Buy Satellite TV: June 2011

Thursday, June 30, 2011

Can the summer heat affect UK satellite TV signals in Spain?

Summer is here, and it can cause potential reception issue with your satellite TV reception. In fact it can also cause reception issue with your digital Spanish TV channels also, as shown by problems from last year.

Reception of UK TV by satellite is already tricky. Many UK TV channels require a "big" satellite dish, like the 2.4m Famaval satellite dishes from Portugal, as the signals that carry

New satellite Astra 1N being launched 1st July 2011

SES Astra are due to launch a new satellite. Astra 1N will launch on Friday 1st July 2011.
Astra 1N was designed to be placed at 19 eat, and provide new satellite capacity for Western Europe, like Spain, France and Germany. However, Astra have said that 1N will initially be deployed at 28 east, providing more satellite TV capacity for UK broadcasters like Sky, BBC and ITV and Freesat, and to help

Tuesday, June 28, 2011

SkyGo, Sky TV on your mobile

SkyGo is being rolled out by all Sky TV services (Sky Germany, Sky Italia etc).

You register certain devices (Ipads, phones etc) online via MYSky, and the you get the Sky channels you subscribe to on those registered devices only (a bit more advanced version of the SkyPlayer). The package will do away with Sky Player and Sky Mobile TV to create SkyGo.

Sky Go will be free to all of Sky TV's

What are the free to air satellite frequency numbers for Sky TV in Spain?

What are the free to air satellite frequency numbers for Sky TV in Spain? What are the frequency numbers for Sky TV in Spain?

A Sky HD digibox will automatically tune to the frequencies used for Sky TV and Sky HD TV in Spain.
A Freesat box will also automatically tune to the frequencies used for UK TV and UK HD TV in Spain.

The frequency numbers for Sky TV in Spain and UK TV in Spain on

Receiving Sky TV in Spain and the Valencia area of the Costa Blanca and Costa Azahar

Receiving Sky TV in Spain and the Valencia area of the Costa Blanca and Costa Azahar

Monday, June 27, 2011

Old Photos of Egypt (Youtube)- interesting

I saw this on 7 days in Sun blog, and thought to post Youtube here directly. Thanks to Blogger

I noticed one great photo of old Cairo trams so crowded - same as buses these days so not much has change in some ways. I am a history buff, so enjoyed this project the author put together

Haye vs Klitchko Boxing 2nd July 2011 on Free to air TV

Haye vs Klitchko Boxing 2nd July 2011 on Free to air TV

DAVID HAYE and WLADIMIR KLITSCHKO in HAMBURG, GERMANY

Wladimir Klitschko's fight against WBA champion David Haye is shown in the UK on Sky Box Office.

It is also available for free on some other satellite channels.

You will need a satellite dish pointing towards Astra 1 at 19 east, or Hotbird at 13 east.

Haye vs Klitchko Boxing on Astra

Friday, June 24, 2011

Are you losing your UK satellite TV signals and Sky TV signals this summer in Spain?

Losing your UK satellite TV signals and Sky TV signals this summer?

Well, many people think that the satellite signals are at their strongest in the summer.
Personally I notice little difference in the signals over the year.

However, there is an issue with the signal in the summer.

In the past few years this has affected both satellite TV and TDT TV in Spain.

One of the main reasons for

Reports: No Sky Price increase for "6 mix" channels this year

According to reports Sky Tv subscription prices are to be frozen until August 2012.

The new channel packages are still going ahead but those who are on a 3 to 5 mix package will automatically get the new Entertainment Plus mix at no extra cost.

see http://www.satandpcguy.com/forum/showthread.php?66100-Sky-TV-package-changes-in-September-2011

On 1 September we’ll automatically move all

good image with lightwarp

it does better with graphic....

Thursday, June 23, 2011

Thoughts from an Autochthonous Center

For approximately five hundred years, European civilizations subjugated or destroyed peoples around the world. By the 1890s, about 85% of the land mass of the earth was either a colony or a former colony of Europe. During the long period of conquest, Europeans developed an intensive and impressive body of ideologies to explain their success as the inevitable result of the inherent superiority of the culture and at points even their biology, although the expansion actually the result of military success. The psychological and social foundation of this period of conquest and colonization is found in the ability to coerce the peoples of the world to accept the rules by which European politics and ideologies claimed the power to determine what is legitimate about the human experience.

Other cultures have expanded and conquered, but none has expanded so far and so powerfully. At each stage of the expansion, European culture adopted new and more effective utopian ideologies which have proven powerful forces in motivating people either to support aggressive expansion and exploitation of others or to stand docilely in the face of such aggressions. The original utopia, the Garden of Eden, served as a model of coercive powers of the state.

During the fifteenth and sixteenth centuries, Europeans justified the plunder of the Caribbean and Central America on the premise that Christianity was the "true" religion and that they were doing subjugated peoples a service by forcing them to it. At one point the Spanish decided that because they were purveyors of God's message to "new" worlds, they should be exempt from physical labor and other people should do all the menial work. This kind of thinking became the foundation of racism in the modern world. People who can convince themselves they have solutions to all humankind's problems tend to do whatever is necessary to effect what they consider the desired ends and are almost always the privileged beneficiaries of those ends.

European utopian visions have been used to rationalize a range of criminal behaviors including the enslavement of millions of Africans and the annihilation of entire American Indian peoples as the (sometimes) regrettable but necessary consequences of the construction of some kind of future state of human perfection. Sometimes these visions suggested that the state of perfection would be realized on earth, sometimes in heaven, but always Europeans imagined themselves as its agents. This led to a sense of America as a "high civilization" that would motivate the world's people's to democracy, and always there were historians who wrote history to conform to such ideologies.

During the nineteenth century and the early decades of this century there was an intellectual movement to identify and make the world safe for an idealized biological human. Scientific racism paved the way for an attempt to eradicate certain types of humans who were deemed biologically inferior from the face of the earth. These movements and a great many others created the context for what has been called the modern era. Since around the middle of the twentieth century, however, European expansion has stalled and its influence has declined.

European flags fly over fewer and fewer colonial capitals. Indeed, where Europeans once invaded the lands of brown and black peoples, today brown and black peoples emigrate in large numbers to European-dominated lands. African, North African, and Middle Eastern populations are established and growing faster than European populations in North America. The unchecked expansion of Europe and European populations that was the defining condition of the modern era, has ended. The world has now moved to an irreversible condition of postmodernity.

None of the movements that characterized the five hundred years of European expansion has disappeared, but recent decades have seen counter-movements which have caused Europe's utopian ideologies to be exposed, deconstructed, and in the intellectual life of the West, discredited. Post modernism, a movement which announces the abandonment of Western utopian ideologies, should be seen as a consequence of the halt of five hundred years of European expansion. It is an interesting phase of development of Western ideology that signifies not so much "the end of history" or even "the end of Eurocentric history" as the intellectual collapse of European ideologies constructed around utopian visions.

