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Ephesians 6 (Today's New International Version)
View In My Bible
1 Children, obey your parents in the Lord, for this is right.1 2 "Honor your father and mother"--which is the first commandment with a promise-- 3 "so that it may go well with you and that you may enjoy long life on the earth."a2 4 Fathers,b do not exasperate your children;3 instead, bring them up in the training and instruction of the Lord.4 5 Slaves, obey your earthly masters with respect5 and fear, and with sincerity of heart,6 just as you would obey Christ.7 6 Obey them not only to win their favor when their eye is on you, but as slaves of Christ,8 doing the will of God from your heart. 7 Serve wholeheartedly, as if you were serving the Lord, not people,9 8 because you know that the Lord will reward each one of you for whatever good you do,10 whether you are slave or free. 9 And masters, treat your slaves in the same way. Do not threaten them, since you know that he who is both their Master and yours11 is in heaven, and there is no favoritism12 with him.
The Armor of God
10 Finally, be strong in the Lord13 and in his mighty power.14 11 Put on the full armor of God,15 so that you can take your stand against the devil's schemes. 12 For our struggle is not against flesh and blood,16 but against the rulers, against the authorities,17 against the powers18 of this dark world and against the spiritual forces of evil in the heavenly realms.19 13 Therefore put on the full armor of God,20 so that when the day of evil comes, you may be able to stand your ground, and after you have done everything, to stand. 14 Stand firm then, with the belt of truth buckled around your waist,21 with the breastplate of righteousness in place,22 15 and with your feet fitted with the readiness that comes from the gospel of peace.23 16 In addition to all this, take up the shield of faith,24 with which you can extinguish all the flaming arrows of the evil one.25 17 Take the helmet of salvation26 and the sword of the Spirit,27 which is the word of God.28 18 And pray in the Spirit29 on all occasions30 with all kinds of prayers and requests.31 With this in mind, be alert and always keep on praying32 for all the Lord's people. 19 Pray also for me,33 that whenever I speak, words may be given me so that I will fearlessly34 make known the mystery35 of the gospel, 20 for which I am an ambassador36 in chains.37 Pray that I may declare it fearlessly, as I should.
Final Greetings
21 Tychicus,38 the dear brother and faithful servant in the Lord, will tell you everything, so that you also may know how I am and what I am doing. 22 I am sending him to you for this very purpose, that you may know how we are,39 and that he may encourage you.40 23 Peace41 to the brothers and sisters, and love with faith from God the Father and the Lord Jesus Christ. 24 Grace to all who love our Lord Jesus Christ with an undying love.c
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global_05_local_4_shard_00000656_processed.jsonl/109171
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Biology as Poetry: Evolution
Bacteriophage Ecology Group
Postzygotic Barrier
Reproductive isolation mechanism that acts after the point of conception.
Postzygotic reproductive barriers act after the point of production of the zygote, contrasting prezygotic barriers which instead act to prevent conception. This represents a fundamental difference because up to the point of conception no eggs have been wasted nor progeny.
Why do I say wasted? This is because "wasting" progeny is the fundamental basis of the idea of postzygotic reproductive barriers, that is, the production of offspring that have a lower fitness, because they are hybrids, than they would if they had not been hybrids.
In what ways can hybrid fitness be lowered? They can either die young or otherwise produce fewer offspring overall. How does this affect parental fitness? This is a matter of opportunity costs, where the production of hybrid progeny is assumed to have the effect of preventing the production of an equivalent number of non-hybrid progeny.
The technical terms for the various categories of postzygotic barriers are reduced hybrid viability, reduced hybrid fertility, and hybrid breakdown. Basically these come down to not surviving long enough to produce a typical number of offspring, surviving but nevertheless not producing a typically number of offspring, and producing a typically number of offspring but those offspring display a reduced fitness relative to non-hybrid offspring, respectively.
Importantly, postzygotic barriers drive the evolution of prezygotic barriers, as adaptations, and therefore resulting speciation events. How do you avoid the costs of producing inferior progeny? You avoid conceiving those progeny in the first place, where "avoidance of conception" basically is explicitly what prezyogenic reproductive barriers achieve.
The mule is the classic example of a postzygotic barrier as they almost always display a reduced hybrid fertility, and this is despite the fact that mules are otherwise impressively robust animals.
