Google Nexus 7 tablet is 7-inch quad-core HD movie, book and game machine

1 hr.

Wilson Rothman

Just as?Google's developer conference was getting started, details of the company's?rumored Nexus 7 tablet emerged. As previously reported, it is a 7-inch tablet powered by a Nvidia?Tegra 3 quad-core processor?that will run Android 4.1 Jelly Bean, and come in 8GB ($199)?and 16GB versions ($249). You can order today, but it ships in mid-July.

The display is true high-def ? 1280x800, so a bit better than 720p ? and there's a front-facing 1.2-megapixel camera and microphone?for video chatting, though there's no rear-facing camera. (That's okay -- do you really take pictures with tablets?) It also has a micro?USB port, GPS, near-field communication and both Wi-Fi and Bluetooth. There's no mention of an SD card slot for expanding the memory, however.

Not surprisingly, it was built by (and even branded)?Asus, the manufacturer that had already?made the most headway with quad-core gamer-friendly Android tablets. (See our video on the Transformer Prime below.)

Clearly, at a starting price of $199, the Nexus 7 is positioned to compete with the similarly 7-inch?Kindle Fire, rather than taking on the 9.7-inch?iPad (and the 10.6-inch Surface tablet from Microsoft). And because, with all of those tablets, content seems to be the biggest incentive, Google is playing up the Play store, even granting early buyers $25 in Google?Play credit and "some great free content" including "Transformers: Dark of the Moon." Even if you don't think any of the "Transformers" films is truly "great," it is nice to see Google aggressively pushing content, even adding TV shows and magazines to their lineup. Tablet buyers need a reason to buy a tablet.?

Google has (presumably temporarily) made the above video private, along with the following links to the?8GB and 16GB versions on Google Play. They will be back up soon, though, so keep trying. Here are screenshots of those pages to tie you over in the meantime:

--?Via TechCrunch and The Verge

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Israel plan to move settler homes raises eyebrows

JERUSALEM (AP) ? The thought of having Jewish settler homes demolished on his watch has propelled Prime Minister Benjamin Netanyahu to promise a radical ? some say ludicrous ? way to sidestep a Supreme Court order to raze 30 apartments built illegally in the West Bank.

After it evacuates settlers from five apartment buildings in the Ulpana outpost this week, the government has promised to slice the structures from their foundations and move them to a West Bank site nearby, where they will be reassembled.

Construction specialists say transplanting the buildings ? three-story concrete structures faced with stone and topped with red tile roofs ? would squander huge sums of money and be infinitely more complicated than destroying and rebuilding them.

Netanyahu came up with the plan after the government was ordered to dismantle the outpost. People close to the prime minister say he believes that preserving the homes will ease the pain for the families.

The Israeli Supreme Court ordered the government earlier this year to destroy Ulpana after determining it was built on privately owned Palestinian land.

"By the first of July, the plan is to have the buildings vacated and sealed," a government official said this week, speaking on condition of anonymity about a project whose details have not been finalized. "The prime minister said he wanted these buildings relocated, not destroyed."

The Palestinians claim all of the West Bank, which Israel captured in the 1967 Mideast war, as part of a future state. The Palestinians, along with virtually all of the international community, consider all Israeli settlements to be illegal or illegitimate.

In Israel, any talk of uprooting settlements, now home to more than 500,000 Israelis, is contentious. The government divides the settlements into two categories ? those it authorized and those it did not. There are more than 100 authorized settlements and another 100 or so unauthorized outposts, some little more than a few trailers on a hilltop and others, like Ulpana, made up of concrete apartment houses.

Most settlers do not make that distinction, opposing demolition of any Israeli structure in the West Bank.

The unusual Ulpana arrangement is an attempt by the pro-settler Netanyahu to avert the prospect of destroying a settlement and battling its residents, who started packing their belongings and moving out of the buildings on Tuesday.

Transplanting the buildings would solve that problem, but at a staggering cost, experts say.

Specialists familiar with this type of operation say it would require slicing the buildings with huge circular blades, chopping them into smaller pieces, transferring them by crane to massive flatbed trucks and hauling them to their new location, where they would be reassembled like a puzzle. The sawing alone would take a week for each building and cost $125,000 for apiece for the five structures, said one of the specialists, speaking on condition of anonymity because final plans for the project have not yet been set.

That expense would just be the starter.

"Sawing is not the problem. The problem is how to put them together again," because the slicing would cut through electrical wires, plumbing, structural rods and other parts of the apartment, forcing a large-scale reconstruction, said Israel David, vice chairman of the Israeli Association of Construction and Infrastructure Engineers.

