#toc 2021

[eggmeralda]

thumbnail that says "staying in my band until I feel appreciated" and the video is 3 years long

[zerosconsort]

Zero's Fic Binding - Archive Anthology - Stony Volume 1

A collection of fics all written by Areiton (@areiton)

let me hear (your battle cry) | chains around my daemons | monsters of sea & sky | inspired | muse

Fandom: Marvel

Ship: Steve Rogers / Tony Stark

Start Date: 10/07/24

End Date: 11/25/24

Pages: 355

First Archive Anthology book. This is a collection of 5 of my favorite Arei Stony fics. They are all also from 2021, which I did not mean to do but just so happen to realize as I was typesetting. I wanted to start this proof of concept project with someone who I A) knew and B) would be cool with me using their fics as a test.

So, the cover. She's beautiful. For the AA series, I want the covers to be the uniform - so every Stony book will copy this cover type, but the colors will shift to blue and white for Vol 2, and then back to red and gold for Vol 3. I sketched out the Iron Man that I wanted myself and made an SVG for the first time, leave me alone, adding the swoosh marks to him and to Steve's shield. I wanted a simple, classic looking font for a universal text title. This book series wont have quotes on the back so instead I have a full spread of the graphic. Tony's the icon on the spine this time - and I think he looks great~

Ah! The side shot. I used my guillotine for the first time - so the chop on this bitch is CHRISP. Headband is gold and handstitched. The whole side profile? Crispy like fall leaves.

Title page shots. A TOC (that I only notices was a little low after I had printed both copies) with a new and customized copyright page. I looked at a bunch of pages in the Renegade Bindery discord and compiled something that felt right AND specific to this project going forward.

Typesetting this was not…bad. It did take a while while I worked out fonts and overall ideas, but ones I had them I was able to fly through. There are quite a few here, so lets take a peak...

I kept Let me hear a little simple - with more medieval drop caps and banner headers. This fic is the only one with a nontypical drop caps - but with how simple the titles were I wanted a little bit more. I also - as per my standard - did this fic first, and then started to dig down and get more complicated the further in I got.

Chains has a little more flavor - each chapter has a splash of color. Originally I had hyper detailed headers for this fic, but they just look like SO MUCH, and I couldn't figure out a way to make them look uniform with the different daemons I was showcasing. Scaling back with a flash of color, but not to much, feels much better for this fic. Also realized that I need to figure out how to trim to what my printer considerers a 'full page'.

mos&s has a little more character for the headers, where I pull peace out from each chapter to add to the title. This chapter header - and the last one - are my favorite. I used hand drawn lines to highlight under each chapter title, and pulled a color for the splash image to match with both that line and the matching line breaks in the chapters.

inspired is told from Tony's point of view - so I kept the chapter titles black and white, with harder linework and a focused idea from in each of the chapters.

In contrast, muse is told from Steve's POV - so every chapter header is an explosion of color. They're all based on a variety of art mediums - spray paint, stamp art, charcoal, oil pints, anything I could find that I remember ever doing myself. I also colored each of the drop caps a contrasting color to what the header art is.

All in all, I'm very happy with how this came out. This is the blueprint I'll use for any of my Anthology books going forward. I already have at least three more in mind for Stony specifically, and then a collection of Raven Boys and Good Omens ones that are not long enough to be a book by themselves but I still want THEM ON MY SHELVES.

Thank you again Arei - your wonderful <3 Go read Arei's fics ASAP!

[beardedmrbean]

At least 110 mostly elderly people have been brutally murdered by gang members in the Haitian capital, Port-au-Prince, according to a human rights group.

The National Human Rights Defence Network (RNDDH) said a local gang leader had targeted them after his son fell ill and subsequently died.

The gang leader reportedly consulted a voodoo priest who blamed elderly locals practising "witchcraft" for the boy's mystery illness.

The United Nations said the number of people killed in Haiti so far this year in spiralling gang violence had reached "a staggering 5,000".

Warning: This story contains details some readers may find upsetting

While details from the massacre are still emerging, the UN's human rights chief Volker Türk on Monday put the number of people killed over the weekend "in violence orchestrated by the leader of a powerful gang" at 184.

The killings happened in the Cité Soleil neighbourhood of the capital.

According to reports, gang members seized scores of residents aged over 60 from their homes in the Wharf Jérémie area, rounded them up and then shot or stabbed them to death with knives and machetes.

Residents reported seeing mutilated bodies being burned in the streets.

RNDDH estimated 60 were killed on Friday while another 50 were rounded up and murdered on Saturday, after the gang leader's son had died of his illness.

While RNDDH said that all the victims were over 60, another rights group said some younger people who had tried to protect the elderly had also been killed.

Local media said that elderly people believed to be practitioners of voodoo had been singled out because the gang leader had been told his son's illness had been caused by them.

Rights groups said the man who had ordered the killings was Monel Felix, also known as Mikano.

Mikano is known to control Wharf Jérémie, a strategic area in the port of the capital.

According to Romain Le Cour Grandmaison, a Haiti expert at the Global Initiative against Transnational Crime (GI-TOC), the area is small but hard for the security forces to penetrate.

Local media said that residents had been prevented from leaving Wharf Jérémie by Mikano's gang, so news of the deadly killings was slow to spread.

The group forms part of the Viv Ansanm gang alliance, which controls much of the Haitian capital.

Haiti has been engulfed in a wave of gang violence since the assassination in 2021 of the then-president, Jovenel Moïse.

Data gathered by GI-TOC shows there was a decline in the murder rate between May and September of this year, after rival gangs had reached an uneasy truce.

But attempts by the gangs to expand their territory beyond their strongholds in the capital have led to particularly bloody incidents in the past two months, with ordinary residents rather than rival gang members being increasingly targeted.

On 3 October, 115 locals were killed in the small town of Pont-Sondé in the Artibonite department.

That massacre was reportedly carried out by the Gran Grif gang in retaliation for some residents joining a vigilante group to resist attempts by Gran Grif to extort locals.

If confirmed, the death toll given by the UN for this weekend's killings in Cité Soleil, would make it the deadliest incident so far this year.

With gangs in control of an estimated 85% of Port-au-Prince and increasingly large swathes of the countryside, hundreds of thousands of Haitians have been forced to flee their homes.

According to the International Organization for Migration, more than 700,000 people - half of them children - are internally displaced across the country.

Gang members often use sexual abuse, including gang rape, to sow terror among the local population.

In a report published two weeks ago, Human Rights Watch researcher Nathalye Cotrino wrote that "the rule of law in Haiti is so broken that members of criminal groups rape girls of women without fearing any consequences".

Attempts by the Kenyan-led Multinational Security Support Mission to quell the violence have so far failed.

The international police force arrived in Haiti in June to bolster the Haitian National Police but is underfunded and lacks the necessary equipment to take on the heavily armed gangs.

Meanwhile, the Transitional Presidential Council (TPC) - the body created to organise elections and re-establish democratic order - appears to be in turmoil.

The TPC replaced the interim prime minister last month and seems to have made little progress towards organising elections.

"They reign over a mountain of ashes," GI-TOC's Romain Le Cour Grandmaison writes of the council in his report.

[anchesetuttinoino]

Obscurans...

