

BIRD OF THE RED FOREST (Indonesia 2022, 06:23), Director: Kusmalida Puspaning Budi

DAUGHTER OF MOTHER NATURE (Cambodia 2020, 14:59), Directors: Laura MAM, Andrew MAM

FOOTPRINTS IN THE FOREST (Malaysia 2022, 18:00), Directors: Juhaidah Joemin, Sandra Khoo

SI WARIK THE MOVIE: THE LAST FIELD (Indonesia 2023, 18:09), Director: Nita Virena Nathania, Universitas Dian Nuswantoro

***

DIGITAL PANORAMA – A NON-COMPETITIVE PROGRAM OPEN TO THE WHOLE WORLD – ONLY DIGITAL 2D/3D

CHECKPOINT (United Kingdom 2021, 05:50), Director: Jana Kattan, Arts University Bournemouth

EUROPE BY BIDON (France 2022, 14:32), Directors: Samuel Albaric, Thomas Trichet

GARRANO (Portugal 2022, 14:08), Directors: Vasco Sá, David Doutel

ICE MERCHANTS (Portugal 2022, 14:33), Director João Gonzalez

KERADÓ (Colombia 2022, 14:53), Directors: Andrés Rafael Castillo, Diego Alejandro Castillo

LITTLE SMASHER / org. Petit cogneur (France 2021, 13:56), Director: Gilles Cuvelier

MY GRUMPY GRANDPA (Togo, France 2022, 06:22), Director: Komi Messan Anthony

SUBURB (United Kingdom 2021, 03:50), Director: Miles Jezuita, Arts University Bournemouth

THE EGRET RIVER (Taiwan 2022, 20:20), Director: Wan-Ling Liu

THE FIGURE OF UNCONSCIOUS MIND (South Korea 2022, 03:40), Director: Jaehyeon Kim, Korea National University of Arts

THE GARBAGE MAN (Portugal 2022, 11:50), Director Laura Gonçalves

THE GIRL BEHIND THE MIRROR / org. A Menina Atrás do Espelho (Brazil 2021, 12:05), Director: Iuri Moreno

THE NOMADIC TOMB (Taiwan 2023, 04:20), Director: Pei-Yi Yu, Tainan National University of the Arts

THE RAT (China 2022, 12:55), Director: Yuanqing Cai

THE SPRAYER (Iran 2022, 08:45), Director: Farnoosh Abedi, Islamic Azad University, Central Tehran Branch

UNDER THE ENDLESS SKY (Ukraine, Austria 2022, 04:00), Director: Alexandra Dzhiganskaya, University of Applied Arts Vienna

WHERE THE WINDS DIE (Iran 2022, 12:54), Director: Pejman Alipour

The post From The Most Exquisite Man To The Wind Whisperer | CRAFT Animation Festival, Indonesia, Presents Official Selection appeared first on Skwigly Animation Magazine.

Posted 11 Sep 2023 23:31 by Pacheco News | News | No comments

New Comics & Collected Editions: Marvel Comics – September 6, 2023

It’s time to take a look at what’s out from Marvel Comics this week! This post covers Marvel Comics September 6 2023 releases.

This list includes every comic and digital comic out from Marvel this week, plus collected editions in omnibus, hardcover, paperback, and digest-sized formats. For each new release, I’ll point you to the right Crushing Comics guide to find out how to collect each character in full – and, if a guide is linked from this post, that means it is updated through the present day!

Plus, I’m getting close to caught up on reading all of the Marvel Universe – so I have some commentary on some of the single issues and new collections.

Marvel Comics September 6 2023 Collected Editions

Captain Marvel by Kelly Thompson Vol. 1
(2023 paperback, ISBN 978-1302950989 / digital)
See Guide to Carol Danvers, Captain Marvel. This is effectively a “Complete Collection by Kelly Thompson,” recollecting the first two trades worth of this ongoing series. That’s actually somewhat short for a complete – it would take five volumes to collect the entire series, at this rate! I love this comic, and it comes with a ringing endorsement from me.

Captain Marvel, Vol. 10: Revenge of the Brood, Pt. 2
(2023 paperback, ISBN 978-1302947637 / digital)
See Guide to Carol Danvers, Captain Marvel. This is the final half of the final arc of Kelly Thompson’s multi-year Captain Marvel epic, plus a double-sized final issue that is entirely reflective. I think this arc is one of the shakier of the series, simply because Thompson is juggling a massive cast without much time to focus on Carol. While I’m a big proponent of picking up any comic run with any issue to get started, I’d say if you’re planning to read this run you ought to start from the beginning.