Post modernism and cultural studies seek to develop theory concerning the changing conditions, consciousness, and opportunities and the legacies that domination and exploitation have wrought. Kuan-Hsing Chan has stated that both discourses seek to "bring the repressed voices of history back into the historical agenda." Both share

(o)n the level of cultural politics... the attempt to decenter or decentralize politics and recenter "culture." But this does not mean that politics has gone. Quite the contrary, in both positions, culture is pervasively politicized on every front and every ground, hence a cultural politics. Both discourses conceive of cultural practices as collective; cultural politics is empowering and endangering, oppositional and hegemonic; culture is neither the "authentic" practice of the "people" nor simply a means of "manipulation" by capitalism, but the state of active local struggle, everyday and anywhere.

For the purposes of this discussion it may be useful to conceptualize "post modernism" and "cultural studies" as distinct discourses with similar goals. Post modernism, in this context, might be seen as the development of the theory of how the dominant culture dominates and might include literature that seeks to demystify and deconstruct those channels of domination. Cultural studies might be seen as the discourse about what must be conceived or constructed to replace and accelerate the demystification of the dominant ideologies. The "limits to what we are able to utter and conceive" are cultural in nature. The lived experiences of people in a culture are different from those of people occupying a distinctly different culture, and the more distant the cultures, the more different the limits.

More and more peoples are responding to the reality of domination on ways that can be echoed throughout the world. More and more indigenous and formerly colonized people are realizing that even after their colonizer has returned home, hegemony remains

through the body of British texts which all too frequently still acts as a touchstone of taste and value, and through RS-English (Received Standard English), which asserts the English of southeast England as a universal norm, the weight of antiquity continues to dominate cultural production in much of the post colonial world. This canonical hegemony has been maintained through canonical assumptions about literary activity.

Canonical hegemony has been maintained through a wide range of other disciplines as well. Very little of the Euro-centered canon can be considered non-hegemonic, value-free knowledge. Economics cannot make such a claim, and certainly not science and technology, not history, not literature. Within the framework of emerging definitions can be found strategies for escape from the cultural domination of the West, and in the emerging literatures and strategies that deny Eurocentered hegemony can be strategies useful to people in the dominant centers.

Philosopher Terry Eagleton has stated that it is possible to view dominant ideologies as factors that support the interests of the rulers and that such ideologies

help to unify a social formation in ways convenient for its rules; that it is not simply a matter of imposing ideas from above but of securing the complicity of subordinated classes and groups.

The idea that the process by which individuals in societies are socialized to "norms" and that the definition of "normal" is a political question was developed by post modernist philosopher Michel Foucault. Eagleton finds:

[I]n the view of Michel Foucault and his acolytes, power is not something confined to armies and parliaments: it is, rather, a pervasive, intangible network of force which weaves itself into our slightest gestures and most intimate utterances.

Lorraine Code, speaking from the perspective of the development of feminist theory, urged that this kind of thinking is unproductive:

there is no point in embarking on such an assessment unless one can assume that people can never intervene in their lives and take charge of the processes that shape them. Indeed, the idea of autonomous agency is appealing precisely because it promises maximum intervention and control. In its liberal articulations it appears even to eschew biological determinism and to offer individuals the freedom to make themselves what they will. Both Marxists and post modernists insist, however, that these are false promises, that choices are themselves constructed by sociocultural-economic circumstances in which people are intrinsically enmeshed.

According to Eagleton, Raymond Williams, one of the founders of cultural studies, strongly dissented from Foucault's theory:

Every social formation is a complex amalgam of what Williams terms "dominant," "residual" and emergent forms of consciousness, and no hegemony can thus ever be absolute. No sharper contrast could be found than with the later work of Michel Foucault, for whom regimes of power constitute us to our very roots, producing just those forms of subjectivity upon which they can most efficiently go to work.

Williams takes the view that resistance is always present, that the ideological constructs that serve to quiet the masses while the privileged few loot the planet are always under pressure and that the rulers are always "running scared." Eagleton states:

Williams acknowledges the dynamic character of hegemony, as against the potentially more static connotations of "ideology'"; hegemony is never a once-and-for-all achievement, but "has continually to be renewed, recreated, defended, and modified."

Both views, that of Williams and Foucault, are informative. Foucault's views are exposed to the criticism that they are not productive, but Edward Said was able to use Foucault as a model in his Orientalism (1979) in which he deconstructs a British academic discipline. In the social environment described by Foucault it is difficult to take advantage of the dynamics described by Williams toward the ends desired by Code because social change within the confines of Western thought and experience is a problematic. A problematic is "a particular organization of categories which at any given historical moment constitutes the limits of what we are able to utter and conceive."

Ideology and culture, in some contexts, have similar definitions. It is difficult to imagine a culture that has no ideology. A practical alternative to the kind of one-answer utopian ideology of the period of European expansionism is a pluralism that acknowledges many different versions of reality that are legitimate across a wide range of contexts. Pluralism proposes that a society incorporates or at least is open to sets of ideas associated with more than one culture. Pluralism makes sense of the world through interrogation and rejection of the idea that a singular discourse can have a monopoly on answers to what creates the conditions for the perfection of humankind, or that such conditions are even possible. This is accurate even though pluralism promotes discussion of its own definition, its rules, and its exceptions to its rules. It accepts not only that people experience the world in the context of a diversity of versions of existence, but that both social and extra-social realities arise from random convergences.

Postmodernism and cultural studies emerge in the context of centuries of practice of domination/subjugation, of "high culture/low culture," of the war of rich against the poor, white against black and brown, of top-down histories, and so forth. Both are positioned in opposition to domination and therefore both seek to support the reversal of conditions of oppression. In essence this requires the encouragement of channels of communication and invigoration of the powerless and at a minimum requires a politics that proclaims the right of everyone on earth to enough food to eat, enough clean water to drink, freedom from political repression, torture, and dictatorship. To encourage diversity of discourse, postmodern cultural studies must hear the ideas of communities of people distinct from themselves and therefore must promote the acceptance of divergent "voices."

This requirement raises an interesting dilemma. The very complexity of human societies places limits on how much a person from one society can know about the inner realities of people of a different culture. The more two cultures differ, the greater the limitations. If we assume that the practitioners of cultural studies are serious about re-empowering the powerless, that they are not simply seeking informants from diverse culture to expand the self-identity of a Cultural Revolution or a New Age, we must then expect that the new rules around "legitimacy" will respect the limitations of such ambitions. At the same time, some of the views of the culturally distant may help review some of the dominant-centered ideology of the West. Vandana Shiva, a woman scientist from India, finds science to be a Euro-centered ideology:

the parochial roots of science in patriarchy and in a particular class and subculture have been concealed behind a claim to universality, and can be seen only through other traditions - of women and non-Western people. It is these subjugated traditions that are revealing how modern science is gendered, how it is specific to the needs of impulses of the dominant western culture and how ecological destruction and nature's exploitation are inherent to its logic. It is becoming increasingly clear that scientific neutrality has been a reflection of ideology, not history, and science is similar to all other socially constructed categories.

All over the world European powers brought the children of their colonies to the Western education process where the propaganda of Western legitimacy was installed in the minds of a cultures of these budding local elites. When the Europeans finally folded up their flags and went home, they left behind cadres of elites socialized to the European discourses of power and these elites continue to act in the interests of the colonizers at the expense of their own poor.