Lo abbiamo già detto nel 2021. Per quanto dovremo ribadirlo? Toc Toc Sig.ra Boldrini non ha nulla da dire? (…) “Dobbiamo smettere di fingere che i talebani siano cambiati”, ha ammonito McMaster. “La nostra autoillusione ha portato molti ad abbracciare un capovolgimento orwelliano della moralità considerando i terroristi jihadisti come partner. (…) I talebani sono intenzionati a imporre una…

[myuin390]

A few things, one MrDrNose probably sat on the information like he did with Olivia's and Candace's ages, along with much more of ABIBAZ lore (https://www.tumblr.com/cornedbread/755850455682285568/merry-christmas-to-me-and-the-entire-dollex-and). There wasn't any evidence that anybody asked him about Angell's age before 2021, so he could have very well made her 18 before then. Two, this relies on her having a predatory age gap with MrDrNose, which there isn't.

Link: https://eternitydev-games.fandom.com/wiki/Angellica#cite_note-3

Links: https://www.disabled-world.com/disability/publications/printables/girls-weight-chart.php https://www.verywellhealth.com/average-height-for-women-8420952#toc-average-height-of-women-in-america-vs-worldwide

Based on the average height for adult women and the fact that Alice herself is Angell's height, we can reasonably assume that Angell is at least on the older end of the spectrum. Her height also hasn't notably changed between games, meaning that if she was 160 it in 2020, she was 160 in 2018. Based on the lockers she's 10+ because lockers aren't in middle schools. Based on how tall she is, we know she's atleast 14. Considering the fact that this game is 16+ making a protagonist that's under 16 is just weird, so 14 and 15 are out despite being very close to 160. Angell's age range is 16-18. You can't call him a p-do because she's around the same age as him during these events. There's no evidence to say that she wasn't 18 at the start or just aged up as he got older because he didn't like writing a character that young.

Also I just wast to emphasize how he probably did make her 18 earlier and that Olivia is 19 as of that info dump. The info dump was also likely made during the time that ABIBAZ remastered was being made.

Some middle schoolers could recognize it and some adults in their 30's couldn't, what's your point? She's not under 14. Even you think she's underage she's not under high school age.

Look, MrDrnose could be gross about kids but neither this point or the point about Olivia prove it. Also just to talk about Scrina because I know this is going to be brought up, MrDrnose posted a picture of Scrina wearing plaid underwear and a bow tie while looking embarrassed. It could be seen as fetishization but to me it just looks more like embarrassment. Plaid isn't a sexualized pattern and wearing underwear doesn't seem inherently sexual, especially considering that she doesn't have a human form. It's like putting underwear on a toaster or a bear. I could consider it gross if there were other actual instances of MrDrnose acting like this. It's weird, it can be used to reinforce that he's inappropriate with his teenage characters, but I don't think it has enough to consider him disgusting on its own.

[aricastmblr]

Jungkook cantando canciones de Jimin - Lie - Promise - Serendipity - Filter    - Christmas Love - With you - Vibe feat Jimin  -   Angel Pt.1 FastX

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

Jungkook Vlive 2017.04.22. 꾸기 라이브🐰🐇  - Lie

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

BTS_twt 30 ene. 2019 - Promise by Jimin

그리고 지민씨도 피해갈 수 없습니다.

Y Jimin tampoco puede escapar

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

-BTS ‘LOVE YOURSELF 承 Her’ Fansign ( Aladin Event) 22 Sept 2017 Jimin and Jungkook-Serendipity

-MCountdown jimin y jungkook - Serendipity

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

-  BTS (방탄소년단) 'BREAK THE SILENCE: THE MOVIE COMMENTARY PACKAGE'  (Commentary ver.) 2021 - Serendipity

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

-HAPPYJINDAY Vlive 4 Dic 2020 llamada con jimin y estaba con jungkook - serendipity(04122020- jin vlive llamada a jikookkookmin que iban a casa)

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

-InTheSoop2 Ep.2 2021 Jungkook - Serendipity 

    ☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

-Bts world tour love yourself speak yourself the final dvd 2019 - Serendipity

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

-2022 SEASONS GREETINGS JK estilo-Serendipity

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

JK💜 Vlive 7 marzo 2021 - Filter

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

[BANGTAN BOMB] 2021 FESTA Exam Behind the Scenes - BTS (방탄소년단) -  Christmas Love by Jimin - Sobok, sobok  16:35min

https://youtu.be/QlAPYyVue-g?t=995

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

[BTS VLOG] Jung Kook l CAMPING VLOG 2022 - With you 15:28min

https://youtu.be/4M5jGbVfItE?t=928

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

Jungkook weverse live 1 febrero 2023   - Vibe feat Jimin 22:40min

잘 지내셨습니까 - Have You Been Well  - ¿Has estado bien?  

https://weverse.io/bts/live/2-113198481

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽   ☼˖☽

jungkook weverse live cantando set me free pt.2 - cantando-tarareando like crazy del primer álbum de jimin face

JK

BTS

03.27. 11:53

슈취타

Suchwita

https://weverse.io/bts/live/3-115956451?hl=en

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽   ☼˖☽

el nos dio pistas en sus weverse lives y ni uno ni en-cuenta  T T

JK

BTS

03.23. 13:06  

배고파요 ... 첫끼 ... 불금 ...

Tengo hambre... primera comida... viernes (tgif)

https://weverse.io/bts/live/3-115684831?hl=en

☼˖☽  ☼˖☽ ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽  ☼˖☽

jungkook weverse live 24 Mayo 2023  -  Angel Pt.1 FastX

Knock Knock  - Toc Toc  

https://weverse.io/bts/live/1-119598161

[thuocdantoc-vn]

Sau một thời gian chuẩn bị, Hợp tác xã Nam dược Thuốc dân tộc Bắc Kạn đã chính thức khởi công xây dựng, đưa vào trồng thí nghiệm các dược liệu quý bản địa. Dự kiến đến tháng 10/2021 Hợp tác xã sẽ đi vào khai thác.

https://thuocdantoc.vn/thuoc-dant-toc-khoi-cong-xay-dung-hop-tac-xa-nam-duoc-bac-kan.html

[diario-vespertino]

“La salud mental es tabú, si decís que estás medicada te tachan”

Actriz, dramaturga y artista multifacética, Maruja Bustamante escribió y actúa una obra que aborda sus padecimientos psicológicos. Una conversación en profundidad sobre la doble moral del ambiente teatral, la discriminación hacia las corporalidades no hegemónicas y la escasez de tramas con protagonistas gordas. Maruja Bustamante es una artista multifacética imposible de encasillar. Actriz de cine, teatro y televisión, performer, escenógrafa, guionista, directora, dramaturga y docente en la Escuela Municipal de Arte Dramático (EMAD), donde dicta Taller de Dramaturgia, espacio que antes de jubilarse ocupaba el histórico Mauricio Kartun.  Desde que arrancó a actuar, a los ocho años, no ha parado. Hoy Maruja está terminando de filmar una película en la cual las protagonistas son una reina y una princesa gordas, con la presencia de otras corporalidades no hegemónicas; el estreno será en una nueva edición del Festival Asterisco. También dirige “Alicia por el momento”, que se podrá ver en Timbre 4 (México 3554, CABA) los lunes de mayo y junio a las 21, y está a punto de estrenar otras tres obras: “Adiós, cyborg, amor”, de Belén Gatti, y las dos restantes de su autoría (“Chacha San Pietro y  “Potencia Gutiérrez”). Uno de sus mayores desafíos recientes fue escribir y actuar “La casa oscura. Un documental sobre la salud mental”, que se estrenó en 2021, giró por distintos escenarios y se presentará en Caras y Caretas (Sarmiento 2037, CABA) el miércoles 19 de abril. Con una larga trayectoria arriba de los escenarios, asegura que no fue fácil llevar al teatro un tema que continúa siendo motivo de estigmatización y discriminación hacia quienes son diagnosticadxs.