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global_05_local_4_shard_00000656_processed.jsonl/109204
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"Issue VI"
(Nuclear Blast)
01. Processing Life
02. Rituals of Time
03. Turn to Ash
04. Ruins of Hope
05. Out of the Self
06. The Prison of Reason
07. Bled Dry
08. In Defeat
09. Never to Return
10. Vortex
11. Conceptual End
12. Evil Dead
RATING: 7/10
It's quite simple really; those who enjoy the razor-sharp, precision thrash of bands like THE HAUNTED (such as myself) should at least be able to appreciate the unbridled fury of Germany's DEW-SCENTED (as I can). On album number six ("Issue VI"), DEW-SCENTED churns out another quality modern thrash album. Whereas THE HAUNTED added a few new twists on "rEVOLVEr" (vocal changeups, more pace variety, etc.), DEW-SCENTED sticks to what works for them. It may be predictable, but when a band serves up speeding shrapnel blasts as effectively as DEW-SCENTED does, it's hard to find fault with it.
There's no messing about with hardcore breakdowns or genre blending, just go-for-throat aggression and shout-worthy choruses. Each of these 12 tracks is a keeper, all played at basically one speed (fast) and intended solely to cause whiplash. Hell, I can pick any track and my comments will be mostly the same. There is no let-up, no momentum killing, only the lacerating twin guitars of Florian Mueller and Hendrik Bache, the crackling pop-n-thud of drummer Uwe Werning, and the strep-throat vocals of Leif Jensen. I'm not saying that every song sounds exactly the same, only similar from the standpoint of relentless attacking. That said, "The Prison of Reason" and "Bled Dry" happen to be two of my personal favorites, the former featuring a devastating rhythm dynamic and the latter an especially violent groove. The one-minute cover of ZEKE's "Evil Dead" is the perfect album-closer, the final round of quick blows to the head to make absolutely certain you'll stay down for the count. Sure, vocalist Jensen remains in his comfort zone, but the style fits the music well, so there's not much point in screwing with it.
Provided the tunes are up to snuff (and they are here), there's value in reliability (i.e., SLAYER). On "Issue VI", DEW-SCENTED delivers just that. If the adrenaline doesn't start pumping after a few minutes of "Issue VI", I'd advise you to seek medical help, as something is clearly wrong.
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Don Davis
Corben Bernson
Blood & Guts
CGI Snakes
Tara Reid
Bill Corcoran
MPAA Rating:
Reunion Pictures
Did You Know?:
Don Davis, a prolific character actor who appears in this film, died in June 21st, 2008 after a long and prosperous career. Throughout his career, he appeared in nearly every scifi/horror themed show on television.
A scientific company has many irons in the fire, first and foremost, a cure for cancer! Distilled from the venom of the deadly viper, everybody’s happy at the company because you know… they killed cancer! With Corbin Bernson acting as the CEO, we soon find out that there’s a dirty side to the company as well. Accepting government money to experiment on new biological weapons, it turns out their scientists have been doing some genetic manipulation to the Vipers as well. Now enhanced, their venom is four times as deadly, they can move even faster, they’re smarter, and they now resort to hunting in packs! The vipers are kept in a glass container, presumably tucked safely away in the back of the genetics lab. That is of course, until secret government scientists show up to steal them and botch the job, setting them loose on a small island known for it’s tourist community!
In case you didn’t pick it up on the plot synopsis, “Vipers” is destined for SciFi Channel rotations right up there with such classics as ‘Mansquito” or “Bird Flu Horror”. At no point does the movie take itself too seriously nor does it try very hard to be convincing. Saddled with Tara Reid and a sub-par and formulaic plot, there’s not much for “Vipers” to look forward to right out of the gate. Tack on some horrid CGI snakes and Tara Reid trying to emote, and this is a ‘Man-Eater’ movie that will fail to scare you on all counts, but may vaguely engage readers with certain sensibilities.
Contained threats seem to always be the rage with killer animal movies these days; an entire town walled in by water with no where to run, trying to hide from hundreds of killer critters as they swarm over the town killing everything in their wake. It’s a theme we’ve seen time and time again making the movie entirely predictable and lacking in surprise. “Vipers” continues to milk the vein of clichéd horror, yet still manages to be semi interesting, if not entertaining. There is a loose attempt at plot here revolving around an ex-Marine medic who is visiting the town’s doctor played by “Stargate SG-1”’s Don Davis, who shows up to inform the doctor of the passing of his son. This dead son rears his head figuratively throughout the plot as it is the gristle that ties all of our random characters together; Don Davis’s son, the ex-medic’s buddy from the war, Tara Reid’s ex-boyfriend, on and on. He really serves no other purpose though.