"It's absurd," he said, estimating that total costs could go as high as $25 million to relocate 30 apartments that could be rebuilt for $150,000 apiece.

The technique has been used in Israel before. In 2005, Israel moved five historic homes in the center of Tel Aviv to widen a road.

Shay Tzadik, a 20-year veteran of the sawing business, said he appreciates the sentiment behind what Netanyahu is trying to do, but thinks it's beside the point.

"If it was an archaeological site, it would be worth the investment," Tzadik said. "But why do it?"

___

Blake Sobczak contributed reporting from Ulpana.

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Malian rebel leader injured in clashes

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Video: Presidential Race Heats Up Over Health Care

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Medi home health - HEALTH, BEAUTY & FITNESS

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Mind Control Question Answer: Hypnosis and NLP | JustBeWell Blog

Whatever your answer is to the question, imagine for a few moments that you can now easily control your own mind.
What if being in control of your mind was as easy as opening and closing a door, or being in the flow like when you do something you find really easy, or climbing a few stairs, going up each simple step in time, in rhythm, or how about even closer to the meaning of rhythm, being carried on a murmuring silver escalator or closer still the way water finds its way naturally from its source to the sea? Soon you would most likely begin to sniff out new levels, tastes, landings, directions, tempos and viewpoints to add more spice, rhythms and generally just jazz things up, wouldn?t you.

With easy control of your own mind what would be different for you?

Would you be more YOU and more authentic, developing your passions, doing things you totally love doing, seeking out mentors and learning more, travelling and experimenting with new things, more motivated, slimmer, fitter, calmer, wiser and happier and how much fun would that all be? See now how you would look, stand, move, how would you sound and notice what you are doing, where you are and who you are with.

How good do you feel now thinking of this projection?

Give this feeling a number (10 out of 10 for the best feeling) and notice what number you choose. Okay! Now let?s move on, and find out what exactly are the steps to control our own minds and thoughts and how exactly a session with a hypnotist and NLP practitioner can be helpful.

External sources include everything in the environment around you. Aristotle (384 BC) is credited with stating that we have five main senses. So for example the woman in the photo below could hear all of the sounds around her, say of the photographer moving, even a plane far away; could see the lemon colour and interesting textures and everything all around; could feel the texture and weight of the fruit and the studio lights warm on her skin; could smell the juice, the rind, the pith and the environment around; and could also taste the acidic juice.

?

Do you remember the first time you tasted lemon?

As you watch these babies tasting a lemon for the first time you will notice how each of the individuals had a different experience, environments, parents and siblings way of giving the lemon and their response to the babies response. Many of these babies were supported and encouraged to experiment by smiling loving parents while others were surrounded by giggling older siblings. It follows therefore that how each baby filtered, categorized, stored (the V,A,K,O,G loop of data), responded to the event, remembered what happened from their viewpoint and how others responded (to their behaviour) is entirely personal to them. Because tasting lemon juice is such a powerful first experience the babies were probably most aware of using their senses of smell and taste and they were probably less aware of how they were using their other senses. In the book ?Frogs into Princes?, Richard Bandler and John Grinder write

?Our claim is that you are using all systems all the time. In a particular context you will be aware of one system more than another. I assume that when you play athletics or make love, you have a lot of kinesthetic sensitivity. When you are reading or watching a movie, you have a lot of visual consciousness. You can shift from one to the other.?

And if indeed we ?code? our experiences and create our own thoughts so it would seem that we can gain control of our own minds. In the quote above the point is made that we can shift from using one sensory system to another. We use movement, expressions, non- verbal signals and language to both label and express our view about our experiences.The words that we choose relate to the representational system that we are accessing as we speak.

Internal sources include everything that you have taken in and made sense of through using your senses (memory) and created (imagination). So for example you most likely enjoy lemon and know now as an adult what to expect. This knowledge comes from your memory, so we could say that it is internal stored information. If someone told you that a new pink striped lemon that tasted of strawberries was for sale in the shops you would most probably picture it and imagine its taste, you might notice that your mouth and nose move as you imagine this new fruit or you might notice imagined sounds, internal dialogue or the noise of the shop. We use our imagination to build this type of construction and we use information from our memory as our building blocks.