–¿Cómo surgió hacer “La casa oscura”? –Hace varios años que quería hacer algo así y me costaba porque el tema es muy tabú y, además, para cualquier cosa que quieras hacer, si decís que estás medicada, te tachan. De mí han dicho ‘ojo que Maruja está medio loca, entonces mejor que no venga’, cuando, en realidad, todo el mundo se medica. Traté de hacer cosas sobre salud mental, pero todo lo que se me ocurría me parecía una porquería, hasta que un día me llamó Mariela Asensio y me dijo ‘Maruja fui al psiquiatra y me diagnosticaron TOC’. A ella la conozco desde los 20 años, somos colegas que siempre nos encontramos porque tenemos intereses similares. Me lo contó porque una vez me escuchó hablar de lo que me había pasado. En 2012 tuve un surmenage con ataques de pánico, visiones y casi me internan. Me costó 10 años ver cómo hablar de eso y la recuperación fue un montón. Ella tiene TOC nivel Dios, de los que cierra la puerta 70 veces y me dijo que se sentía muy mal. Quería hacer una obra y que yo la acompañe, porque sentía que sola no iba a poder. La obra trata de nuestros diagnósticos y de cómo hicimos o cómo hacemos para sobrellevarlos, en tono de comedia. Es un show documental sobre la salud mental porque tiene un tono cómico, también tiene momentos tristes, pero depende, hay gente que va y llora todo el tiempo porque se siente muy identificada. Hablamos de los tratamientos, de la familia, del trabajo, porque lo que tiene la salud mental es que de repente atraviesa toda tu vida y tenés que ver cómo convivir con el mundo y con eso que te está pasando.  "No podemos salir haciéndonos las divas, muchas personas nos esperan y nos quieren abrazar." –Y también convivir con personas que no entienden lo que te pasa. –Claro, a mí me han dicho ‘con Maruja no porque le agarra eso que le agarra y no puede hacer nada’. Yo tenía muchos pánicos, entonces de repente quedaba paralizada y se me estigmatizaba. Llegué a tener pánico escénico, eso fue lo más triste que me pasó. Llegaba al teatro y no podía salir al escenario. Cancelé funciones, entonces obviamente me odiaban y todos decían ¿qué le pasa? Durante la pandemia varios de esos que hablaban de mí tuvieron un ataque de pánico, no querían salir de la casa y me llamaban pidiendo perdón. ‘Maruja yo hablé muy mal de vos en ese momento, no entendía qué te pasaba’, me dijo una colega. Lástima que primero tuvo que pasarle para que se diera cuenta. Si hubiese más información no pasaría eso. Como docente pienso que por suerte estoy yo, porque otro profesor a mis alumnos con esos episodios los hubiese dejado libres. 

–Imagino que, por lo poco que se trata la temática de la salud mental, tuvo buena recepción la obra. –Sí, es muy fuerte todo lo que nos pasó. Un día vino de incógnito Carla Vizzotti, la ministra de Salud. Cuando terminó la obra dijo que nos quería saludar, nos dio un abrazo y me dijo: ‘Te quiero pedir disculpas porque el sistema médico no te supo contener’, porque en un momento en la obra me quejo de eso. Yo veía que alguien lloraba mal en primera fila, pero no sabía que era ella. Ahora nos lleva a congresos de salud mental en el país para que mostremos la obra a profesionales, directores de hospitales, jueces. Yo pensaba 'hagamos esta obra para sacarnos todo y si ayudamos a una persona ya soy feliz', pero después me di cuenta que estamos ayudando a muchas personas con esta obra. También hacerla lo sentimos como una responsabilidad. Una vez vino una mamá con su hija que estaba teniendo muchos pánicos. Cuando salí la chica lloraba y me preguntó ‘¿te puedo abrazar?’, la abracé y me dijo ‘¿me decís algo?’. Y le dije 'vas a salir, por lo menos es lo que me pasó a mí, salís sí o sí'. Me decía 'gracias' y lloraba, fue muy fuerte. No podemos salir haciéndonos las divas, muchas personas nos esperan y nos quieren abrazar. "Llegaba al teatro y no podía salir al escenario. Cancelé funciones, entonces obviamente me odiaban y todos decían ¿qué le pasa?" Trayectoria en movimiento A los seis años Maruja empezó danza y a los ocho le dijo a su mamá que quería ser actriz. Empezó con talleres de actuación en la Asociación Cristiana de Jóvenes, donde iba a nadar, porque su mamá no conocía otros espacios de teatro. Por una de esas suertes de la vida, Maruja vivía en el mismo edificio que la actriz y dramaturga Ana María Giunta y a la mamá de Maruja se le ocurrió preguntarle dónde podía llevarla. Giunta le recomendó que estudiara en el Instituto Vocacional de Arte Manuel José de Labardén y al año siguiente ya había ingresado; también pasó por el Club del Teatro. Luego se formó con Helena Tritek, su maestra de actuación, y también con Graciela Dufau y Ricardo Bartís. A los 22, una amiga le recomendó hacer un casting para una obra de José María Muscari que se llamaba “Catch”: “Entré a 'Catch' después de una audición en Parque Chacabuco que fue muy feroz y había un montón de pibas. Esa fue la primera obra que hice con Muscari; hice cuatro más con él, eran sus primeras obras”, recuerda Maruja. A los 25, ya había estrenado su primera obra como autora y directora, a la que llamó “No mires sin Mirta”. Cuatro años antes había debutado como directora en Teatro por la Identidad con la obra “Fronterizos”; sus compañeros le pidieron que la dirigiera. “Helena Tritek siempre me decía 'vos dirigí porque se te ocurren cosas'. Naturalmente siempre les decía a los actores 'ponete esto, hacé lo otro'. Helena y su hijo Hugo empezaron a estimularme para que dirigiera. En un momento, cuando estábamos haciendo unos cuentos de Silvina Ocampo en bibliotecas de la Ciudad, Helena se fue de viaje y nos dijo a todo el grupo 'me voy a ir, pero les dejo a Maruja como directora'. Ésa fue la segunda obra que dirigí y la llamé ‘Si no vuelvo no te asustes’; la hicimos en la fábrica IMPA”.

En paralelo, Maruja estudiaba Comunicación social en la UBA. Llegó a la mitad de la carrera, hasta que un profesor de la materia Taller de comunicación audiovisual le dijo “¿Qué haces estudiando esto?”. Dejó la UBA y entró a la FUC a estudiar cine, mientras seguía haciendo teatro. Estudió montaje, pero lo que más le gustaba era escribir guiones. Intentó ingresar a la Escuela Metropolitana de Arte Dramático, no lo logró y se puso a estudiar de nuevo. Volvió a rendir, entró y cursó una maestría en Dramaturgia en la Universidad Nacional de las Artes. Maruja es de esas artistas que está en formación constante. Ahora estudia en el laboratorio de Lyon y el año pasado cursó el Programa de Cine de la Universidad Torcuato Di Tella. Hizo, además, talleres de poesía y de canciones con Tommy Lebrero y con Rosario Bléfari. Pinta hace 12 años y aunque reconoce que dibuja mal, en la pintura encontró mucha tranquilidad. Fue una de la seleccionadas para realizar la residencia del Royal Court Theater de Londres que se hizo en Latinoamérica, un programa en el que participaron profesionales dramaturgxs de Argentina, Uruguay y Chile. "En el teatro siempre hubo una doble moral, es como que todos nos aceptamos como somos, pero después en las obras no hay representatividad." Gordofobia en escena Maruja apenas supera los 40 años y su trayectoria actoral alcanza las tres cifras. Participó en más de 110 obras, actuó en tv, cine y teatro, pero su universo profesional no termina ahí. Es una de las referencias ineludibles de la dramaturgia contemporánea en el teatro argentino, un espacio que tradicionalmente han ocupado los hombres. Maruja viene a romper no sólo con una estructura patriarcal, sino que además cuestiona los estereotipos corporales en escena: ¿qué lugar tienen los cuerpos gordos en la ficción?, ¿qué personajes les están vedados arriba de un escenario? En un ambiente donde parece que todo es aceptado, por las ranuras de las tablas de madera se cuela la misma gordofobia que reina en la sociedad.