Loki Modern Era Epic Collection: Everything Burns (Vol. 2)
(2023 paperback, ISBN 978-1302952655 / digital)
See Guide to Loki. The second (and final?) volume of the Loki Modern Era Epic Collection line, collecting the back half of his run of Journey Into Mystery including crossovers with New Mutants and Thor. The contents of this are just slightly different than the contents of a previous Complete Collection.

(2021 digest-size paperback, ISBN 978-1302949037 / digital)
See Guide to Hulk, Bruce Banner. This continues the digest-sized reprint of Hulk’s Silver Age Tales to Astonish (1959) material.

Spider-Man 2099: Dark Genesis (2023 paperback, ISBN 978-1302952235 / digital)
See Guide to Spider-Man 2099. This is a Steve Orlando mini-series set in 2099 continuity.

Red Goblin Vol. 1: It Runs in the Family (2023 paperback, ISBN 978-1302948634 / digital)
Hmm, this still has no guide to call home! But, I have caught up on this book to present day, and I dig it! Alex Paknadel is writing a very different title than anything else going on at Marvel right now. I wish he’d lean even further into the intergenerational aspects of the book and its lead characters, but I liked all of this first volume.

She-Hulk by Mariko Tamaki (2023 paperback, ISBN 978-1302950774 / digital)
See Guide to She-Hulk, Jennifer Walters. Collects the entire run by Eisner-winner Mariko Tamaki from All-New All-Different Marvel and Marvel Legacy. This book is not a similar tone to most She-Hulk runs or the She-Hulk MCU show. It starts out subtle and decompressed, focusing on She-Hulk’s trauma in the wake of Civil War II, picking up just a hint of the typical acerbic She-Hulk wit towards the end.

Venom Vol. 4 by Al Ewing & Ram V: Illumination (2023 paperback, ISBN 978-1302948504 / digital)
See Guide to Venom. This continues Ewing’s multi-timeline Venom epic (V has departed the title), but with a slightly more grounded story than the past 1o issues. What I think works well about this is you absolutely could jump in here and be tantalized with references of what has come before, which to me is good comics-making.

Marvel Comics September 6 2023 Physical Comic Releases

The Amazing Spider-Man (2022) #33 – See Guide to Spider-Man, Peter Parker (2018 – Present). The controversial Zeb Wells run presses onward with no immediate end in sight as we approach the “Gang War” end of year event! I’m only caught up through issue #20, so I have another binge still yet to come! I know a lot of Spidey-fans are frustrated with this book, and I can see their frustration – Wells seems to be deliberately at war with a few aspects of Spidey’s continuity and relationships. Yet, plot points aside. I enjoy it a lot more than the Spencer run because Wells is much more gifted at writing Peter as Spider-Man (which seemed to actively terrify Spencer).

Black Panther (2023) #4 – See Guide to Black Panther. I have not warmed to this Eve Ewing Black Panther relaunch yet, despite loving her earlier Marvel work. Ewing has split her focus between T’Challa himself and fleshing out the community of a particular Wakandan metropolis. While I love a densely-written, heavily-narrated comic, Ewing’s sociological focus and newly-minted supporting characters simply aren’t working for me.

Doctor Strange (2023) #7 – See Guide to Doctor Strange. I’ve only read the first couple of issues of this run on Marvel Unlimited. After an absolutely cracking run with Clea as Strange in 2022 from Jed MacKay, on this run his concept just feels a little flat. I’m curious to catch up to the end of the first arc and see how he pivots to keep things fresh.

Fantastic Four (2022) #11 – See Guide to Fantastic Four. I am caught up on Ryan North’s Fantastic Four and loving it! It’s a series of 1- and 2-shot adventures, many with a similar theme of lost and forgotten people. I think this could be repetitive if North doesn’t shift gears or tie them together, but each individual issue has been strong and I’ve loved the way he writes all four of the primary cast.

Ghost Rider / Wolverine: Weapons of Vengeance – Omega (2023) #1 – See Guide to Wolverine – Logan or Guide to Ghost Rider. This is the final installment of a direct crossover between these two titles, both penned by Ben Percy.

Immortal X-Men (2022) #15 – See Guide to X-Men, The Age of Krakoa. This continues the post-Hellfire Gala arc of this Kieron Gillen X-Men flagship – and, make no mistake, this is the flagship book of the line. Although I’m aware of the events of The Hellfire Gala for “discourse” reasons, I’m still five issues behind on this book. But, up to where it left off for “Sins of Sinister,” it has been my favorite X-Men title of the entire 30+ titles from the Age of Krakoa.