Colonized peoples have three choices in response to cultural colonization. They can become "good subjects" of the discourse, accepting the rules of law and morals without much question, they can be "bad subjects" arguing that they have been subjected to alien rules but always revolting within the precepts of those rules, or they can be "non-subjects," acting and thinking around discourses far removed from and unintelligible to the West. Both "good subjects" and "bad subjects," although able to point to a process of struggle with their former captors, tend to impose the West's social conditions of domination and hierarchy which they learned from the colonizers upon their own poor and downtrodden. In a world composed of fewer than a dozen distinct civilizations (including the metropolitan West) plus 3,000 to 5,000 distinct indigenous societies, the range of possible experiences (other "voices") is very great indeed. These are the autochthonous peoples whom such luminaries as Arnold Toynbee wrote entirely out of human history. Much of what remains of the range of human potential for creating versions of reality exists in the framework of the arts, stories, oral traditions, music and other cultural manifestations of these peoples. Their lived and dreamed experiences are the world's richest sources of exploration of the human potential.

Gaining access to these experiences will not be easy. Not only are the voices of these distinct "others" remote, the channels of communication are practically non-existent. Few individuals from tribal societies write novels or history texts.

The people who represent these societies to the West are, almost without exception, those we can identify as cultural "marginals," people with considerable experience in two or more cultures. As the movement in support of cultural integrity and diverse cultural legitimacy gains momentum, it is logical that people who lay claim to being "non-subjects" of the West, people who are closer culturally and spiritually to the autochthonous centers, will increasingly support alternative (non-Western) discourses of reality that legitimate entirely unfamiliar stories and versions about how the world works. They can be expected to do this in their own languages using images not derived from the West, and under rules which even the most progressive people in the West will find impenetrable. They will continue a culture of resistance to the West which, in its forms of analysis and criticism, will provide some windows of cross-cultural understanding while maintaining and even strengthening the fact of "otherness." We have already begun to see this happening in the form of rainforest peoples appearing on American television to defend their homeland.

This process, surprisingly, embodies a possibility of resolving some of the dilemma which E. P. Thompson mentioned in The Making of the English Working Class and which Michel Foucault developed in Discipline and Punish. The processes of socialization that invade consciousness of class interest and create docile populations are in some degree absent in many of these cultures. The beneficiaries of hierarchy are always in fear that the subject populations will revolt and construct new non-hierarchical social conditions. These beneficiaries have for centuries constructed elaborated institutions to control and limit the possibilities of both thought and action, but they are vulnerable to movements that can challenge their legitimacy. We are at time and place in the intellectual history of the West when new theories about what can possibly be conceived and uttered within the West's discourses are being constructed and politicized. It's about time.

[This article was written by Yvonne Dion-Buffalo and John C. Mohawk. It was originally published in Akwe:kon Journal (Vol. 9, No. 4, 1992, pp. 16-21) and Cultural Survival Quarterly (Winter 1994, pp. 33-35) under the title 'Thoughts from an Authochthonous Center: Post Modernism and Cultural Studies,' and was recently reprinted in Thinking in Indian: A John Mohawk Reader (2010). John Mohawk, a Seneca Indian, organic farmer and captivating public speaker, was editor-in-chief of Akwesasne Notes from 1978 to 1983, which was then the largest English-language indigenous publication in the United States. He also served as the editor of Daybreak, a national Indian news magazine. Mohawk lectured in American Studies at the State University of New York at Buffalo and was director of the Indigenous Studies Program. Yvonne Dion-Buffalo lectured in American Studies at SUNY, Buffalo.]

Wednesday, June 22, 2011

Confusion About Free UK Television in Spain - Freeview Or Freesat?

Confusion About Free UK Television in Spain - Freeview Or Freesat?

Many people are confused about whether they can receive free UK television in Spain. The subject of what UK channels you can receive is something we are always being asked. Terms such as free UK television in Spain, Freeview and Freesat are always cropping up so we shall explain it to you.

Many people, including satellite

Monday, June 20, 2011

Learning new thing everyday, TrackMatte in FCP

Can Sky stop cards working in Spain?

Someone has posted on an internet forum here in Spain a call they had to Sky Customer Services.

The caller asked if they could take my box to Spain and use it on holiday. Sky Customer Services said that it was illegal to use a Sky outside the UK and if found that that they ware using the box/card in Spain they would stop my card and no refund would be given.

My view of this is that mixed

Sunday, June 19, 2011

How to get ITV2 on Sky in Spain?

ITV2 is on Sky channel 118.

It is on Sky channel 118 no matter what country you are in.

The only issue is where in Spain are you located and what size satellite dish you have installed.

In many areas of Spain, along the Mediterranean coast, you may well need a 2.4m Portuguese Famaval satellite dish to ensure reception of ITV2.

ITV2 is only available on one frequency and one frequency only.

How do I tune Sky HD in Spain

Your Sky HD box will automatically tune to the frequencies used for Sky TV and Sky HD TV in Spain.

The Sky TV frequency settings for Spain are the same as you your use if you were watching Sky TV in the UK, or France, or Germany, or Portugal.

Just because you are using your Sky box in a different country does not mean that the Sky Tv channels are using different frequencies for rception.

Saturday, June 18, 2011

Satellite signal fade at night in Spain and loss of satellite TV channels at night

Satellite signal fade at night in Spain and why do you lose some satellite TV channels at night in Spain.

UK Satellite TV currently is transmitted from four satellites: Astra 2a, Astra 2b, Astra 2d and Eurobird 1.

These four satellites, and most other TV satellites, are in a geostationary orbit.

Geostationary orbits are useful because they cause a satellite to appear stationary with respect to

Buddhist Stories in Korean Cinema

Films with specific Buddhist content do not make up a significant percentage of Korean cinema, and among them not many can be confirmed as the products of self-conscious Buddhist religious practice. Rather than relying on the self-understanding of the filmmakers, however, I read the 'Buddhist film' within the historical lineage of a specific cultural tradition of popular oral performances, as well as its derivative tradition of popular narratives. Seen in this light, the thin trickle of films joins forces with a well-established and traditional deployment of art as religious practice. Hence, rather than isolating the films withing their modern temporal framework, I instead view them as the contemporary evolution of a process that began as far back as the eighth century.

This strategy allow us to gain a diverse perspective on Korean cinema as well. Korea's film industry has been, for most of its history, an ideological battleground define by twentieth-century history. During the ear of Japanese colonial rule (1910-45), the film industry was monitored for nationalist sentiment and utilized for pro-Japanese propaganda. After the north-south division of the country, which began with the Soviet-U.S. occupation (1945-48) and which solidified after the civil war (1950-53), the ideological standoff between the two Koreas intensified the political use of film on both sides. While North Korean cinema is a state-controlled affair, from production to distribution, the South Korean industry has been only slightly better off, being constantly subject to ideological control and censorship. The Korean Motion Picture Act (1962), for example, suppressed any portrayals of poverty and economic conflict, promoting instead narratives of prosperity tied to the Park Chung Hee regime (1961-79). Since the 1980s, the easing of political pressures has given rise to the use of film as a medium of social criticism - a freer yet equally political utilization. Concurrently, more films have been produced for the international market in the pursuit of national prestige as well as of cultural identity.