–¿Cómo fue hacer teatro durante tu adolescencia, qué te pasaba con tu corporalidad?  –En el teatro siempre hubo y sigue habiendo una doble moral, es como que todos nos aceptamos como somos, hay algo de eso que nadie va a negarlo, pero después en las obras no hay representatividad, eso lo viví siempre. En la adolescencia me daba terror hacer castings, pensaba 'no voy a quedar', además mi papá me decía que perdía el tiempo, porque era una gorda asquerosa. Yo un poco luchaba con eso y quise buscar contención con mis profesores, uno me dijo 'vos tenés que aspirar a hacer comedia y personajitos con ese cuerpo que tenés, porque no te van a dar oportunidad de hacer otra cosa'. Era duro que me dijera eso porque cuando estudiás, estudiás como todes, todo, o sea, estudiás para hacer de Julieta, por dar un ejemplo. –¿Qué lugar tienen los cuerpos gordos en la ficción? –Hace unos años vengo analizando que lo peor que nos pasa a las corporalidades diferentes, sea cual sea –yo soy gorda, pero también a les afrodescendientes o quien sea–, es que no incidimos en la acción de los relatos, siempre estamos satélites y somos prescindibles en las historias. Lo importante de una obra es la acción, que le pase algo a los personajes, y a esos personajes no nos pasa nada. Es algo fuerte que se traduce y que viene de la sociedad. Vas a hacer de cocinera, no importa si cocinás o no. Ahora últimamente lo que nos pasa es solo eso, ser gorda. Te pasa que si sos gorda nadie te quiere, si sos judía tenés un montón de conflictos con el judaísmo, no tenés nada que resolver, el personaje no tiene ningún camino que recorrer, entonces es aburrido actuar. Yo hice de mucama incontadas veces. "Lo peor que nos pasa a las corporalidades diferentes, sea cual sea, es que no incidimos en la acción de los relatos, siempre estamos satélites y somos prescindibles en las historias." –¿Qué otros papeles te daban? –Hice de secretaria, recepcionista, cajera, también hice de friki, de gorda loca como digo yo. Estoy hablando en el audiovisual comercial. No me tocó mucho la gorda simpática porque tengo un tono medio oscuro, me parece, pero está ese arquetipo: me toca más la gorda que rompe cosas, mala, resentida y también hay una zona donde me hacen hacer de tierna y medio tonta. En el teatro he protagonizado algunas obras como, por ejemplo, “Todo tendría sentido si no existiría la muerte”, que hice con Mariano Tenconi; me va a odiar por decir esto, pero él me dijo 'te la escribí para vos porque para mí vos sos Liliana'. Yo me emocioné un montón, es muy halagador que te escriban una obra y le tengo mucho aprecio a Mariano, pero Liliana, el personaje que hacía, era francamente gorda. Cómo se vestía, un poco medio heavy metal, tomaba merca y tenía una camioneta, otro personaje se confundía y la quería besar y ella le decía ‘yo no soy lesbiana’. Ya ahí había un estereotipo de gorda que se viste medio masculina, que le gusta el heavy metal, es obvio que es torta, se manejó ese estereotipo. La obra hablaba de una mujer que está muriendo de cáncer y que su último deseo era hacer una película porno. Todos los personajes están sexualizados en la obra y en algún momento tienen un encuentro con alguien, menos Liliana. Ella solo filma la película, para mí eso fue un gesto, más allá de que era re divertido y Liliana es la que apoya al personaje principal a que haga su película porno, no participa de la película porno. Están todos haciendo la película porno menos la gorda. Cuando se lo señalé a Mariano le dije “es inconsciente lo que te pasa, Mariano, no vas a poner a la gorda a coger”. Es rarísimo, no pasa porque también nos aniñan.

–¿Creés que eso cambiaría si la persona que escribe o dirige esa obra tiene una corporalidad no hegemónica?  –Yo pasé por eso y hay que deconstruirse también. Hoy en día pongo corporalidades que me identifican, de hecho, ahora voy a estrenar en el Cervantes una obra que se llama “Potencia Gutiérrez” y uno de los personajes es Serena, que es la hermana de la bastonera del carnaval, que es como la diosa, reina. Ella es gorda, rapera y no le importa nada del carnaval ni los estándares de belleza. Es hermosa, tiene un enamorado y no sabe qué hacer con él. Tiene mucha acción en la obra, le pasan un montón de cosas, está sexualizada, no está aniñada. También me gustaba que la madre sea gorda, pero no sé si la actriz va a poder, me gustaba que sea una madre que fue reina del carnaval y que engordó, ese tipo de personas que de verdad existen. Las madres siempre son atléticas, pero las madres que tuvieron dos hijos no sé si están todas tan atléticas, por dar un ejemplo. De hecho, también dirigí la obra “Yegua”, que es sobre una lesbiana motoquera que se le rompe la moto, busca dónde guarecerse, se mete un convento y revoluciona a las monjas. Elegí una actriz gorda para ese papel y puse una yegua que era otra actriz gorda como para ver qué pasaba en una obra donde son todas gordas y una vez una directora de teatro me dijo '¿por qué no pusiste a alguien más sensual para hacer de tortón?', que es Melina, el personaje principal. Yo le dije que para mí Melina es re sensual. Ahí pasa esto de la doble moral. Salen de Teatro Abierto, todo bien, pero si hay unos momentos de desnudos o situaciones eróticas, prefieren a una flaca que a Melina. –¿Qué pensás del cupo, que ahora se usa mucho para ser políticamente correcte? Por ejemplo, en la tv o en el teatro, que son todas actrices flacas y una gorda. –Pienso que es muy aburrido y muy duro para esa persona que es el cupo, porque se da cuenta. A mí me ha pasado mucho también como dramaturga que, por ejemplo, hay un ciclo de dramaturgos en el Cervantes y somos ocho: siete varones y yo, como si yo fuera la representación de todo el pensamiento de las femenidades del mundo. Es un peso muy grande y en el caso del cupo gordo pasa lo mismo. No soy solo gorda, estudié, hice esto, lo otro. También lo que sucede mucho es que nos confunden porque no nos miran bien. Por ejemplo, con Karina Hernández es como si fuésemos una y ella me cuenta que le pasa lo mismo. Pienso que es porque no nos miran a la cara, porque no tenemos un pedo que ver.  ::: Estefanía Santoro para Revista Citrica /Fotos: Agustina Salinas::: Read the full article

[tinnhanhkinhte24h]

Giải quyết dứt điểm mặt bằng 3 cầu vượt cao tốc Vạn Ninh - Cam Lộ

Việc thi công 3 cầu vượt thuộc Dự án cao tốc Vạn Ninh - Cam Lộ đoạn qua tỉnh Quảng Trị vẫn đang bị vướng mặt bằng, nguy cơ ảnh hưởng đến tiến độ thông tuyến dự án vào ngày 30/4/2025.