What thoughts, sensations do you notice and what words come to mind when you think about tasting a fresh zingy lemon?
The illustration above gives you some idea of how language reveals which internal sensory system (V, A, K, O, or G) the person is ?thinking in? at that moment. An NLP practitioner will listen very carefully to you and use your chosen representational systems, (along with other information, and their knowledge and skills) to choose which NLP processes will be the most effective and comfortable for you. During a session your own awareness of how you have been doing things will increase and often highly important insights are gained. Once you have become aware of this processing it becomes easier to shape yourself. I first learnt about these concepts when I read the following words in Bandler and Grinder?s book ?Frogs into Princes?.

?Let me talk a little about how language works. If I look at you and say ?Are you comfortable? you can come up with a response. The presupposition of your being able to respond congruently to my question is that you understand the words that I am speaking. Do you know how you understand the word ?comfortable? for example?

Woman: Physically

You understand it physically. You sense some change in your body which is distinctive. That shift in your feeling state is distinctive from ?terrified?. That?s a different response.

She senses a change in her body as a way of understanding the meaning of the word ?comfortable?. Did anyone else notice how they understand it? Some of you will see visual images of yourself in a comfortable position: lying in a hammock, or lying on the grass in the sunshine.And a few of you may even hear the sounds which you associate with comfort: the babbling of a brook, or the wind blowing through some pine trees.

In order for you to understand what I am saying to you, you have to take the words ? which are nothing more than arbitrary labels for parts of your personal history ? and access the meaning, namely, some set of images, some set of feelings, or some set of sounds, which are the meaning for you of the word ?comfortable?. That?s a simple notion of how language works, and we call this process transderivational search. Words are triggers that tend to bring into your consciousness certain parts of your experience and not other parts.?

What do you associate with Lemon?

Over the years since your first encounter with a lemon you will have come across other ?external events? which you will have linked with that initial experience. For example a friend remembered a lovely lemon coloured toy that she loved as a child and that her grandmother used lemon to clean her house and as an insecticide. She also remembered reading that researchers at Ohio State University found that when participants in an aromatherapy study smelled lemon oil, their mood improved and yet no physiological reason for this has ever been discovered.

What story do you tell yourself?

The lyrics of Bono?s song ?Yellow? are based on a home video of his mother wearing lemon yellow. She died when he was 14 and the more I listen to the song the more I wonder about his experience. Poets, singers and artists often make work about the connections in their thinking and their life experiences. It is these experiences and our responses to (and feelings about) these events that determine how our brains and lives develop.

?

Lemon

See through in the sunlight
She wore lemon
But never in the daylight
She?s gonna make you cry
She?s gonna make you whisper and moan
And when you?re dry
She draws her water from the stone

And I feel
Like I?m slowly, slowly, slowly slipping under
And I feel
Like I?m holding onto nothing

She wore lemon
To colour in the cold grey night
She had heaven
And she held on so tight

A man makes a picture
A moving picture
Through the light projected
He can see himself up close
A man captures colour
A man likes to stare
He turns his money into light to look for her

And I feel
Like I?m drifting, drifting, drifting from the shore
And I feel
Like I?m swimming out to her

Midnight is where the day begins
Midnight is where the day begins
Midnight is where the day begins

Lemon
See through in the sunlight

A man builds a city
With banks and cathedrals
A man melts the sand so he can
See the world outside
her there
A man makes a car
destination
And builds roads to run them on
A man dreams of leaving
But he always stays behind

And these are the days
When our work has come assunder
And these are the days
When we look for something other

Midnight is where the day begins
Midnight is where the day begins
Midnight is where the day begins
Midnight is where the day begins
Midnight is where the day begins

Midnight is where the day begins
Midnight is where the day begins
Midnight is where the day begins
Midnight is where the day begins
Midnight is where the day begins

A man makes a picture
A moving picture
Through the light projected
He can see himself up close
her there
A man captures colour
destination
A man likes to stare
there
He turns his money into light
To look for her
She is the dreamer
She?s imagination
Through the light projected
He can see himself up close

Your brain also connects smells, sounds, feelings, emotions and other sensations which also make the neural connections stronger. The brain is considered ?neuroplastic? or changing because in responds to life experiences, and then alters its structure and function. Our brain is constantly learning, altering and adapting. But the more you use and re-trace parts of your ?neural network?, the function appears to be ?hard wired? or automatic. ?Use it or lose it?, ?practice makes perfect? and ?repetition is the mother of all learning?, are not just an expressions, they are neurological facts.

Knowledge allows you to become aware of the brains power to change and become the observer. Neuroplasticity makes it easier to do some things ?automatically? ? You can also break synaptic connections by not using the neuro pathway. Neural pruning is the term that is used to describe neurons dying off when not being used.?