The Buddhist film makes its appearance largely since the 1980s and is well represented in the category of the international export film. Its relative novelty can lead one to interpret it as the outcome of contemporary social needs. Hence, the turn to religious themes is read by Hyangjin Lee in Contemporary Korean Cinema: Identity, Culture, Politics (2000, p. 61) as a 'search for a moral vision of society,' particularly in the midst of rapid modernization. Im Kwontaek's Mandala (1981) and Come, Come, Come Upward (1989), and Bae Yonggyun's Why Has Bodi Dharma Left for the East? (1989), in fact, all exhibit a social consciousness that is the hallmark of South Korea's 'new wave' filmmakers, and they utilize a Buddhist filter in order to address contemporary concerns about class and poverty, as noted by David James in Im Kwon-Taek: The Making of a Korean National Cinema (2002). The Buddhist film also reflects the vogue of traditional culture and folkways as a subject of Korean cinema, made most explicit in such films as Im Kwontaek's Sopyanje (1993) and Festival (1996). This new interest in the past bespeaks the contemporary yearning for identity and cultural pride. In addition, the nostalgia for traditional and folk culture can be read as a politics of aesthetics which 'traditional Koran culture' is marketed to the international film community as a way of gaining currency in the global cultural arena.

Bearing these contemporary dynamics in mind, our view of these films can be significantly broadened if we place them within the lineage of Buddhist religious practices. To illustrate this, I will examine 'Passage to Buddha' as exemplary of the tendency of Buddhist scriptures to be co-opted into more popular and accessible formats. Passage to Buddha is the English translation of the Korean film title, Hwaomkyong, which is the Korean name of the Avatamsaka Sutra (Chinese: Huayanjing). The film borrows its narrative from the final chapter of the sutra, which also exists independently in the Sanskritic tradition as the Gandavyuha (entry into the realm of reality). In this text, the central character - a young boy named Sudhana - sets off on a pilgrimage to attain enlightenment from 53 successive teachers. These 'enlightening beings,' who are the subject of the first half of the Gandavyuha, have two notable qualities. First, they take a multitude of human forms: mendicants, priests, scholars, scientists, doctors, merchants, ascetics, entertainers, artisans, and craftsmen (The Flower Ornament Scripture: A Translation of the Avatamsaka Sutra, 1993, p. 1169). This variety embodies the Mahayana view that all beings are bodhisattvas who have a role to play in the weal of other beings. It also underscores the concept of 'expedient means' (upaya), and the idea that different people respond to different kinds of teachers. The enlightening beings take on different forms for that reason. This is also related to their second notable quality, which is that they are 'phantom' beings who appear to people according to the latter's need: 'Having pervaded the cosmos with their emanations, they enlightened, developed, and guided sentient beings' (The Flower Ornament Scripture, p. 1168). As phantom manifestations, the enlightening beings demonstrate the Mahayana view that illusion can be a form of benevolent magic.

The human diversity and the skillful magic of the enlightening beings lend themselves to narrative description. the idea that all kinds of beings can function as spiritual guides sets up the possibility of many kinds of narrative scenarios. It offers a leave, if you will, to enter into any number of human predicaments for their inherent dramatic interest. In Passage to Buddha, the pilgrim is an 11-year-old boy names Sonje who wanders through modern-day Korea, particularly its social margins. The film opens in a crematorium where the body of Sonje's father, too poor and inconsequential to be identified, is rendered into ashes. Beginning with the loss of his father, who is never seen or named, Sonje proceeds in the rest of the film to search for his mother, who apparently abandoned him as an infant. The themes of orphanage and homelessness, as we will see, are ubiquitous Buddhist tropes. They pervade the medieval biographies of eminent monks and surface in both our films.

Sonje's search for his mother is overtly conflated with Sudhana's search for Buddhahood, as the former declares that his mother can be found in any 'good person.' The interchangeability of mother and Buddha as objects of yearning is depicted in one Oedipal dream sequence in which Sonje encounters a beautiful older woman who makes love to him. At the end of the film, Sonje has another vision, this time of his mother, who declares to him that she is the mother of all beings, including the Buddhas and bodhisattvas. The ultimate convertibility of signs, or manifestations, is a pointed declaration here, very much in the spirit of the Gandavyuha's teaching that enlightening beings take any and all forms. The specific conflation of Buddha and mother, who is also depicted as a love object, makes the further point that the traditionally antipodal realms of religion and domesticity are oppositions that must be overcome. Interestingly, Sonje has difficulty accepting this lesson in his own life, when he rejects marriage to the young woman he has impregnated in order to continue his spiritual pilgrimage.

Sonje's succession teachers include a doctor, a blond beggar woman, a political prisoner, an astronomer, and a lighthouse keeper. In keeping with its namesake text, the film narrates a deliberate process in which each teacher sends Sonje on to the next, indicating the each as a particular teaching to give and that a variety of encounters are necessary to attain the full Dharma. The idea that each human encounter imparts a spiritual boon is denoted by the deep bow that Sonje renders to each character before moving on. The one personage that weaves in and out of Sonje's journey is the apostate Buddhist monk, another abiding trope of East Asian narratives. At the very beginning of his travels, Sonje encounters the monk in a restaurant, eating meat and drinking wine. The monk appears again midpoint in the film to exhort Sonje to marry the little girl - now a young woman whom Sonje initially met at the crematorium. In the final encounter, Sonje sees the monk working with the village women, gutting fish in order to earn money for wine. The meeting culminates Sonje's sense of hopelessness and confusion, triggering a suicide attempt and the ultimate turn toward understanding, as signified by the aforementioned vision of his mother.

The world-embracing monk, with his decidedly nonmonastic ways, is a familiar figure that reaches back to the popular Buddhist text the Vimalakirtinirdeua Sutra. The text is named for its principle character, Vimalakirti, a noncleric who indulges in worldly activities yet who bests the most renowned Buddhist disciples in Buddha wisdom. This second-century Mahayana text was extremely favored in East Asia for its emphasis on the value of lay life. The critique of monastic reclusion that is implicit in the wold-embracing monk is a prominent theme in Korean Buddhist films. To be sure, Passage to Buddha's overall focus on the social fringes - each of Sonje's teachers bear the pain of a personal or social lack - manifests a political consciousness that is the imprint of post-1980s Korean cinema. The concordance of religious practice and social service, however, is a theme explicitly emphasized throughout the Avatamsaka, which embraces worldly activity and skills 'guided not by the personal desires of the practitioners but by the current needs of the society that they are serving, according to what will be beneficial' (The Flower Ornament Scripture, p. 41).