Dự án cao tốc Vạn Ninh - Cam Lộ thuộc Dự án Đường bộ cao tốc Bắc-Nam phía Đông giai đoạn 2021 - 2025 có chiều dài gần 66 km, tổng vốn đầu tư trên 9.900 tỷ đồng, khởi công ngày 1/1/2023; trong đó, đoạn qua tỉnh Quảng Trị dài trên 32,5 km đi qua các huyện: Vĩnh Linh, Gio Linh và Cam Lộ.

Chủ đầu tư dự án là Ban quản lý Dự án đường Hồ Chí Minh. Tuyến chính của dự án đoạn qua tỉnh Quảng Trị đã hoàn thành giải phóng mặt bằng tháng 10/2024.

Thiết bị và vật tư được tập kết để thi công Dự án cao tốc Vạn Ninh – Cam Lộ đoạn qua xã Vĩnh Sơn, huyện Vĩnh Linh, tỉnh Quảng Trị. (Ảnh: Nguyên Lý - TTXVN).

Nguyên nhân do chưa thống nhất phương án hỗ trợ về đất và công trình cho các hộ dân bị ảnh hưởng bởi dự án.

Tại cầu vượt Quốc lộ 9D, thị trấn Bến Quan, huyện Vĩnh Linh còn 13 hộ dân kiến nghị tỉnh hỗ trợ về đất, công trình. Đây là những hộ dân có nhà ở sát cọc giải phóng mặt bằng, nhà ở có sự chênh cao giữa cốt hiện trạng và cốt hoàn thiện sau khi thực hiện dự án; không còn không gian để xây dựng các công trình phụ trợ phục vụ sinh hoạt như sân, tường rào, mái che. Ủy ban nhân dân huyện Vĩnh Linh đề xuất Ủy ban nhân dân tỉnh Quảng Trị đồng ý chủ trương hỗ trợ trên 9,4 tỷ đồng đối với 13 hộ này.

Giám đốc Ban quản lý dự án, Phát triển quỹ đất và Cụm Công nghiệp, Du lịch biển huyện Vĩnh Linh Võ Văn Trà cho biết: Căn cứ để hỗ trợ là theo Khoản 2, Điều 108, Luật Đất đai 2024 quy định: “Ngoài việc hỗ trợ quy định tại Khoản 1 điều này, căn cứ vào tình hình thực tế tại địa phương, Ủy ban nhân dân cấp tỉnh quyết định biện pháp, mức hỗ trợ khác để đảm bảo có chỗ ở, ổn định đời sống, sản xuất đối với người có đất thu hồi, chủ sở hữu tài sản cho từng dự án cụ thể.”

Theo đó hỗ trợ 100% đơn giá nhà ở, công trình xây dựng trên đất ở và 80% đơn giá nhà ở, công trình xây dựng trên đất nông nghiệp để các hộ, cá nhân di dời xây dựng lại nhà ở và công trình xây dựng phục vụ sinh hoạt ra phía sau phần đất còn lại.

Tại huyện Cam Lộ, việc xây dựng cầu vượt Quốc lộ 9 đoạn qua xã Cam Thủy có 28 hộ bị ảnh hưởng; cầu vượt Quốc lộ 9 đoạn qua xã Cam Hiếu có 78 hộ dân bị ảnh hưởng.

Đến đầu tháng 1/2025, một số hộ chưa thống nhất phương án hỗ trợ, chưa nhận tiền hỗ trợ hoặc còn kiến nghị được cấp đất tái định cư.

Theo Phó Chủ tịch Ủy ban nhân dân huyện Cam Lộ Trần Hoài Linh, địa phương sẽ sớm hoàn thành công tác giải phóng mặt bằng sau khi được Ủy ban nhân dân tỉnh và các sở, ngành xem xét, giải quyết các khó khăn vướng mắc.

Địa phương đã kiến nghị tỉnh và các sở, ngành chỉ đạo giải quyết các vấn đề như: giá đất để tính tiền bồi thường, hỗ trợ đất trong hành lang đường bộ; mức độ ảnh hưởng đối với các trường hợp sử dụng đất trong hành lang bảo vệ an toàn công trình; phần đất ngoài giấy chứng nhận quyền sử dụng đất chưa được bồi thường, hỗ trợ; tài sản, vật kiến trúc của các trường hợp tái định cư tại chỗ.

Ban quản lý Dự án đường Hồ Chí Minh đã kiến nghị Bộ Giao thông vận tải đề nghị Ủy ban nhân dân tỉnh Quảng Trị đẩy nhanh giải quyết bồi thường, hỗ trợ cho người dân để bàn giao toàn bộ mặt bằng cho dự án trong tháng 1 này.

Xem thêm: https://vietnammoi.vn/giai-quyet-dut-diem-mat-bang-3-cau-vuot-cao-toc-van-ninh-cam-lo-20251720235460.htm 

[automotiveanddefense]

Autonomous Bus Door System Market Report

Autonomous Bus Door System Market Report: Key Insights and Trends

Company Overview

Straits Research presents a comprehensive analysis of the Autonomous Bus Door System Market, highlighting its growth trajectory, key trends, and regional dynamics. This market, critical to the evolution of autonomous public transport, is set to transform urban mobility.

Get Your Exclusive Sample of the Autonomous Bus Door System Market Report Today starting at just USD 1850! : https://straitsresearch.com/report/autonomous-bus-door-system-market/request-sample

Industry Dimensions

The global Autonomous Bus Door System Market was valued at USD 6 million in 2021. It is poised for unprecedented growth, projected to expand from USD XX million in 2022 to USD 160 million by 2030, at an impressive compound annual growth rate (CAGR) of 44% during the forecast period (2022–2030). This explosive growth underscores the rising adoption of advanced mobility solutions in smart city initiatives.

For more details: https://straitsresearch.com/report/autonomous-bus-door-system-market/segmentation

Industry Key Trends:

Increasing focus on smart city infrastructure driving demand for autonomous public transport.

Advancements in door system technology ensuring enhanced safety and efficiency.

Rising adoption of electric buses propelling market growth.

Government initiatives supporting sustainable and automated transport solutions.

Integration of IoT and AI technologies to optimize door system functionality.

Growing investments in public transportation in emerging economies.

Detailed Table of Content of XX report: @https://straitsresearch.com/report/autonomous-bus-door-system-market/toc

Autonomous Bus Door System Market Size and Share

 The market’s exponential growth is driven by technological innovations and the need for efficient urban transit solutions. The surge in electric and autonomous bus adoption further amplifies the demand for advanced door systems, consolidating the market’s position as a pivotal component of next-generation transportation.

Autonomous Bus Door System Market Statistics:

2021 Market Value: USD 6 million.

Forecasted 2030 Market Value: USD 160 million.

CAGR (2022–2030): 44%.

Top players include KBT GmbH, Bode Sud S.p.A., and Ventura Systems CV.

Regional Trends:

North America: The region’s robust transportation infrastructure and early adoption of autonomous technologies position it as a leader in the market. The U.S. is at the forefront, with significant investments in smart city projects and sustainable transit systems.

Asia-Pacific (APAC): APAC is experiencing rapid urbanization and government-driven adoption of autonomous buses. China and Japan are major contributors, with their focus on reducing carbon footprints and enhancing public transport efficiency.

Europe: Europe’s emphasis on sustainability and technological innovation bolsters its market presence. Germany and France lead with strong manufacturing capabilities and government policies favoring autonomous mobility.