Many people say that learning about NLP and hypnosis can enable you to become more flexible, gain control over your thoughts, change your associations with past experiences, exercise the ideas that you want and build strong neural pathways so these thinking patterns come more and more easily, and with these helpful behaviours you can achieve your goals whatever they are, whether they are to deeply relax or become more brilliant. So you can learn NLP and hypnosis to become

• more aware,
• more flexible,
• more creative
• more resourceful
• more able to behave how you want to,
• happier and more joyful
• more playful
• more successful
• more balanced
• more relaxed
• more knowledgeable
• self controlled

So how exactly can learning hypnosis and NLP help us gain self control?

(to be continued ..)

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William Friedkin Talks Killer Joe

Killer Joe, the twisted new thriller from director William Friedkin (The Exorcist, The French Connection), hits cinemas in the UK this week.

It tells the story of ?Killer? Joe Cooper, a Dallas detective who earns cash on the side as a hitman. His services are procured by Chris (Emile Hirsch), a lower-than-low-level drug dealer wanting to off his mother in order to cash in on her life insurance possibility.

Trouble is, Joe demands advance payment, which Chris can?t afford. In steps Chris? young, damaged, virginal sister Dottie (Juno Temple), who?s offered as a retainer in a bargain with Joe. Needless to say, things don't quite go to plan?

Guaranteed to stir violently animated post-viewing debates, the film is at turns sadistic and brutal, and gasp-out-loud funny, with Friedkin ratcheting up the tension towards an unbelievable climax.

The smart, talkative Chicago native spoke warmly about the movie in his captivating trademark drawl, covering everything from filmmaking inspiration, movie censorship, working with McConaughey and Temple, and the controversy that frequently surrounds his work.

Read the full William Friedkin interview below.

How did you decide to make Killer Joe your next film?

?I love Tracey Letts? [screenwriter and playwright, Killer Joe] work, and we have the same worldview. We see the world in the same way. So when he sent me the screenplay I was quite ready for it.

?And, it?s sort of a reaction, in a way, against the kind of films that Hollywood?s making. It?s certainly not a send-up to the audience, but it is something of a send up to the Hollywood kind of product, which for the most part today I just feel completely disconnected from.

?I think that the films that we make in America today are for teenagers; they?re comic books and videogames.?

Killer Joe?s open to quite a broad range of interpretations?

?Everything?s open to interpretation. What?s important to me, after you see a film, is a kind of catharsis. Not resolution, but you?ve had an experience, it?s been intense. And that?s what I want out of a film. I may be in a minority in wanting that.

?A lot of people just want pure escapist entertainment, and that?s great. That?s fine too, but it?s not what I?m interested in.?

Had you seen the play before you got the screenplay?

?I saw it later. There happened to be a small production of it in Los Angeles, in a little out-of-the-way, 40-seat theatre, and it was very good. Very well done.

?But no, I wasn?t that familiar with it until I read his screenplay.?

Were you at all nervous at how cinemagoers might respond to the nature of the characters and some of the more controversial content?

?No! You can?t be nervous about something you?re going to do. It had great appeal for me. I thought it was wonderful, and was happy to be making a film of it. I wasn?t nervous about it at all.

?You never know how people are going to react, but you always hope they?ll appreciate what you do, or at least be moved by it in some way. Because that?s what I want from the experience, to be moved.?

The film was given the NC-17 certificate in the US, do you still get bothered by censorship or do you have more of a laidback attitude now?

?No, I wear the rating proudly. I think it has distinguished the film from the pack, and there was no way we could have gotten a lesser rating other that to destroy the film. To do what the American generals said we had to do in Vietnam which was to destroy the country in order to save it.

?I would?ve had to destroy Killer Joe in order to save it. Cut it to ribbons. And I just didn?t feel comfortable about doing that.?

Your films have often attracted controversial reactions. Does part of you enjoy it when you stir up feelings like that, or do you get a bit bored with it?

?No, I?m happy when people talk about the films I?ve made, when they?re moved to some emotion by them. That?s why I make them, because they provoke an emotion in me and I like to share that. That?s all.

?I don?t expect sheer love from the audience after they see a film of mine. It?s not like Spielberg, who makes a film like E.T. and becomes beloved. That?s not my nature. By the way, I think Spielberg?s a great filmmaker.?

Can you elabourate on the comparisons you made between Killer Joe and a fairytale narrative?