In simply co-opting the title of a significant Buddhist text, Passage to Buddha declares its lineage. Beyond lifting its plot line from Sudhana's famous pilgrimage, the film plays on the theme of enlightening illusions. One method it employs is a classic use of dreams as a way of advancing the tale - as well as Sonje's spiritual knowledge. Both dream episodes entail encounters with mother figures that are emotionally and religiously loaded. In the first, Sonje's Oedipal encounter with his mother/lover abruptly and rather disturbingly ends when she falls from a cliff during a post-coital excursion. In the second, Sonje finally has a vision of a woman who calls herself his mother, as well as the mother of all beings. the dream sequences mark significant noes in the plot/journey - at the point of maximum loss and absence and at the point of maximum attainment and presence. The ability of dreams - which, after all, are illusions - to function so meaningfully in the course of Sonje's journey can be paralleled to the medium of film itself. This is pointedly suggested by a curious detail in Passage to Buddha: The boy Sonje never ages despite the passage of many years. This detail explicitly invokes the conceit of the Buddhist-derived short dream, as I have discussed elsewhere in Embracing Illusion: Truth and Fiction in the Dream of the Nine Clouds (1996, pp. 85-107). When such dramas are told as stories or acted out as films, the efficacy of the former is extended to the latter genres as functional equivalents. These 'transformations,' which offer a distilled and potent experience of life, are better vehicles of instruction than the distracted experiences of waking reality.

Passage to Buddha is a secular telling of a story derived from Buddhist narratives and tropes. In that sense, this film continues the tradition of oral storytelling performances, which are themselves derived from religious storytelling practices - both Buddhist and shamanic. In this lineage of performance, entertainment is a logical aspect of religious practice because the ability to 'entertain' a reality made present by art is a necessary step to religious truth. Passage to Buddha is overt and didactic about linking religion and art, paralleling the religious journey of Sudhana with the film journey of Sonje, and by using the dream trope to implicitly question the distinctions between dream, reality, and film. The qualitative performance of the religious question in the medium of film enables one to transcend the distinctions between the religious, the secular, and the aesthetic as merely functional qualifications of the greater truth of presence.

[This essay was written by Francisca Cho. It was extracted and slightly edited from her chapter 'The Art of Presence: Buddhism and Korean Films,' which was originally published in Representing Religion in World Cinema: Filmmaking, Mythmaking, Culture Making (2003), pp. 107-119. Aside from the short clip above, Passage to Buddha turns up on YouTube from time to time and separate English subtitles are available here.]

Friday, June 17, 2011

How to get Sky News on Freesat? What is the Sky news Frequency on Freesat?

How to get Sky News on Freesat?
What is the Sky news Frequency on Freesat?

Freesat only includes a certain number of UK TV hcnanel in the Freesat channel list.

Some channels are missing.

So if you want to watch Sky News on a Freesat receiver, how do you do this, as Sky News is not on the Freesat Channel list.

On the Humax Freesat receiver, the most popular and probably the best Freesqat

Thursday, June 16, 2011

Getting "no signal" for Teledeporte on Spanish TV?

Recent changes to some of the frequencies used for Spanish TV may mean that you are receiving a "NO SIGNAL" message when trying to watch some Spanish digital TV channels.

One of the more popular Spanish TV channels affected is Teledeporte, the free sports channel on TDT.

Basically, some of the TDT channels have changed frequencies.

So all you need to do to get them back is to rescan, normally

Illegal Cardshare network closed down for showing Sky PAY TV channels

An illegal Cardshare network was recently raided and closed down with several arrests.

The raid happened on the 9th June 2011, and involved a company in Cyprus who was providing access to Pay TV channels, from Sky, Nova and BFBS (British Forces Broadacsting Service) by using a crd sharing server, which uses the internet to unlock encrypted pay tv channels.

Card share network closed down for

Tuesday, June 14, 2011

Can I use a Sky box in Spain?

Use of a Sky box outside the UK

If you have paid for a Sky box, and that box is not part of any Sky UK discount installation agreement, or subject to the 12 month new installation discount agreement telephone connection stipulation, or part of Sky multiroom, then the Sky box is yours and not Skys. You can do with it what you want and take it wherever you want. The are no restrictions on "non

BBC Iplayer in Spain soon...?

Doctor Who and Fawlty Towers will be made available to Europeans armed with an iPad from later this year, as the BBC begins the process of introducing its international iPlayer to overseas audiences.

Diehard BBC fans living in western Europe will have to pay somewhere under $10 (£6) a month – the fee is still to be decided – in return for a mix of contemporary and archive content on the Apple

Saturday, June 11, 2011

Traditional Music of Southern Laos

Between the time when French musicologist Jacques Brunet recorded the music of Southern Laos in the early 1970s and the re-issue of these recordings on CD in 1992, Laos (by that time having become the People's Democratic Republic of Laos) had experienced war trauma, the flight of great numbers of people, isolation, and the beginning of healing. During the Vietnam war the United States dropped unimaginable quantities of bombs throughout the south (along the so-called 'Ho Chi Minh Trail') and in much of the northeast. In some provinces, virtually every town and sizable village were destroyed. Economic and social development were also stopped or rolled back. Provinces which once had running water and electricity, at least in the main town, ceased to have either. Where tourists formerly visited (e.g., Vat Phu near Champassak), there were only abandoned restaurants and a little-used hotel. In 1991 modern tourist hotels remained under construction just as they had been when workers walked off the job in 1975. Travel within Laos by both Lao and non-Lao was strictly regulated by the government; consequently, few were able to visit formerly familiar sites such as Luang Phabang, Vat Phu, or the Bolovens Plateau. Therefore, this set of recordings has a strange air of nostalgia, especially since it had been re-issued with the same notes used in the original Phillips recording of 1973.

Unfortunately, offering criticism of Jacques Brunet's mainland southeast Asian musical recordings has all the challenge of shooting fish in a barrel. As Jarernchai Chonpairot and I pointed out in a 1979 review ('Review-Essay: The Problems of Lao Discography.' Asian Music 11/1 (1979): 132-34), there were numerous problems with regard to both selections and annotations. These have not changed; indeed, considering the time gap, they are now greater. Southern Laos, which includes much of the lowland area of Laos (the terrain in which the mainstream Lao live) runs along the Maekong River just across from Thailand. To the east, however, is the Annam Cordillera, a chain of mountains which is both home to numerous non-Lao upland groups and the former site of the Ho Chi Minh Trail. A collection of music surveying this region should include several of the lowland Lao regional genres of lam (repartee) singing accompanied by khene and other instruments; it should also include music of representative upland groups. In this the collection falls short.

Of the eight selections, five represent the lam/khene tradition of the lowland Lao, two the survival of the court music tradition of the former kingdom of Champassak, and one the upland tradition. Among the first group, three are instrumental and two are vocal. All three of the Lao non-classical instrumental sections (1, 5, and 8) are played on the khene, a free-reed aerophone with fourteen or sixteen bamboo tubes arranged in raft form in a wooden windchest and sealed with a black insect product called khisut. Since khene players normally improvise within one or five (or sometimes six) modes called (in northeast Thailand) lai, it is odd to hear more than one player perform at a time, as we do in the opening selection, 'Pheng phi fa (this is evidently a fixed melody). Brunet remarks that 'The title of this piece, like many others, cannot be translated ..., [it is now only a string of] words ... handed down traditionally, the meaning of which is now forgotten.' To the contrary, pheng means 'piece' (of music) and phi fa is the animistic 'sky spirit.' In a ceremony, a medium singing to the accompaniment of a khene attracts the phi fa to inhabit her/his body and answer questions, usually as to why someone has become ill. The present performance, in which small cymbals called sing are also used, is the ceremony's accompaniment without a singer/medium.