LAMEA (Latin America, Middle East, and Africa): The region shows promising potential, driven by growing urban populations and increasing investments in public transport. Countries like Brazil and the UAE are adopting smart transport solutions to meet urban challenges.

Autonomous Bus Door System Market Segmentations

By Bus Type:

Shuttle bus

City bus

Intercity bus

Coach

BRT (Bus Rapid Transit) bus

By Door Type:

Conventional doors

Folding doors

Sliding plug doors

Coach doors

Inward gliding doors

By Mechanism:

Pneumatic

Electric

By Level of Automation:

Level 4

Level 5

By Propulsion Type:

Internal Combustion Engine (ICE)

Electric

By Component:

Hardware:

Actuators

Door Controls

Door Panels

Seals

Door Accessories

Others

Software

Services

For more details: https://straitsresearch.com/report/autonomous-bus-door-system-market/segmentation

 Top Players in the Autonomous Bus Door System Market

KBT GmbH

Bode Sud S.p.A.

Circle Bus Door Systems Co. Ltd.

Masats LLC

PSV Transport Systems Ltd.

Shavo Norgren (India) Pvt. Ltd.

Transport Door Solutions Ltd.

Vapor Bus International

Ventura Systems CV

Schaltbau Holding AG

To purchase the report: https://straitsresearch.com/buy-now/autonomous-bus-door-system-market

[123567-9qaaq9]

Green Hydrogen Market Trends: Growth and Opportunities Through 2024-2033

Hydrogen itself is a versatile energy carrier, and it can be produced through various methods. Green hydrogen refers to hydrogen that is produced using renewable energy sources, such as wind, solar, or hydroelectric power, through a process called electrolysis.

The global Green hydrogen market was valued at $828.2 million in 2023, and it is expected to grow with a CAGR of 67.19% during the forecast period 2023-2033 to reach $141.29 billion by 2033.

Green Hydrogen Overview 

Green hydrogen represents a significant breakthrough in the field of renewable energy and sustainability. It is a form of hydrogen gas produced using renewable energy sources, distinguishing it from grey or blue hydrogen, which are derived from fossil fuels. The primary method for producing green hydrogen is through the electrolysis of water, a process that utilizes electricity generated from renewable sources such as wind, solar, or hydropower to split water into hydrogen and oxygen. 

Request a free sample report of the Green Hydrogen Market Trends

The Growing Market for Green Hydrogen - Market Demand Drivers 

Decarbonization Targets- Many countries have set ambitious net-zero emissions goals, with hydrogen seen as a critical solution to decarbonize sectors that are hard to electrify, such as heavy industry, shipping, and aviation.

Advances in Technology- The cost of producing green hydrogen through electrolysis has been steadily decreasing due to advancements in renewable energy technologies and electrolyzer efficiency.

Corporate Commitments- Major corporations, particularly in the energy, transportation, and industrial sectors, are committing to using green hydrogen as part of their sustainability strategies.

Government Supports and Policy Incentives- Governments worldwide are creating policies and providing incentives to promote the use of green hydrogen.

Download Complete TOC of the Green Hydrogen Market Trends

Green Hydrogen Market Segmentation 

1 By Application 

Oil and Gas 

Industrial Feedstock 

Mobility 

Power Generation 

Industrial Feedstock Application to Dominate Global Green Hydrogen Market 

2 By Technology 

Proton Exchange Membrane (PEM) Electrolyzer Alkaline Electrolyzer Anion Exchange Membrane Solid Oxide Electrolyzer

Alkaline Electrolyzer to Lead the Global Green Hydrogen Market (by Technology)

3 By Renewable Energy Source 

Wind Energy 

Solar Energy 

Others 

Solar Energy to Hold Highest Share in Global Green Hydrogen Market 

4 By Region

•    North America - U.S., Canada, and Mexico

•    Europe - France, Germany, U.K., Spain, Italy, Russia, and Rest-of-Europe

•    Asia-Pacific - China, India, Japan, Australia, South Korea, and Rest-of-Asia-Pacific

•    Rest-of-the-World (ROW) 

Get more market insights on Advanced materials and chemicals

Key Market Players

Linde plc

Air Liquide

Air Products and Chemicals, Inc.

Engie

Uniper SE

Siemens Energy

Green Hydrogen Systems

Cummins Inc.

Recent Developments 

• In 2023, Linde plc announced plans to increase green hydrogen production capacity in California, responding to growing demand from the mobility market.

• In February 2021, Air Liquide and Siemens Energy signed a memorandum of understanding with the objective of combining their expertise in proton exchange membrane (PEM) electrolysis technology. In this collaboration, both companies intend to focus their activities on key areas such as the co-creation of large industrial-scale hydrogen projects in collaboration with customers, laying the ground for manufacturing electrolyzers at large scale in Europe, especially in Germany and France, and R&D activities to co-develop next-generation electrolyzer technologies.

Conclusion

The Green Hydrogen Market stands at a pivotal point in its development, driven by the urgent need to address climate change and the global push toward sustainable energy. As countries, industries, and consumers prioritize decarbonization, green hydrogen has emerged as a key solution for achieving net-zero emissions, particularly in sectors that are challenging to electrify, such as heavy industry, transportation, and power generation.

With a combination of technological advancements, declining renewable energy costs, and strong government policies, the market for green hydrogen is poised for significant growth. The expanding role of corporate sustainability commitments, coupled with increased investment and international collaboration, is further accelerating the transition toward a hydrogen-powered economy.

[automotive-and-aerospace]

Collaborative Robots Market Report

Collaborative Robots Market Report

The global collaborative robot market size was valued at USD 808 million in 2021. It is expected to reach USD 3,142 million by 2030, growing at a CAGR of 18.5% during the forecast period (2022–2030). Collaborative robots, also known as cobots, are designed to work alongside humans in a shared workspace, enhancing productivity, efficiency, and safety.

Request a Free Sample: https://straitsresearch.com/report/collaborative-robots-market/request-sample

Market Categorization

The Collaborative Robots Market can be categorized into three main segments:

By Payload

Less Than 5 kg

5–9 kg

10–20 kg

More Than 20 kg

By End-user

Electronics

Automotive

Manufacturing

Food & Beverage

Chemicals & Pharmaceutical

Others

By Application

Material Handling

Pick & Place

Assembly

Palletizing & De-palletizing

Others

Geographic Overview

The Collaborative Robots Market is dominated by four main regions:

North America: The United States and Canada are the leading countries in this region, driven by the presence of major manufacturers and a strong focus on automation.

Europe: Germany, the United Kingdom, and France are the key countries in this region, with a strong emphasis on industrial automation and robotics.

Asia-Pacific: China, Japan, and South Korea are the dominant countries in this region, driven by rapid industrialization and a growing demand for automation solutions.

Rest of the World: This region includes countries such as Brazil, Russia, and India, which are emerging as key markets for collaborative robots.

Top Players of Collaborative Robots Market

Some of the top players in the Collaborative Robots Market include:

Universal Robots AS (Teradyne Inc.)

Fanuc Corp.

TechMan Robot Inc. (Quanta Computer Inc.)

Rethink Robotics GmbH

AUBO Robotics USA

ABB Ltd

Kawasaki Heavy Industries Ltd

Precise Automation Inc. (Brooks Automation Inc. )

Siasun Robot & Automation Co. Ltd

Stäubli International AG

OMRON Corporation

Epson Robots (Seiko Epson)

Festo Group

Buy Full Report: https://straitsresearch.com/buy-now/collaborative-robots-market

Key Unit Economics for Businesses and Startups

When considering the adoption of collaborative robots, businesses and startups should focus on the following key unit economics:

Cost Savings: Collaborative robots can help reduce labor costs, improve productivity, and minimize waste.