Magneto (2023) #2 – See Guide t0 Magneto. The first issue of this J.M. DeMatteis & Todd Nauck series set it up as a flashback to the period where Magneto was acting as headmaster to the New Mutants (so, in the 40s of New Mutants (1983). While it’s decent fun if you love that era (and I do!), there’s was nothing remarkable about issue #1. I’ll continue keeping an eye on this, as I think there’s a chance it contains one late revelation that will reflect on current continue – as the Venom: Lethal Protector II (2023) series did earlier this year.

Moon Knight (2021) #27 – See Guide to Moon Knight. I am 100% up-to-date on This Jed MacKay Moon Knight run and it may very well be my favorite ongoing at Marvel. It strikes a perfect balance between high concept issues and stylish fights, and colorist Rachelle Rosenberg is doing career-best work.

Scarlet Witch (2023) #8 – See Guide to Scarlet Witch. I have been absolutely head-over-heels for this Steve Orlando Scarlet Witch series, and especially for its habit of self-contained single-issue stories. This second loosely-connected arc is no longer colored by Matt Wilson, and while colorists have maintained Wilson’s eye-popping color choices they haven’t really replicated his texture – which for me was a big part of the book’s identity.

Silk (2023) #5 – See Guide to Silk. I was shocked to learn I am not one but two series behind on my favorite Spider-Person, Silk! I assume this is set after her role in Slott’s “End of the Spider-Verse” arc in Spider-Man (2022) where we learn more about her place in the multiversal web of life… but that didn’t really change her own status quo all that much.

Silver Surfer Rebirth: Legacy (2023) #1 – See Guide to Silver Surfer

Spider-Gwen (2023) Annual 1 – See Guide to Spider-Gwen. If you’re confused about this annual, you’re not the only one! Marvel temporarily drops the “Ghost Spider” moniker for Gwen, plus there’s no ongoing volume to correspond with this Annual! Instead, it’s part of the loosely linked “Contest of Chaos” annuals spinning out of Scarlet Witch (2023) Annual 1. Here, Spider-Gwen fights White Fox, as penned by Karla Pacheco & Stephanie Phillips – which honestly sounds like a lot of fun.

Star Wars (2020) #38 – See Guide to Star Wars, The Expanded Universe Comics (2015 – Present). I remain behind on all-thing Star Wars until I stop being behind on all things Marvel, so no commentary from me on this one.

Star Wars: Dark Droids (2023) #2 – See Guide to Star Wars, The Expanded Universe Comics (2015 – Present)

X-Men (2021) #26 – See Guide to X-Men, The Age of Krakoa. This is the second issue after the stunning events of the Hellfire Gala, featuring a peculiar team that includes both Kate Pryde and Kamala Khan – Ms. Marvel! I’m still about five issues behind on this title – having just finished the Brood arc that fits with the Captain Marvel collection above. I’ll say that in general this run has been big, fluffy, X-Men adventures with amazing artwork that tap into major Hickman plot points while going light on character work. If that’s what makes an X-Men book great to you, then you’ll dig it.

Marvel Comics September 6 2023 Digital-First Comic Releases

This is a list of projected releases based on the recent digital release schedule; actual releases are not confirmed until they show up on the Marvel Unlimited app.

These releases are exclusively available on the Marvel Unlimited app – you cannot access them from a web browser even if you have a subscription! They also haven’t been quick to be released in print, though we’ve now see print versions of a few of these series trickle out a year or more after they were released.

Avengers Unlimited Infinity Comic #62
Love Unlimited Infinity Comic #66
Marvel Meow Infinity Comic #19
Marvel’s Voices Infinity Comic #67
X-Men Unlimited Infinity Comic #103

The post New Comics & Collected Editions: Marvel Comics – September 6, 2023 appeared first on Crushing Krisis.

Posted 11 Sep 2023 22:31 by Pacheco News | News | No comments

Pacheco takes over Mexican-American Studies class

Following the departure of Mr. Stephen Paulson last year, Ms. Izbeth Pacheco is taking over and teaching the highly acclaimed Mexican-American Studies history class.

In the past years, Mexican-American Studies had been a fan-favorite class among the students at West. Passing the class in previous years would have resulted in you getting college credit since the class was considered a college course. With Paulson’s departure, the class does not have the dual enrollment option, so many are wondering about the state of the class.

The class and club were initially made possible by Paulson. When Paulson left, many people felt their culture would no longer be represented within the school. “Ms. Pacheco is one of the best young teachers in District 6…Her passion for the class and the students is what will make her successful and make MAS the best it’s ever been in its time at West.”, stated Paulson. “She is the ideal teacher for Mexican-American Studies.”