While the CGI snakes were absolutely horrible - I’ve seen screensavers that look more realistic - the actual snake attacks where one of the highlights of the movie. Normally these types of films get thrown in for a PG-13 or less rating so that they can get fit easily into the SciFi Channel rotation; “Vipers” receives an R rating, mostly due to the attacks being pretty bloody. Granted, hardened gore hounds will probably still be disappointed, but when taken in context with other movies of its ilk, there is actually some decent carnage. Plenty of bloody wounds to be had here, and though it was never completely clear, there are some hints of the snakes actually burrowing into their victims. Remember, we are normally given all of this info off screen and are only shown the aftermath; so at least here we get something to salvage from the mundane content of the rest of the movie.
Beyond the entertaining snake attacks, “Vipers” trails off quickly into sci-fi/action clichés and fails to add anything to what has come prior. As for the actors, most turn in the performance you would expect; vaguely believable and emotive. They avoid being wooden, but don’t expect any academy award worthy displays here. Tara Reid is mostly forgettable for being the ‘big name’ of the cast, although she does illicit a few laughs here and there. Mostly cast as a slightly hippy-ish gardener who takes no nonsense, she’s convincing, but it really adds nothing to the overall movie! Don Davis is enjoyable as usual, although it makes me sad to think of this as his near last performance before his death.
“Vipers” isn’t going to wow or impress anybody, but if you’ve got nothing else to do it might be a decent way to kill two hours. Definitely not recommended for a purchase or even a Netflix slot, but perhaps late night on cable it might be worth your time.
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global_05_local_4_shard_00000656_processed.jsonl/109239
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Th1 and Th2 responses: what are they?
1. Abi Berger, science editor
1. BMJ
Cytokines are the hormonal messengers responsible for most of the biological effects in the immune system, such as cell mediated immunity and allergic type responses. Although they are numerous, cytokines can be functionally divided into two groups: those that are proinflammatory and those that are essentially anti-inflammatory but that promote allergic responses.
T lymphocytes are a major source of cytokines. These cells bear antigen specific receptors on their cell surface to allow recognition of foreign pathogens. They can also recognise normal tissue during episodes of autoimmune diseases. There are two main subsets of T lymphocytes, distinguished by the presence of cell surface molecules known as CD4 and CD8. T lymphocytes expressing CD4 are also known as helper T cells, and these are regarded as being the most prolific cytokine producers. This subset can be further subdivided into Th1 and Th2, and the cytokines they produce are known as Th1-type cytokines and Th2-type cytokines.
Th1-type cytokines tend to produce the proinflammatory responses responsible for killing intracellular parasites and for perpetuating autoimmune responses. Interferon gamma is the main Th1 cytokine. Excessive proinflammatory responses can lead to uncontrolled tissue damage, so there needs to be a mechanism to counteract this. The Th2-type cytokines include interleukins 4, 5, and 13, which are associated with the promotion of IgE and eosinophilic responses in atopy, and also interleukin-10, which has more of an anti-inflammatory response. In excess, Th2 responses will counteract the Th1 mediated microbicidal action. The optimal scenario would therefore seem to be that humans should produce a well balanced Th1 and Th2 response, suited to the immune challenge.
Many researchers regard allergy as a Th2 weighted imbalance, and recently immunologists have been investigating ways to redirect allergic Th2 responses in favour of Th1 responses to try to reduce the incidence of atopy. Some groups have been looking at using high dose exposure to allergen to drive up the Th1 response in established disease,1 and other groups have been studying the use of mycobacterial vaccines in an attempt to drive a stronger Th1 response in early life.2
An additional strategy is being used to prevent the onset of disease; this involves the study of pregnancy and early postnatal life. Both of these states are chiefly viewed as Th2 phenomena (to reduce the risk of miscarriage, a strong Th2 response is necessary to modify the Th1 cellular response in utero). The fetus can switch on an immune response early in pregnancy, and because pregnancy is chiefly a Th2 situation, babies tend to be born with Th2 biased immune responses. These can be switched off rapidly postnatally under the influence of microbiological exposure or can be enhanced by early exposure to allergens. It is also hypothesised that those who go on to develop full blown allergies may be those who are born with a generally weaker Th1 response, although it is now apparent that babies with allergies produce weak Th1 and Th2 responses.