Return on Investment (ROI): Businesses should calculate the ROI on their collaborative robot investment, considering factors such as increased productivity, reduced downtime, and improved product quality.

Payback Period: The payback period for collaborative robots can vary depending on the application, industry, and company size. However, with the increasing demand for automation, the payback period is decreasing.

Total Cost of Ownership (TCO): Businesses should consider the TCO of collaborative robots, including factors such as maintenance, repair, and upgrade costs.

Detailed Table of Content: https://straitsresearch.com/report/collaborative-robots-market/toc

Collaborative Robots Market Operational Factors

The Collaborative Robots Market is driven by several operational factors, including:

Increasing Demand for Automation: The growing need for automation in various industries, such as manufacturing, logistics, and healthcare, is driving the demand for collaborative robots.

Advancements in Robotics Technology: Advances in robotics technology, such as artificial intelligence, machine learning, and sensor systems, are enhancing the capabilities and safety of collaborative robots.

Growing Focus on Workplace Safety: The increasing focus on workplace safety and the need to reduce workplace injuries and fatalities are driving the adoption of collaborative robots.

Government Initiatives and Funding: Government initiatives and funding for robotics research and development are supporting the growth of the Collaborative Robots Market.

[sudeepkedar]

Security Control Room Market Trends, Analysis & Forecast, 2032

The Security Control Room Market is expected to grow at a compound annual growth rate (CAGR) of over 6.6% from 2024 to 2032. This growth is driven by increasing global concerns over public safety due to rising security threats and criminal activities. Governments worldwide are funding advanced surveillance technologies, smart city projects, and integrated security systems to improve monitoring and response capabilities. These initiatives have led to the development of sophisticated control rooms that can efficiently manage real-time data, enhancing security in urban areas.

Military, defense, and law enforcement agencies are also adopting cutting-edge surveillance and security systems to safeguard sensitive information and facilities. These systems use high-resolution cameras, motion sensors, and automated analytics to detect and respond to potential threats. The need to secure borders, military installations, and classified operations has increased the demand for robust, real-time control room solutions. The integration of artificial intelligence (AI) and machine learning has further improved threat detection and response capabilities in these critical areas.

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The market is segmented by offerings, including displays, projectors, KVM switches, software, services, and others. In 2023, the software segment held the largest market share, accounting for over 26%. The increasing complexity and volume of data in control rooms have made advanced software solutions essential for integrating and managing diverse data streams. These platforms enable the seamless unification of video surveillance, access control, and communication systems, providing operators with a comprehensive view of operations. The incorporation of AI and machine learning has further enhanced these platforms, offering advanced analytics, automated threat detection, and predictive maintenance, making software a vital component of modern control room systems.

By industry, the market includes sectors such as manufacturing, utilities and telecom, transportation, military and defense, healthcare, mining, and others. The transportation segment was the fastest-growing in 2023, with a CAGR of over 8%, and is expected to reach USD 2.9 billion by 2032. The increasing complexity of transportation networks and rising passenger volumes necessitate real-time data analysis and incident management. Control room software allows for better decision-making and coordination across transportation systems, supporting the growth of intelligent transportation systems (ITS) and smart transportation initiatives.

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North America led the market in 2023, holding over 37% of the total share. The region's dominance is attributed to technological advancements, infrastructure investments, and stringent regulatory frameworks that emphasize security and operational monitoring. Additionally, government and private sector investments in critical infrastructure and public safety drive demand for advanced control room solutions.

Partial chapters of report table of contents (TOC):

Report Content

Chapter 1    Methodology & Scope

1.1    Market scope & definition

1.2    Base estimates & calculations

1.3    Forecast parameters

1.4    Data sources

1.4.1    Primary

1.4.2    Secondary

1.4.2.1    Paid sources

1.4.2.2    Public sources

Chapter 2   Executive Summary

2.1    Industry 360º synopsis, 2021 - 2032

Chapter 3   Industry Insights

3.1    Industry ecosystem analysis

3.2    Vendor matrix

3.3    Technology & innovation landscape

3.4    Patent analysis

3.5    Key news and initiatives

3.6    Regulatory landscape

3.7    Impact forces

3.7.1    Growth drivers

3.7.1.1    Government initiatives to increase public security and safety globally

3.7.1.2    Increasing adoption of security and surveillance systems in military & defense applications

3.7.1.3    Growing adoption IoT technology in industrial applications

3.7.1.4    Rising demand for security control room to avoid losses from natural disasters

3.7.1.5    Growing adoption of remote security control room

3.7.2    Industry pitfalls & challenges

3.7.2.1    High investments required for control room setup and operations

3.7.2.2    Lack of skilled control room operators

3.8    Growth potential analysis

3.9    Porter’s analysis

3.9.1    Supplier power

3.9.2    Buyer power

3.9.3    Threat of new entrants

3.9.4    Threat of substitutes

3.9.5    Industry rivalry

3.10    PESTEL analysis

About Global Market Insights:

Global Market Insights, Inc., headquartered in Delaware, U.S., is a global market research and consulting service provider; offering syndicated and custom research reports along with growth consulting services. Our business intelligence and industry research reports offer clients with penetrative insights and actionable market data specially designed and presented to aid strategic decision making. These exhaustive reports are designed via a proprietary research methodology and are available for key industries such as chemicals, advanced materials, technology, renewable energy and biotechnology.

Contact us:

Aashit Tiwari Corporate Sales, USA Global Market Insights Inc. Toll Free: +1-888-689-0688 USA: +1-302-846-7766 Europe: +44-742-759-8484 APAC: +65-3129-7718 Email: sales@gminsights.com 

[automativeandaerospace2]

LAMEA Specialty Vehicle Market: Strategic Insights, Key Players, and Forecasts by 2030

LAMEA Specialty Vehicle Market: Strategic Insights, Key Players, and Forecasts by 2030

The latest LAMEA Specialty Vehicle Market Report provides a comprehensive analysis of growth projections, strategic insights, and competitive landscape. As the market recovers post-pandemic, significant growth is anticipated. This report delivers valuable information for business strategists, combining an overview of industry standards, strategic trends, and emerging patterns among key players. It serves as an essential resource for market stakeholders planning future steps in the industry.

This research document includes detailed industry overviews, growth analysis, and historical and projected data on costs, revenue, supply, and demand. Market analysts provide an in-depth analysis of the value chain and distribution networks. Analytical tools like SWOT analysis, Porter’s Five Forces, and feasibility studies are applied to assess competitive dynamics, entry barriers, and opportunities, giving stakeholders strategic insights into current and future trends.

According to Straits Research, the global LAMEA Specialty Vehicle Market size was valued at USD XX Billion in 2021. It is projected to grow from USD XX Billion in 2022 to USD 10.13 Billion by 2030, with a projected CAGR of 2.7% over the forecast period (2022–2030).

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Key Report Highlights

Market Overview and Competitive Landscape: Covers strategic insights on key players, their market share, recent advancements, and effective marketing tactics.

Segmentation Analysis: Divides the market into sub-segments based on product type, application, and regions, with both macro and micro-level analysis.

Regional Insights: Offers revenue forecasts and trend analysis across major geographies, including:

North America: United States, Canada, Mexico

Europe: United Kingdom, France, Germany, Russia

Asia-Pacific: China, Japan, Australia, Indonesia

Middle East & Africa: UAE, Iran, South Africa

South America: Brazil, Peru, Chile, Colombia

Emerging Trends and Opportunities: Highlights growth drivers, constraints, market trends, and high-growth areas, assisting companies in identifying future business opportunities.