Selection 5, played by the late master khene player, Thao Phet Sananikhone, is a medley of three pieces whose order Brunet has confused and whose titles are left unexplained. The first selection is his 'ma it thiet lo hat' (a small female dog walks along the beach), and improvisation which alternates between the two modes that both have a D2 as the 'tonic' pitch: lai noi (d fga c) and lai soi (de gab). The second piece should properly be called 'sut sa naen,' not 'sut sa men'; it uses pitches ga cde. The third piece, 'tit sut noi,' refers to closing a certain pipe, which is the drone common to both lai soi and lai noi (d), with khisut. The pitch system used here assigns pitch A to the lowest pipe, making the tuning system A, B, c, d, e, f, g/g, a, b, c', d', e', f', g', a' (See Terry E. Miller, Traditional Music of the Lao: Kaen Playing and Mawlum Singing in Northeast Thailand, Westport, CT: Greenwood Press, 1985). The third khene selection (8), 'lot fay tay lang [the train runs along the track], is puzzling; while this kind of piece used to be common in northeast Thailand where there are two rail lines (terminating at Ubon and Nong Khai), to my knowledge there has never been a railroad in Laos. Unless the player had travelled to Thailand (or had come from there), it seems unlikely that he could have imitated something he had never heard. Nonetheless, the performance is effective, with the addition of a convincing whistle.

Two selections claim to represent the vocal styles of southern Laos; however, only one does, in fact, do so. Although item 2, 'Lam sithandone,' should be the local style of Pakse and Champassak, the singers perform part of a lam klon cycle from northeast Thailand; they sing lam nyao, the second of three parts, and lam toey, the final one. Furthermore, the male singer has a memory lapse during the performance. The khene player, evidently not familiar with these singers, tried to lead them in both toey pamah and toey hua non tan, sub-types of toey; unfortunately, however, the singers did not know the songs and oculd not continue. The second selection, 'Lam of Savannaket' (7), is, in fact, genuine lam khon savan from Savannakhet. It is sung by one of the greatest singers of Laos, Bunthong Insixiengmai, but without his usual female partner, Somwang, who is mentioned in his poetry (Bunthong has lived in Murfreesboro, Tennessee, USA, since at least 1979). The khene player does not seem to be totally comfortable with the accompaniment; he may, in fact, have come from the other side of the Maekong.

The two 'classical' examples on this compact disc are both played by amateur musicians who live in village near the former Kingdom of Champassak. this small court, one of three such entities in Laos (the others being Luang Phabang and Vientiane), once controlled most of southern Laos and part of what is now Cambodia. this fomer kingdom of Champassak was under Siamese control in the nineteen century, before the French came to dominate Laos. The pinphat selection (3) reflects influence from Siamese court music in that the composition came from Bangkok. Some Cambodian influence is seen as well, however, since the ensemble's last teacher had come from Phnom Penh around 1960.

The following observations, made by a learned Thai classical musician/teacher Panya Roongruang, formerly of Chulalongkorn University in Bangkok, and who is currently a doctoral student in ethnomusicology at Kent State University, indicate how far this performance has deviated from its original source. According to Panya Roongruang (personal communication, 1993), while the performers seem skilled, they do not play the melody in the usual instrumental idioms (thang), which normally create heterophony or polyphonic stratification; instead, they play more or less in unison. the cymbal (sing) player has the pattern reversed, ending on a 'sing' rather than 'sap.' The musicians seem to have forgotten a good percentage of the piece; they have mixed sections and patched together a version of 'pheng kom' that is far removed from the Siamese/Thai one. The second piece, 'Pheng soysonthat' (6), is played by a wedding ensemble which, according to the notes, consists of two khene, so-duong (two-stringed cylindrical fiddle), and so-u. All play in unison and repeat the melody without variation. The drum pattern is nathap lao, but in Thai practice it would have been nathap brop kai song chan. These examples represent what certain surviving classical musicians play today, and, while their continued existence (I recorded the phinphat in 1991) testifies to their seriousness, they must technically be accepted in the context of an isolated Lao town and not compared to the great ensembles of Bangkok.

An annual buffalo sacrifice takes place at the ruined Khmer temple, Vat Phu, which is located eight kilometer south of Champassak, near the western bank of the Maekong. While this may be of importance to the lowland Lao, the music is evidently provided by the lao thung (upland Lao, formerly called kha, a pejorative label) from Salavan province in the interior. Lao thung is a collective term for people, 'who live on the slopes' (and not the highest mountains, such as the Hmong). In this case, it probably refers to either the Loven or Tauoi, both of which are Mon-Khmer groups (See Frank M. Lebar et al., Ethnic Groups of Mainland Southeast Asia, New Haven: Human Relations Area Files Press, 1964, pp. 143, 151). Their instruments are distinctly upland (drums and gongs), and the language of the singing is evidently upland Khmer.

In conclusion, I expect that having this album available is better than not having it at all; however, to reissue it without correcting the annotations seems a waste. The music of the little-known country of Laos remains shrouded in mystery; this is partly due to the lack of materials and partly to documents such as this which misrepresent and distort the traditions.

[This essay was written by Terry E. Miller and originally published in Ethnomusicology, Volume 39, Number 1, Winter 1995, pp. 162-65. It has been slightly edited for inclusion on TV Multiversity. Further information about the recordings discussed in the this essay can be found here and here, and there are numerous videos featuring the instruments mentioned in this essay, especially the khene, currently available on YouTube.]

Wednesday, June 8, 2011

What do I need to get Freesat in Spain?

What do I need to get Freesat TV in Spain?

You will require two things to get Freesat TV in Spain:
A satellite dish
A Freesat receiver

Satellite Dishes for Freesat in Spain

The size of satellite dish you need for Freesat in Spain depends on where you are located in Spain and what channels you want to be able to watch in Spain.

In many areas a 1.8m satellite dish or a 2.4m satellite dish is

Tuesday, June 7, 2011

the Slice Tool for Nuke

Monday, June 6, 2011

Why am i no longer receiving BBC HD on Sky

Why am i no longer receiving BBC HD on Sky

The BBC has changed some of the frequency parameters for its HD channels.
Frequency: 10,847MHz (vertical polarity)
Modulation: DVB-S2, QPSK
Symbol Rate: 23.0
FEC: 8/9

Changes are happening to the BBC HD channels on Astra 2D. Sky HD users should not have any problems, as the Sky HD boxes will automatically update

More information on

http://

Changes to BBC1HD and BBCHD frequencies June 2011

The BBC has changed some of the frequency parameters for its HD channels.

Frequency: 10,847MHz (vertical polarity)
Modulation: DVB-S2, QPSK
Symbol Rate: 23.0
FEC: 8/9

Changes are happening to the BBC HD channels on Astra 2D.

Sky HD users should not have any problems, as the Sky HD boxes will automatically update.

Some Freesat users may have to reset their Freesat HD boxes, or perform a Freesat scan.