Pacheco is now the face of MAS at Greeley West, and she is representing it proudly and loudly. “I’m happy to be the face of the program…I’ll be able to do a lot more as in my vision for the club and have it grow even more,” Pacheco explained. “We will be able to showcase our culture even more and allow our students to grow the club/class.”

Senior Sergio Garcia is one of the students taking the course with Pacheco. “The class is a breath of fresh air compared to other classes. The class allows me to learn the truth about my culture, and the truth about how we are treated in the US, no other class teaches me that,” Garcia stated.

Pacheco is opening new doors for Latinos at Greeley West, even going as far as proposing a Mexican school dance for Mexican Heritage Month. Pacheco is making sure Mexican American Studies will continue to be an amazing course, and she is making sure that the Latino students are always well represented at Greeley West.

Posted 11 Sep 2023 21:52 by Pacheco News | Pachecos | No comments

This week’s new Comics and Graphic Novels

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Gels | Free Full-Text | Study of Polyvinyl Alcohol Hydrogels Applying Physical-Mechanical Methods and Dynamic Models of Photoacoustic Signals

Feature papers represent the most advanced research with significant potential for high impact in the field. A Feature
Paper should be a substantial original Article that involves several techniques or approaches, provides an outlook for
future research directions and describes possible research applications.

Feature papers are submitted upon individual invitation or recommendation by the scientific editors and must receive
positive feedback from the reviewers.

Editor’s Choice articles are based on recommendations by the scientific editors of MDPI journals from around the world.
Editors select a small number of articles recently published in the journal that they believe will be particularly
interesting to readers, or important in the respective research area. The aim is to provide a snapshot of some of the
most exciting work published in the various research areas of the journal.

This study aims to understand how the dynamic model of PA signals and the optomechanical properties of hydrogels vary with two molecular weights (MWs) and different concentrations of PVA. The study analyzed the peak-to-peak amplitude, arrival time, and speed of sound of the PA signals. The physical parameters and state-space models (SSM) were estimated from these signals to determine the damping ratio (absorption capacity), natural frequency (energy transfer through the sample), density, and modulus of elasticity. The optical absorption

(μ_{a})

and scattering

(μ_{s})

coefficients were determined using an integrating sphere. Apart from the SSM, the density and the modulus of elasticity were calculated using physical variables and a tensile device. Finally, the ImageJ program and MATLAB were used to calculate the porosity distribution of the microscopic images.

According to the PA theory, the propagation of acoustic pressure

p (\vec{r}, t)

at position

\vec{r}

and time t is governed by the wave equation:

(\nabla^{2} - \frac{1}{c^{2}} \frac{\partial^{2}}{\partial t^{2}}) p (\vec{r}, t) = - \frac{β}{C_{P}} \frac{\partial H (\vec{r}, t)}{\partial t},

(1)

where $c$ is the speed of sound, $β$ is the coefficient of thermal expansion, $C_{p}$ is the specific heat capacity at constant pressure, and $H (\vec{r}, t)$ is the thermal energy distributed within the heated region during radiation per unit time. By considering that thermal and stress confinement conditions were met [24] and following a point-source model [25], the generated PA wave at the surface ( $\vec{r} = 0)$ follows that:

\frac{\partial^{2}}{\partial t^{2}} p (t) + α^{2} \frac{ξ + \frac{4}{3} η}{ρ} \frac{\partial}{\partial t} p (t) + a^{2} c^{2} p (t) = Γ \frac{\partial H (t)}{\partial t},

(2)

where α is a propagation constant, $ρ$ is the density, $ξ$ is the bulk viscosity, $η$ is the shear viscosity, and $Γ$ is the Gruneisen parameter.

(3)

This research aims to provide researchers and clinicians with the tools for constructing hydrogels with varying densities and porosities by adjusting the concentration and molecular weight (MW) to mimic the macro and microenvironment of tissues and enable imaging development. A PVA-based photoacoustic hydrogel was developed using light absorption and speed of sound, optimizing concentration and molecular weight to obtain characteristic optical properties of tissue. The hydrogels were characterized by microscopic imaging methods, mechanical properties, and optical parameters to validate versatility in contrast with a dynamic model.

When the PVA concentration increases, the hydrogel diameter expands, and there is a noticeable change in the time-of-arrival sensitivity of PA signals, as seen in Figure 1 and Table 1. Moreover, this time is related to the speed of sound; therefore, it also experiences a slight variation when changing the concentration of PVA, see Table 1. The amplitude of the PA signal is directly related to absorption. Therefore, an increase in PVA concentration results in a higher amplitude of the PA signal, as observed in Table 1.