Buy Full Report (Exclusive Insights with In-Depth Data Supplement) :https://straitsresearch.com/buy-now/lamea-specialty-vehicle-market

Top Players in the LAMEA Specialty Vehicle Market

The report highlights leading companies, including 

REV Group

Volvo Group.

Shell Special Vehicles LLC

Minerva Special Purpose Vehicles

Scania

LAMEA Specialty Vehicle Market Segmental Analysis

By Type

Ambulances

Fire Extinguishing Trucks

Mobile Fuel Carrying Tankers

Others

By Application

Medical and Healthcare

Law Enforcement and Public Safety

Recreational Vehicles

Other Services

Market Segmentation with Insights-Driven Strategy Guide: https://straitsresearch.com/report/lamea-specialty-vehicle-market/segmentation

Reasons to Purchase This Report

Gain insights into the evolving competitive landscape and top players’ growth strategies.

Access strategic planning tools to support informed business decisions.

Benefit from regional market estimates and detailed profiles of stakeholders.

Understand critical market segments and identify trending factors impacting growth.

Research Methodology

Straits Research utilizes a robust methodology involving data triangulation with top-down and bottom-up approaches. Market estimates are validated through primary research and stakeholder interviews. Reliable sources are used to determine market size and forecasts across segments globally, regionally, and nationally.

Table of Contents for the LAMEA Specialty Vehicle Market Report: https://straitsresearch.com/report/lamea-specialty-vehicle-market/toc

About Straits Research

Straits Research is a leading provider of market research and intelligence services. With a focus on high-quality research, analytics, and advisory, our team offers actionable insights tailored to clients’ strategic needs.

Contact Us Email: sales@straitsresearch.com Address: 825 3rd Avenue, New York, NY, USA, 10022 Tel: UK: +44 203 695 0070, USA: +1 646 905 0080

[aricastmblr]

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그리고 지민씨도 피해갈 수 없습니다.

Y Jimin tampoco puede escapar

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-BTS ‘LOVE YOURSELF 承 Her’ Fansign ( Aladin Event) 22 Sept 2017 Jimin and Jungkook-Serendipity

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JK💜 Vlive 7 marzo 2021 - Filter

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[BANGTAN BOMB] 2021 FESTA Exam Behind the Scenes - BTS (방탄소년단) -  Christmas Love by Jimin - Sobok, sobok  16:35min

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[BTS VLOG] Jung Kook l CAMPING VLOG 2022 - With you 15:28min

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Jungkook weverse live 1 febrero 2023   - Vibe feat Jimin 22:40min

잘 지내셨습니까 - Have You Been Well  - ¿Has estado bien?  

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jungkook weverse live cantando set me free pt.2 - cantando-tarareando like crazy del primer álbum de jimin face

JK

BTS

03.27. 11:53

슈취타

Suchwita

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el nos dio pistas en su weverse live y ni uno ni en-cuenta  T T

(Letter by Jimin con guitarra)

JK

BTS

03.23. 13:06

배고파요 … 첫끼 … 불금 …

Tengo hambre... primera comida... viernes (tgif)

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jungkook weverse live 24 Mayo 2023  -  Angel Pt.1 FastX

Knock Knock  - Toc Toc  

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Jungkook Weverse Live

JK

06.05 01:03

ㅎ...

heh...

jk viendo a jimin cantando like crazy versión ingles en el programa de LEEMUJINSERVICE

jk imitando a jimin hablar XD

jk hablando de la pelea del día lluvioso T T 

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jungkook weverse live

JK

7.26

-oh, ¿viniste?

Jungkook en weverse mira y canta mv de jimin

지민 (Jimin) '편지 (Dear. ARMY)' Live Clip #2023BTSFESTA

jk-¿Escuchamos la Letter (Carta) de Jimin-hyung?

jk- busca Letter by Jimin

jk-Jimin Jaman Jimin Jaman Jimin Park Jimin Park Jimin Park Jimin Park Jimin letter" JK weverse en vivo 7.26

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[riya2510]

Network Encryption Share | Segmented by Top Manufacturers & Geography Regions 

Network Encryption Market Information

The Network Encryption Market Report provides essential insights for business strategists, offering a comprehensive overview of industry trends and growth projections. It includes detailed historical and future data on costs, revenues, supply, and demand, where applicable. The report features an in-depth analysis of the value chain and distributor networks.

Employing various analytical techniques such as SWOT analysis, Porter’s Five Forces analysis, and feasibility studies, the report offers a thorough understanding of competitive dynamics, the risk of substitutes and new entrants, and identifies strengths, challenges, and business opportunities. This detailed assessment covers current patterns, driving factors, limitations, emerging developments, and high-growth areas, aiding stakeholders in making informed strategic decisions based on both current and future market trends. Additionally, the report includes an examination of the Automatic Rising Arm Barriers sector and its key opportunities.

According to Straits Research, the global Network Encryption market size was valued at USD 4 Billion in 2021. It is projected to reach from USD XX Billion in 2022 to USD 8 Billion by 2030, growing at a CAGR of 9% during the forecast period (2022–2030).

Get Free Request Sample Report @ https://straitsresearch.com/report/network-encryption-market/request-sample

TOP Key Industry Players of the Network Encryption Market

Thales Trusted Cyber Technologies

ATMedia Gmbh

Atos SE

Juniper Networks Inc.

Certes Networks Inc.

Senetas Corporation Ltd

Viasat Inc.

Raytheon Technologies Corporation

Securosys SA

Packetlight Networks

Rohde & Schwarz Cybersecurity GmbH

Global Network Encryption Market: Segmentation

As a result of the Network Encryption market segmentation, the market is divided into sub-segments based on product type, application, as well as regional and country-level forecasts. 

By Solution

Network Encryption Platforms

On-Premise

Cloud-based

Network Encryption Devices

Services

Professional Services

Security Consulting

Training & Education

Support & Maintenance

Managed Services

By Deployment Type

Cloud

On-premises

By Component

Hardware

Solutions and Services

By Organization Size

Small and Medium-sized Enterprises

Large-sized Enterprises

By End-User Industry

Telecom and IT

BFSI

Government

Media and Entertainment

Healthcare

Retail & E-Commerce

Other End-user Industries

Browse Full Report and TOC @ https://straitsresearch.com/report/network-encryption-market/request-sample

Reasons for Buying This Report:

Provides an analysis of the evolving competitive landscape of the Automatic Rising Arm Barriers market.

Offers analytical insights and strategic planning guidance to support informed business decisions.

Highlights key market dynamics, including drivers, restraints, emerging trends, developments, and opportunities.

Includes market estimates by region and profiles of various industry stakeholders.

Aids in understanding critical market segments.

Delivers extensive data on trends that could impact market growth.

Research Methodology:

Utilizes a robust methodology involving data triangulation with top-down and bottom-up approaches.

Validates market estimates through primary research with key stakeholders.

Estimates market size and forecasts for different segments at global, regional, and country levels using reliable published sources and stakeholder interviews.

About Straits Research

Straits Research is dedicated to providing businesses with the highest quality market research services. With a team of experienced researchers and analysts, we strive to deliver insightful and actionable data that helps our clients make informed decisions about their industry and market. Our customized approach allows us to tailor our research to each client's specific needs and goals, ensuring that they receive the most relevant and valuable insights.

Contact Us

Email: sales@straitsresearch.com

Address: 825 3rd Avenue, New York, NY, USA, 10022

Tel: UK: +44 203 695 0070, USA: +1 646 905 0080