Some people have suggested that immunisation programmes (and the subsequent reduction in microbiological exposure) are responsible for the increasing incidence of atopy. There is, however, no evidence that immunisation causes atopy. Moreover, this is not an argument that we should be exposing children to potentially fatal diseases again. If experiencing native diseases reduces the incidence of atopy, then the task of immunologists must be to develop vaccines that mimic the positive effects of infection.
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2. 2.
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A Happy Boy eBook
It was an autumn day without sunshine, as when the weather is about to change. Clouds gathered together and dispersed again; sometimes out of one great mass were formed twenty smaller ones, which sped across the sky with orders for a storm; but below, on the earth, it was still calm, the foliage hung lifeless, not a leaf stirring; the air was a trifle sultry; people carried their outer wraps with them but did not use them. An unusually large multitude had assembled round the church, which stood in an open space; but the confirmation children immediately went into the church in order to be arranged in their places before service began. Then it was that the school-master, in a blue broadcloth suit, frock coat, and knee-breeches, high shoes, stiff cravat, and a pipe protruding from his back coat pocket, came down towards them, nodded and smiled, tapped one on the shoulder, spoke a few words to another about answering loudly and distinctly, and meanwhile worked his way along to the poor-box, where Oyvind stood answering all the questions of his friend Hans in reference to his journey.
“Good-day, Oyvind. How fine you look to-day!” He took him by the jacket collar as if he wished to speak to him. “Listen. I believe everything good of you. I have been talking with the priest; you will be allowed to keep your place; go up to number one and answer distinctly!”
Oyvind looked up at him amazed; the school-master nodded; the boy took a few steps, stopped, a few steps more, stopped again: “Yes, it surely is so; he has spoken to the priest for me,”—and the boy walked swiftly up to his place.
“You are to be number one, after all,” some one whispered to him.
“Yes,” answered Oyvind, in a low voice, but did not feel quite sure yet whether he dared think so.
After all was ended the relatives and acquaintances came up to offer their congratulations; next came Oyvind’s comrades to take leave of him, as they had heard that he was to depart the next day; then there came many little ones with whom he had coasted on the hill-sides and whom he had assisted at school, and who now could not help whimpering a little at parting. Last came the school-master, silently took Oyvind and his parents by the hands, and made a sign to start for home; he wanted to accompany them. The four were together once more, and this was to be the last evening. On the way home they met many others who took leave of Oyvind and wished him good luck; but they had no other conversation until they sat down together in the family-room.
Project Gutenberg
A Happy Boy from Project Gutenberg. Public domain.
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global_05_local_4_shard_00000656_processed.jsonl/109289
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Each culture has its own form of staged combat, evolved from its particular method of street fighting and cleaned up for presentation as a spectacle, e.g. savate, Cornish wrestling, karate, kung-fu.
David Mamet
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global_05_local_4_shard_00000656_processed.jsonl/109300
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Article Free Pass
T’ongyŏng, also spelled Tongyeong, city and port, South Kyŏngsang (Gyeongsang) do (province), southeastern South Korea. The city was created in 1995 when Ch’ungmu city was combined with T’ongyŏng county. Until it was made a municipality in 1955, Ch’ungmu was called T’ongyŏng, deriving its name from T’ongjeyŏng, which in Old Korean means “Headquarters.”
The port’s deep water and nearby large islands (such as Kŏje [Geoje], Hansan, and Mirŭk [Mireuk]), which screen the winds and waves, have made it a good harbour from early times. During the Chosŏn (Yi) dynasty (1392–1910) it was the headquarters of the Korean navy. Modern T’ongyŏng is a rail junction and port of call for shipping lines. The city’s principal economic activity is fishing, which is supported by the manufacture of marine products and by canning, shipbuilding, and net making. The city is also famous for its traditional lacquerwork inlaid with mother-of-pearl. The cultivation of pearl shellfish began in 1964. T’ongyŏng has many historical remains, and Hallyŏ (Hallyeo) Marine National Park (1968), which includes islands as well as mainland areas, is located nearby. Pop. (2010) 129,366.
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global_05_local_4_shard_00000656_processed.jsonl/109301
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John Bull
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John Bull, in literature and political caricature, a conventional personification of England or of English character. Bull was invented by the Scottish mathematician and physician John Arbuthnot as a character in an extended allegory that appeared in a series of five pamphlets in 1712 and later in the same year published collectively as The History of John Bull; he appeared as an honest clothier, bringing action with his linen-draper friend Nicholas Frog (Holland) against Lewis Baboon (Louis XIV) for interfering with trade. The wide circulation of the satire fixed Bull as a popular personification in 18th-century political writings.