Our results are supported by studies showing consistent values for the speed of sound [7,28] and PA amplitude [29]. However, it is important to note that while other researchers changed freezing cycles to determine the speed of sound and PA amplitude, we varied the concentration of PVA.

The N4SID algorithm was applied to the measured signals to provide a dynamic model of the samples under study. According to the algorithm presented in Section 4.3, the model order is determined by the SVD of the block Hankel matrix. The N4SID algorithm retrieved a significant magnitude for the measured PA signals for two singular values [30]. The PA signals are fully described by two states of the SSM in Equations (4) and (5), which leads to a model-order

\hat{n} = 2

, for both MW. This makes sense since, according to the subspace identification, the magnitude of the singular values of the data monotonically decreases to zero after the second component. Moreover, this behavior only allows one to capture helpful information about the system and neglects the small singular value related to measurement artifacts and noise.

In order to evaluate the performance of the estimated SSM, the normalized root mean square error (NRMSE) was computed as follows:

N R M S E = (1 - \frac{‖y_{P A} (t) - y (t)‖}{‖y_{P A} (t) - {\bar{y}}_{P A} (t)‖}) \cdot 100,

(6)

where $y_{P A} (t)$ is the measured signal, $y (t)$ is the output of the SSM, and ${\bar{y}}_{P A} (t)$ its mean value. Figure 2 depicts the bar plots of the mean NRMSE for the two MWs to assess the similarity between the measured signal and the output of the SSM. In all cases, the estimation accuracy is higher than 95% (horizontal dashed line), thus indicating that a second-order SSM accurately approximates the PA signal for the PVA samples.

In the following, we will discuss the influence of PVA concentrations on the PA signals and their relationship with the SSM parameters.

The eigenvalues of the system matrix give the damping ratio. Physically, the damping ratio is dimensionless, defined as how much energy is consumed or how fast the pressure wave dissipates. Therefore, the damping represents the ability to absorb energy after the excited PVA sample. Interestingly, with the proposed SSM estimation, we can directly retrieve this mechanical feature for the measured samples using the PA effect. Figure 3a,c shows the relation between the damping ratio and PVA concentration for the MW1 and MW2, respectively. From there, one can see that

ζ

exhibits a linear relationship with the concentration of PVA, described by a linear model with above 97% accuracy. This trend could be explained by the fact that the damping ratio reflects the ability of the PVA sample to absorb energy from the pressure produced by the PA effect. Therefore, the PVA concentration could also be related to the elastic behavior of the samples.

Hydrogels’ optical stability depends on their absorption and scattering capacity of near-infrared light, which varies with concentration. Increasing PVA concentration improved absorption capacity for both MWs. MW1 has a lower

μ_{a}

and higher

μ_{s}

coefficient for 7% and 9% concentrations, while higher concentrations of 12%, 15%, and 20% have higher

μ_{a}

and lower

μ_{s}

coefficients. MW2 has similar

μ_{a}

and

μ_{s}

coefficients for all concentrations except for 7% and 9%, with higher

μ_{a}

and lower

μ_{s}

coefficients than MW1. These hydrogels mimic tissue optical properties and aid in diagnosis and treatment using optical techniques such as PA and integrating sphere.

This section presents the results of the porosity distribution (number of pores versus diameter) for the MW1 and MW2 samples. The diameter range of the pores identified in the samples for different concentrations of PVA was from 10 to 80 µm. The increase in the concentration of PVA leads to a decrease in the diameter of the pores and, consequently, the number of pores. High MW samples have greater cross-linking due to more polymer chains; therefore, the pore diameter decreases. The porosity distribution for the samples of the two MWs fits a LogNormal curve with a value R² = 0.998, as shown in Figure 4a,b. Each measurement is the average of four samples.

The histograms in Figure 4b,c display the distribution of porosity, categorized into two groups: small diameters ranging from 0–10 µm, 10–20 µm, and 20–30 µm, and larger diameters ranging from 30–40 µm, 40–50 µm, 50–60 µm, 60–70 µm, and 70–80 µm. The number of pores is higher for smaller diameters, notably within the 0–10 um range. As the concentration of PVA increases, the number and diameter of pores decrease. This trend is also observed in the MW2 samples, where increasing PVA concentration leads to fewer pores, as shown in Figure 4e,f. The differences in the measurements may be attributed to the composition of the various sample cuts.

When the samples have high concentrations and MW, their physical-mechanical properties improve and become more viscous. However, this also leads to a higher reduction in permeability. Our findings can assist in selecting the optimal parameters for PVA hydrogels in biopolymer applications.