Users of other "generic" HD receivers, will have to rescan the BBC HD frequency, ensuring their receivers work with the new DVBS2 transmision standard.

If you are getting the "no satellite signal" being received then a simple receiver reboot may cure the problem.

More information :

BBC HD Frequency Changes June 2011

Changes to BBC1HD and BBCHD frequencies June 2011

Saturday, June 4, 2011

Effects A-Z tip series: recent episodes

Note: see AE's CycoreFX CC filters inside Premiere Pro CS5 to see what works in Premiere. These filters were tested further and discussed in new Premiere training from Eran Stern, released in Feb 2011.

Here's the list of the entire Effects A-Z tip series from Motionworks.

These are the recent ones, posted at PVC:

The After Effects: Effects A-Z tip series from Motionworks continues with guest host Maltaannon demoing the 4-Color Gradient effect that ships with After Effects... PVC

The After Effects: Effects A-Z tip series from Motionworks continues with guest host James Zwadlo on the CC Bubbles effect that ships with After Effects...   PVC

The After Effects: Effects A-Z tip series from Motionworks continues with guest host Eran Stern on the CC Blobbylize effect that ships with After Effects. Eran has two sections in this quicktip...   PVC

The After Effects: Effects A-Z tip series from Motionworks continues with guest host Adam Everett on the CC Ball Action effect that ships with After Effects. Beyond the basics he shows the Brightness Twist control, an old favorite that can make things interesting effects and how to create an easy but realistic displacement map for text...   PVC

The Core Skills of VFX Handbook

Thanks Seadog's friend's info

Live SPorts on BBC Sport Red Button service for June 2011

BBC Sports Interactive Streams - Live Sport in June 2011
Wednesday 1 June

Tennis

1000-1900 Live coverage of the French Open from Roland Garros, Paris.

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Thursday 2 June

Tennis

1000-1900 Live coverage of the French Open from Roland Garros, Paris.

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 2nd Test between England and Sri Lanka Not available on Freeview

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Friday 3 June

Tennis

1000-1900 Live coverage of the French Open from Roland Garros, Paris.

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 2nd Test between England and Sri Lanka Not available on Freeview

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Saturday 4 June

Triathlon

0900-1120 Live coverage of the World Series Triathlon Men's Race from Madrid.

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 2nd Test between England and Sri Lanka. Not available on Freeview

Motorcycling

1150-1500 Live coverage of the 125cc, MotoGP & Moto2 Qualifying races from Catalunya, Spain.Moto2 delayed on Freeview - available 1630-1730

Rugby Union

1400-1650 Live coverage of Wales v Barbarians with alternative commentaries

Athletics

1800-2000 Live coverage of the Diamond League Athletics from Eugene, USA.

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Sunday 5 June

Motorcycling

0950-1205 Live coverage of the 125cc and Moto2 Qualifying races from Catalunya, Spain.

1400-1430 Post-race analysis, interviews & debate presented by Matt Roberts.

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 2nd Test between England and Sri Lanka. Not available on Freeview

Triathlon

1330-1550 Live coverage of the World Series Triathlon Women's Race from Madrid. Not available on Freeview

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Monday 6 June

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 2nd Test between England and Sri Lanka. Not available on Freeview

Tennis

1230-2000 live coverage of the Aegon Lawn Tennis Tournament from Queen's Club London.

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Tuesday 7 June

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 2nd Test between England and Sri Lanka. Not available on Freeview

Tennis

1230-2000 live coverage of the Aegon Lawn Tennis Tournament from Queen's Club London.

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Wednesday 8 June

Tennis

1230-2000 live coverage of the Aegon Lawn Tennis Tournament from Queen's Club London.

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Thursday 9 June

Tennis

1230-2000 live coverage of the Aegon Lawn Tennis Tournament from Queen's Club London.

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Friday 10 June

Tennis

1230-2000 live coverage of the Aegon Lawn Tennis Tournament from Queen's Club London. 1230-1450 & 1640-1850 on Freeview

Formula One

1455-1635Live coverage of the 1st practice session from the Canadian Grand Prix with 5Live commentary.

1855-2035 Live coverage of the 2nd practice session from the Canadian Grand Prix with 5Live commentary.

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Saturday 11 June

Motorcycling

1250-1605 Live coverage of the 125cc, MotoGP & Moto2 Qualifying races from Silverstone.Moto2 delayed on Freeview - available 1605-1705

Formula One

1455-1605 Live coverage of the 3rd practice session from the Canadian Grand Prix with 5Live commentary.

1715-1915 Live coverage of the qualifying session from the Canadian Grand Prix with 5Live commentary.

Athletics

2000-2200 Live coverage of the Diamond League Athletics from New York.

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Sunday 12 June

Motorcycling

1105-1215 Live coverage of the 125cc race from Silverstone.

1430-1525 Live coverage of the Moto2 race from Silverstone.

Formula One

1700-2015 Live coverage of the Canadian Grand Prix with audio options, Onboard camera, rolling highlights. Limited options on Freeview

2015-2115 Post-race analysis and debate hosted by Jake Humphrey.

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Tuesday 14 June

Horse Racing

1715-1800 Extended live coverage of the last races of the day from Royal Ascot

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Wednesday 15 June

Horse Racing

1715-1800 Extended live coverage of the last races of the day from Royal Ascot

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Thursday 16 June

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 3rd Test between England and Sri Lanka. Not available on Freeview

Horse Racing

1715-1800 Extended live coverage of the last races of the day from Royal Ascot

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Friday 17 June

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 3rd Test between England and Sri Lanka. Not available on Freeview

Horse Racing

1715-1800 Extended live coverage of the last races of the day from Royal Ascot

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Saturday 18 June

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 3rd Test between England and Sri Lanka. Not available on Freeview

Triathlon

1325-1545 Live coverage of the Men's Triathlon from Kitzbuhel, Austria

Horse Racing

1715-1800 Extended live coverage of the last races of the day from Royal Ascot

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Sunday 19 June

Rowing

0920-1320 Live World Cup rowing from Hamburg, Germany

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 3rd Test between England and Sri Lanka. Not available on Freeview

Triathlon

1130-1250 Live coverage of the Women's Triathlon from Kitzbuhel, Austria. Delayed coverage on Freeview from 1330-1450

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Monday 20 June

Cricket

1045-1830 Live TMS commentary with graphics scorecard, photos and stats of the 3rd Test between England and Sri Lanka. Not available on Freeview

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches.

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Tuesday 21 June

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches.

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Wednesday 22 June

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches.

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Thursday 23 June

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches.

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Friday 24 June

Formula One

0855-1035 Live coverage of the 1st practice session from the German Grand Prix with 5Live commentary.

1255-1435 Live coverage of the 2nd practice session from the Canadian Grand Prix with 5Live commentary.

Motorcycling

0955-1105 Live coverage of the 125cc, MotoGP & Moto2 Qualifying races from Assen. Freeview coverage to be confirmed

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches. Freeview coverage to be confirmed

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Saturday 25 June

Formula One

0855-1035 Live coverage of the 3rd practice session from the German Grand Prix with 5Live commentary.