?Well it?s sort of loosely made based on the Cinderella story. Every little girl everywhere in the world dreams of becoming Cinderella some day, and being swept off her feet by Prince Charming. Taken out of her dire circumstances where her parents don?t understand her, and there?s an evil stepmother.

?And every little boy, at one time or another, dreams of being Prince Charming and taking his loved one out of their circumstances and turning them into a princess.

?So that?s a common myth that children have. To me, Killer Joe is a twist on that and this Cinderella finds her Prince Charming, but he happens to be a hired killer.?

Some people have read analogies of Greek tragedies into Killer Joe, did you see any of that?

?No, I didn?t see that in it. I don?t identify it with any particular Greek tragedy. I never thought about that. It?s just about what it is. It?s not a metaphor for anything else.?

And how was it working with Matthew McConaughey? Do you think he?s at his best when he moves away from the safer romcoms and plays sleazier, edgier characters?

?That?s what he wants to do: to act. And if you?re as good looking as he is and you make your way into Hollywood as an actor, all that they want or expect from you is to be good looking, show up, take your shirt off and convincingly make love to the leading lady. You don?t have to act. Because he was ? is ? so good looking, he made a fortune doing just that.?

Juno Temple also gives a standout performance in this film?

?She?s great. She?s sent in an unsolicited audition video, where she read some of the scenes, or acted some of the scenes with her 10-year-old brother. And, I?d never heard of her. My casting director brought this video in and said, ?Why don?t you have a look??

?I was going to go with one of three other actresses at the time, and then I saw her audition and I immediately said, ?Let?s sign her.? I hadn?t met her, and I?d never seen her in a film.

?I didn?t know who she was, until this tape came in, and then I found out who she is, and what she did was exactly what I was looking for.?

Do generally audition all the roles in your films, or do you often go after someone specific?

?No, I?ll often go after someone unless something happens like with Juno Temple where they?re just a gift from the movie god. And she was. I wish I could say I knew her work and I went after her, but that?s not the case at all.?

Matthew McConaughey said you had a real energy on set, how do you keep that going?

?By staying healthy. Clean living! I don?t do drugs, I don?t drink a lot. I?ve never done drugs, never even tried drugs and I try to maintain as healthy a regimen as possible.

?And it?s only by the grace of God that I?m still moving around and able to do that, because it is a young man?s game. I was very young when I started making television shows and then films.

?And, yeah, it takes a lot of energy, because you can?t have your energy flagging on the set at all, or the whole thing will go off a cliff.?

And do you still have your ?two takes only? rule when it comes to shooting?

?To me, it?s a one-take rule. Unless something goes wrong, like if a shot?s out of focus or moving too much, or a light falls down into the shot or something, somebody on the street makes a face at the camera? Otherwise I won?t do another take, because I believe in spontaneity.

?I used to do 20 takes like everybody else and I found in the cutting room that I would use the first printed take. And that?s where the spontaneity was, and I realised that I was more interested in spontaneity than perfection and so that?s what I go after now.?

And do you find that your actors respond well to that approach?

?Yeah, this group did. Some actors want to do endless takes, experiment, do the line readings completely differently, and what they?re doing is trying to find their characters as you?re making the film. And what I prefer is that the actors come to know their characters before we shoot the film.?

Are you still more inspired by music than by other films? And has the work you?ve done in opera influenced your filmmaking?

?No, the opera?s haven?t, but, yes, certain music has definitely inspired me more than films. The music of Stravinsky, for example, and Miles Davis.

?And I must say that for a time, the music that I listened to ? which was across the board, it was almost everything ? had an effect on me that would inspire me to make a film.

?I mean there was one film I saw early in my career when I was still directing television, Citizen Kane, and that made me want to be a filmmaker. Absolutely.?

You talked about Killer Joe being different to a lot of the Hollywood product that?s out there at the moment. Are there any films you?ve seen in the last couple of years that you?ve particularly enjoyed?

?I mostly watch older films that I consider classics. What have I enjoyed? I like Paul Thomas Anderson?s films. He?s got a new film called The Master that I?m anxious to see. And I like the Coen brothers? films.

?But most of the films that I care about and see over and over again are older films, most of them from the ?40s and ?50s.

?And I love the old Hollywood musicals. I wish I could?ve made some of those, really. Instead I?ve gone off and done these misogynistic films about demonic possession and murder and sin and death.?

Killer Joe opens in UK cinemas on Friday 29 June 2012.

Read our Killer Joe film review.

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