Figure 5a shows that higher concentrations increase density due to decreased porosity, as previously discussed. The densities of MW2 are slightly higher than those of MW1. In both MWs, the densities of the 9% samples are slightly higher than those of 7%. However, the increase in density is more significant for the 12% and 15% samples compared to the 7% and 9% samples. The increase in density between 15% and 20% of MW1 is very smooth. The standard deviation of the density values is due to the porosity distribution of the four layers cut from the hydrogel wall for each concentration.

The concentration of PVA directly impacts the modulus of elasticity and density. As the concentration of PVA increases, the modulus of elasticity also increases. The modulus of elasticity increases significantly for higher concentrations of PVA, as seen in Figure 5b. It is important to note that measurement variations may occur due to cutting different sections from the hydrogel wall.

For comparison purposes, we investigated the relationship of the elasticity modulus and density with the damping ratio and natural frequency, respectively, as shown in Figure 6. From Figure 6a, one can see that the damping ratio exhibits a quasi-linear inverse relationship with the elasticity modulus as the concentration grows for both MWs. This situation indicates that the concentration of PVA is related to the samples’ elasticity; therefore, the damping ratio could be an effective parameter to characterize it using the PA effect. On the other hand, from Figure 6b, the natural frequency is inversely related to the sample density for different concentrations. In particular, using the natural frequency of the PVA samples, it is possible to infer the density of the samples, as suggested by the PA model in Equation (2).

This study found that the concentration and MW changes affected the polymeric network’s cross-linking and the hydrogels’ dimensions. For that reason, the arrival time shifted toward longer times with increasing PVA concentration, and the amplitude of the PA signal increased, whereas the latter was due to the superior PVA absorption. A similar behavior was observed for the MW2 samples but with an amplitude slightly more pronounced. Moreover, as the speed of sound is related to arrival time, it displayed variations with increasing PVA concentration. Additionally, a subspace identification (SI) algorithm allowed for the recovery of state-space models from the temporal and frequency profile of the PA signals containing the sample’s biophysical information. There was a similarity between the measured signal and the SSM signal using the NRMSE, which allowed for capturing valuable details about the system and depreciating small noise-related singular values. Based on the damping ratio, it was observed that an increased concentration of PVA resulted in higher energy absorption capacity of the hydrogels under the PA effect for both MWs. Concerning the natural frequency, it was observed that higher PVA concentration led to increased energy transfer in the hydrogels for both MW. Intriguingly, the damping ratio and natural frequency correlated with the modulus of elasticity and density. These properties were observed to increase with higher PVA concentration.

On the other hand, as the concentration of PVA increased, the

μ_{a}

coefficients also improved while the

μ_{s}

coefficient decreased slightly. Nevertheless, the MW2 samples exhibited minimal changes in their

μ_{a}

coefficients and optical

μ_{s}

, remaining almost steady. These results provide further evidence for the conclusions drawn from the PA method. From the distribution results of porosity, density, and modulus of elasticity, it can be concluded that the physical-mechanical properties of the hydrogels were improved as the concentration of PVA and MW increased. This study aimed to enhance the characterization of hydrogels with varying PVA concentrations and MW through diverse methods. The goal is to create hydrogels as phantoms that can be applied explicitly in tissue simulation and imaging.

To obtain the hydrogels with different concentrations, two steps were followed:

Figure 7c shows a microscopic image (Nikon optical microscope, 40X objective, 10X eyepiece) of a 10 µm thick film that was obtained from the PVA hydrogel wall, and it was dehydrated for 24 h. Figure 1d shows the same film but hydrated with one drop of pure water, where it is observed how the pores are filled with this solution. The PA signals obtained in this study were from the empty hydrogel and with propagation medium, 12 mL of SS or sodium chloride (NaCl), 0.9% (Baxter, Jiutepec, Morelos, Mexico).

As PVA hydrogels have high water absorption capacity, the coupling with immersion transducers is excellent since these are used to being in contact with water.

The PA signal amplitude is related to the PVA concentration and arrival time with the hydrogel’s porosity distribution (number and diameter of pores) by varying the concentration.

(9)

(11)

The problem here is, given a set of PA signal measurements, to estimate the parameters of the SSM using subspaces of the matrices presented above. For this purpose, the SSM can be rewritten in matrix notation as the following system of linear equations:

Y_{p} = Γ_{i} X_{p} + H_{i} U_{p},

(13a)

Y_{f} = Γ_{i} X_{f} + H_{i} U_{f},

(13b)

X_{f} = A^{i} X_{p} + Δ_{i} U_{p},

(13c)

where Equations (13a) and (13b) define past and future outputs as a linear combination of previous states and the extended observability matrix. On the other hand, Equation (13c) relates the future and past states given the system matrix $A$ .