1210-1415 Live coverage of the qualifying session from the German Grand Prix with 5Live commentary. Audio options not available on Freeview

Motorcycling

1050-1220 Live coverage of the 125cc & Moto2 races from Assen. 1110-1220 on Freeview

1320-1505 Live coverage of the MotoGP race from Assen.

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches. 1215-1330 & 1510-1600 on Freeview

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Sunday 26 June

Formula One

1200-1530 Live coverage of the German Grand Prix with audio options, Onboard camera, rolling highlights. Limited options on Freeview

1530-1630 Post-race analysis and debate hosted by Jake Humphrey.

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Monday 27 June

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches. No Freeview coverage from 1640-1910

Football

1645-1900 Live coverage of the Women's World Cup match between England and Mexico

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Tuesday 28 June

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches.

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Wednesday 29 June

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches.

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Thursday 30 June

Tennis

1200-2100 Live coverage of the Wimbledon Tennis Championships with a choice of matches.

BBC Sport "Red Button" Interactive Sports Service

This service is normally only available on a Sky receiver by pressing the Red Button when on BBC1 or BBC2 (or by selecting the “Streams” on a generic receiver). However, if you are able to receive BBC News, which should be available on a small 80cm dish, press the Red Button Red or Text type in the page number 3001 press select, which is the page number for BBC Sports Interactive. If the system is working you will be looking at the BBC Sports Interactive service.

To watch the BBC Sports Interactive service stream on Sky boxes

BBC News (Sky channel 503)
Red Button
3001
Select

or

BBC News (Sky Channel 503)
Red Button
Sports
Sports Multiscreen

To watch the BBC Sports Interactive service stream on Non Sky Boxes

Select from the channel lists
Stream-0
Stream-1
Stream-2
Stream-3
Stream-4
Stream-5
Stream-6

These streams are available on satellite frequency 12441 polarisation v symbol rate 27500

http://www.satandpcguy.com/Site/bbc_sport_interactive_red_button_bbci.php

Important changes to TDT "Spanish Freeview" frequencies - Teledeporte

These changes affect most Spanish TV reception across Spain and is part of Phase 2 of the digital switch over in Spain.

All channels on frequency / multiplex 66 have been moved and transferred over to new frequencies.

This has affected the following Spanish digital TV channels:

Teledeporte
Intereconomía
Veo7 TV

A rescan on your TDT set top box will need to be performed to make sure you can

Friday, June 3, 2011

New Biss Keys For ERI TV 2 - 1 -MAY - 2011

New Biss keys for eri tv 2 on badr 5 updated on may - 1- 2011

Frequence: 12612 - 02590 - V
key: ABCD0078432155B9

Thursday, June 2, 2011

Nutritional Wisdom in a Korean TV Drama

Since its production in 2003, 'Dae Jang Geum' or 'Jewel in the Palace,' the 54 episode Korean TV drama, gained popularity around the world. Part of the 'Korean Wave' of TV dramas, it has been dubbed into several languages and has aired on TV in Japan and China, among other places. In 2007, millions of people in Iran watched a Farsi dubbed version on national TV. Unofficial 'fansubbing' has provided access to the series in countless languages, from Arabic to Tagalog. On the surface, the series tells the story of the first female physician who earned the special title of 'the Great' in the kingdom of Korea in the first half of the 16th century, dramatizing an era of Korean history in a way that makes it appealing to people who live in different parts of the world today. Although it focuses on how society and religious authorities were against the presence of a woman in high ranking positions, and includes the requisite love story for productions of this sort, an important aspect of the series is its emphasis on a traditional system of nutrition and medicine.

The first part of the story takes place in the royal kitchen and emphasizes cooking skills based on the health characteristics of food, along with the careful preparation and selection ingredients. This traditional medical knowledge and its relationship with food becomes clearer when Jang Geum begins to study medicine and eventually becomes the King's private doctor. Her success in medical practice is related to her background in food preparation and her artistry in combining them is demonstrated in numerous scenes, such as for example when she creates an edible form of medicinal garlic for one of her patients.

Another important aspect of the series is in the names and titles used for diseases and medicines, which are in the common language spoken and understood by everyone in Korean society (although if this carries over through the multiple translations would need to be investigated). Even though there were medical institutions and pharmacies, people of the day also learned about medicine and about finding and preparing medicinal herbs from the countryside and the mountains by themselves. Rather than separating people from medical knowledge, as the academic works in the field tend to do today by way of specialized jargon, the health system depicted in the series suggests that traditional Korean medical knowledge and nutritional wisdom was understood by ordinary people as well as by the specialized practitioners.

The series also emphasizes a method of disease diagnosis from the traditional health care system that looked first and foremost at diet and nutrition. In the climax of the series, for example, Jang Geum carefully investigates from where the special food for the ailing king had come, and through that she finds out that drinking milk from cows that drank water from a sulfuric lake introduced arsenic into the patient's body, which in turn lead to his chronic illness. On another occasion, when there was an epidemic in different parts of the kingdom, the cause was traced to a vegetable blight. These aspects of the series bring to mind such modern maladies related to food, such as mad cow disease and avian flu. The difference is, however, that with today's eating habits increasingly dominated by the giant food industries, identifying and solving health problems related to food has become politically and economically inviable, if curbing unhealthy food intake can be construed as a barrier to trade or economic growth and thus liable to litigation, as was seen the McLibel Trial.

The ordinary people depicted in 'Jewel in the Palace' understand what they eat, the herbs, spices, vegetables and other ingredients in their foods. In addition to identifying ingredients, cooking skills are also related to subsidiary issues such as the change of seasons and knowledge of local flora and fauna. Even though it is a historical drama, it depicts a traditional medicine and food culture that is still part of the East Asian life and culture today, in many cases side by side with the modern sciences, which can be considered as part of the rich culture of the past that every human being can enjoy in every era. The series and its immense popularity today gives pause for reflection on the socio-economic aspects of health and indirectly suggests that the medical and nutritional wisdom of the past remains relevant.

[This review is by Yusef Progler and was originally published in 2008 as a media report in the Journal of Research in Medical Sciences, Vol. 13, No. 1, pp. 41-42. It has been edited for reprinting here. The original article is available as a PDF at the JRMS website and there are dozens of clips from the series on YouTube.]

Changes to BBC HD channels on satellite on 6th June

Changes are happening to the BBC HD channels on Astra 2D.

Sky HD users should not have any problems, as the Sky HD boxes will automatically update.

Some Freesat users may have to reset their Freesat HD boxes, or perform a Freesat scan.

Users of other "generic" HD receivers, will have to rescan the BBC HD frequency, ensuring their receivers work with the new DVBS2 transmision standard.

One of

Wednesday, June 1, 2011

MBC launch HD channels on Nilesat 201

MBC Media Group started broadcasting a test of seven of its existing programs in high definition televisions (HDTVs). Among them there are also a popular movie channel MBC2 and MBC Action in HD.

MBC to launch HD programmes began using a new transponder on the satellite Nilesat 201 at the orbital position 7 degrees west.

Unfortunately, the signal from this satellite can not be receive on small