Now, the algorithm aims to estimate the subspaces of the matrix

Γ

and the state sequence

X_{f}

, which can be obtained from data projections. Let

O_{i}

be an orthogonal projection defined by

O_{i} = Γ_{i} X_{f},

which can be computed by the projection of the future output onto the subspace of past data in the direction of future input as:

O_{i} = Y_{f} /_{U_{f}} W_{p},

(14)

(18)

For this setup, we utilized an integrating sphere (ISP-50-8-R-GT Ocean Optics) with an internal diameter of 13.46 cm and a wall reflection coefficient of m = 0.98. This sphere played a vital role in determining the power that the detector received under different illumination conditions. Using mathematical equations based on integrating sphere theory, we estimated this power for each beam and then determined the total reflectance and transmittance of the sample.

To determine the directional-diffuse reflectance, we compared the power reflected in a directional-diffuse illumination setup (beam 2) to the power detected in a diffuse-diffuse illumination setup (beam 1). This reflectance value is represented as:

R_{c d} = m P_{r} / P_{d}

(19)

Table 4 presents the optical properties of the hydrogel samples as a function of the PVA concentration, as described by Equations (19)–(21). The optical properties under consideration include diffuse-directional reflectance (R_cd), diffuse-directional transmittance (T_cd), and coherence transmittance (T_c)—each sample with a width of 100 µm.

In the case of MW1 samples, it was noticed that the R_cd decreased as the concentration of PVA increased. This decrease was particularly significant at higher PVA concentrations, with the lowest value of 0.14 ± 0.01 observed at 15% PVA. However, at 20% PVA, the R_cd increased again to a value of 0.34 ± 0.01. These findings suggest that the concentration of PVA plays a crucial role in determining the reflectance behavior of the samples. Similarly, the T_cd showed a similar pattern, with a general decrease observed as the concentration of PVA increased. At 7% PVA, the T_cd was 0.47 ± 0.01, which gradually decreased to 0.41 ± 0.01 at 15% PVA. For the highest concentration of 20% PVA, the T_cd rose again to 0.44 ± 0.01. These results indicate that the PVA concentration affects the samples’ transmission properties, with a decrease in transmission observed at higher concentrations. Furthermore, the T_c component of these samples is negligible.

The data analysis of MW2 samples shows similar trends to those observed in MW1. When the concentration of PVA increases from 7% to 15%, the R_cd reaches its lowest point at 12% and then slightly increases at 15%. This implies that there is a non-linear relationship between Rcd and PVA concentration. The T_cd remains stable at 0.34 ± 0.09 as the PVA concentration rises from 7% to 12%, indicating that changes in PVA concentration do not significantly impact this range. Nevertheless, at 15%, T_cd decreases to 0.29 ± 0.16, suggesting that higher PVA concentrations could significantly impact this parameter. Finally, Tc generally increases as PVA concentration increases, with a slight decrease at 12% followed by a rise at 15%.

The inverse Monte Carlo method [35] was then employed to calculate the hydrogels’

(μ_{a})

and

(μ_{s})

coefficients. This method compared the measured values of reflection (R_cd) and transmission (T_cd and T_c) coefficients with the ones generated by proposing a set of optical properties of the medium. The optimization was guided by the downhill simplex algorithm, emphasizing the importance of suitable initial parameter values for convergence.

This study analyzes the distribution of porosity in nine hydrogels (MW1: 7%, 9%, 12%, 15%, 20%, and MW2: 7%, 9%, 12%, 15%). The results section displays histograms for all hydrogels analyzed.

Four samples measuring 1 cm × 1 cm × 0.2 cm were cut from one of the PVA hydrogel walls to determine the density and elasticity modulus (Young’s modulus). The density was measured using the equation

ρ = m / V

according to Archimede’s principle and the elasticity modulus of Young’s modulus

(E = σ / ε)

was determined using a traction device developed by the Research and Technological Development Unit of the General Hospital of Mexico “Dr. Eduardo Liceaga”.

Disclaimer/Publisher’s Note: The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of MDPI and/or the editor(s). MDPI and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.

Ramírez-Chavarría, Roberto G., Argelia Pérez-Pacheco, Emiliano Terán, and Rosa M. Quispe-Siccha.
2023. “Study of Polyvinyl Alcohol Hydrogels Applying Physical-Mechanical Methods and Dynamic Models of Photoacoustic Signals” Gels 9, no. 9: 727.
https://doi.org/10.3390/gels9090727

Posted 11 Sep 2023 19:31 by Pacheco News | News | 1 comment

ecommerce site layout/ expert ecommerce website design business in Australia

ecommerce web site style/ expert ecommerce website design firm in Australia

Therefore, you internet site requires an effective ecommerce site layout. A well developed ecommerce web site is a way by which to offer items, with or without a physical store front – from publications to broccoli or bus tickets to financial.
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Posted 11 Sep 2023 17:03 by | Uncategorized | 9 comments

LIVE: Juventus Turin – Eintracht Frankfurt Frauen

Die Eintracht Frauen treffen im Finale des UWCL Qualiturniers auf Juventus Turin.
Im Deutsche Bank Park geht es nun um das Weiterkommen in die nächste Runde. EintrachtTV überträgt live.

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Tagged: kurzgesagt

Posted 11 Sep 2023 13:39 by Pacheco Staff | News | 10 comments

The Marvel Rundown: It’s Medieval Mayhem in SPIDER-GWEN ANNUAL #1

This week’s Marvel Rundown jumps into the ongoing Contest of Chaos, joining Spider-Gwen and White Fox as they duke it out in the latest summer annual. This review is SPOILER-LITE, so jump on down to the Rapid Rundown for some Spoiler-Free reviews of Amazing Spider-Man, Fantastic Four, and X-Men!

What did you think of this week’s batch of fresh Marvel Comics issues, True Believers? The Beat wants to hear from you! Give us a shout-out, here in the comment section or over on social media @comicsbeat, and let us know what you’re thinking.

Spider-Gwen Annual #1

Writer: Karla Pacheco
Artists: Rosi Kämpe & Marika Cresta
Color Artist: Irma Kniivila
Letterer: Ariana Maher
Cover Artist: R1c0

Contest of Chaos – Part 5
Writer: Stephanie Phillips
Artist: Alberto Foche
Colorist: Raúl Angulo

This week’s installment in the Contest of Chaos summer smackdown takes us back to medieval times (and I don’t mean dinner theatre), as Spider-Gwen and White Fox square off to defend their respective kingdoms.

I’m not completely familiar with the premise of this event, but I’m thankful that Spider-Gwen is just as out of place as I am. The issue begins in medias res, as Gwen recounts how she found herself in this medieval world, something White Fox also later does. Stories like these stay fun when it’s possible to jump into an issue without too much context, and Karla Pacheco manages that balance throughout the opening sequence.

However, the issue feels a bit too disorienting, jumping from scene to scene without any great explanation. We follow Gwen and Ami as they try to retrieve a mysterious orb and escape the strange trap they’ve found themselves in, slowly realizing they’re in Questworld, an abandoned Japanese amusement park. I know this is meant to confuse us, but the switch from setting to setting leaves me lost as opposed to invested as to where we’ll wind up next.

Rosi Kämpe and Marika Cresta, along with colorist Irma Kniivila, do a great job of keeping this story engaging, with well choreographed action and exciting locales. The opening page is drawn to look like a tapestry, and it’s a real standout from the issue. Their styles don’t completely line up, but Kniivila’s colors maintain consistency between both at the point where they swap duties. Ariana Maher is on letters for both stories, and does a great job of differentiating the tones from one to the other.

The stakes don’t ramp up until the very end of the issue, which somewhat hurts the piece. This is, by and large, a standard ‘beat up then team up’ story that doesn’t twist or play with that setup in the slightest. The ending is interesting (I won’t spoil it here), but it’s a conclusion that could be expected from the kind of issue this is supposed to be.

The backup is from Stephanie Phillips, Alberto Foche, and Raúl Angulo; this does a good job of staying compelling even if it’s only three pages. The ongoing mystery of chaos magic and what it’s doing to the Marvel Universe is very interesting, and having a POV character like Spider-Man allows us to learn alongside him at every revelation. I think reading all of the annuals in this story back-to-back might make parts of this repetitive, but on its own, this caught me up to the story in a way that felt additive, rather than distracting.

Verdict: STRONG BROWSE. There’s a lot of fun to be had here, but there’s not a ton of variation from any of the other versus stories that are already out there.

Rapid Rundown!

Next Week: Matt Murdock returns in Daredevil #1!

Posted 11 Sep 2023 12:31 by Pacheco News | News | 17 comments

Internet site Blogging Why Not Take A Shot At It

Web site Blogging Why Not Take A Shot At It

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If you’re uncertain regarding what they are as well as if this company of blog writing is for you, a fast journey to an internet search engine as well as a question on it will certainly lead you to those demands and also policies. Why not offer it a shot? All you require is a little wit as well as suitable writing abilities to get involved in web site blog writing.

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Posted 11 Sep 2023 10:03 by | Uncategorized | 9 comments

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