Subsequently, the French Revolutionary and Napoleonic wars brought John Bull’s first great period in caricature, when such satirists as James Gillray and Thomas Rowlandson conventionalized a gross, rather stupid figure, weighed down with debt or taxation or oppression, according to the artists’ political allegiance; but, less than 50 years later, “HB” (John Doyle) raised John Bull in the social scale, and he became the portly, prosperous citizen. This was the typical native representation, however; hostile foreign caricature identified him with “perfidious Albion.”
John Bull’s widest recognition came in the middle and late 19th century, especially through the influential cartoons portraying him in the periodical Punch. The most familiar and frequent representation was that developed by Punch cartoonists John Leech and Sir John Tenniel: the jovial and honest farmer figure, solid and foursquare, sometimes in Union Jack waistcoat and with bulldog at heel. John Bull had by now become so universally familiar that the name frequently appeared in book, play, and periodical titles and pictorially as a brand name or trademark for manufactured goods.
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global_05_local_4_shard_00000656_processed.jsonl/109302
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Balkan Entente
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Balkan Entente, also called Balkan Pact, (Feb. 9, 1934), mutual-defense agreement between Greece, Turkey, Romania, and Yugoslavia, intended to guarantee the signatories’ territorial integrity and political independence against attack by another Balkan state (i.e., Bulgaria or Albania). The agreement provided for a Permanent Council, composed of the members’ foreign ministers, that would coordinate legislation and foster economic cooperation.
Despite professions of unity, the Balkan Entente was ineffective against growing German economic and political influence in the Balkans (1934–39) and against actual Axis aggression during World War II, when Albania had already fallen to the Italians. The entente likewise offered no security to Romania against the territorial claims of either the Soviet Union or Hungary.
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global_05_local_4_shard_00000656_processed.jsonl/109303
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Article Free Pass
basmalah, also called Tasmiyah, in Islām, the formula-prayer: biʾsm Allāh ar-raḥmān ar-raḥīm, “in the name of God, the Merciful, the Compassionate.” This invocation, which was first introduced by the Qurʾān, appears at the beginning of every Qurʾānic sūrah (chapter) except the ninth (which presents a unique textual problem) and is frequently recited by Muslims to elicit God’s blessings on their important actions. The basmalah also introduces all formal documents and transactions and must always preface actions that are legally required or recommended. An abbreviated version precedes certain daily rituals, such as meals. Magicians often use the basmalah in amulets, claiming that the prayer was inscribed in Adam’s side, Gabriel’s wing, Solomon’s seal, and Jesus Christ’s tongue.
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global_05_local_4_shard_00000656_processed.jsonl/109305
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Black Princes ruby
Black Prince’s ruby, large red gem set in the Maltese cross in the front of the imperial state crown of England. It is not a ruby but is one of the world’s largest gem-quality red spinels, a polished lump 5 cm (2 inches) long, pierced and partly filled with a small ruby. The stone was given to Edward the Black Prince by Pedro the Cruel, king of Castile, on the victory of Nájera in 1367. It narrowly escaped destruction when Henry V wore it at the Battle of Agincourt in 1415.
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global_05_local_4_shard_00000656_processed.jsonl/109309
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PSYC 3300 Theories of Personality
(Prior to Fall 2010, this course was known as PSY 36.
3 hours; 3 credits
Discussion and critical evaluation of major theories of personality. Related methods of assessment and research. (Not open to students who have completed Psychology 76.)
Prerequisite: Psychology 9 or 2810 [30] or 2300 [30.2]; and Psychology 3400 [40.1].
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global_05_local_4_shard_00000656_processed.jsonl/109326
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'Survivor Philippines' Recap: Merge is the Word
'Survivor Philippines' Recap: Merge is the Word
Gina Pusateri
Gina Pusateri
Contributing Writer, BuddyTV
Previously on Survivor: Denise and Malcolm made an alliance and everyone on Tandang hates Michael. And for all of you folks keeping track of things at home, Denise has now been to all six tribal councils and Abi has been to none. Lucky for Abi, I suppose, but unlucky for us because she's the worst and she's still here.
It's day 17 and at Tandang Michael is feeling a little sentimental because it was on day 17 that he was evacuated from Survivor Australia. He says that he is no longer considered a veteran and they are all on an even playing field now. Snaps to him for making this far. He has been through a lot on this show and the fact that he is willing to go through it all again is quite admirable.
A boat arrives at each of the camps to tell them that the tribes are merging and that they all have 10 minutes to gather their things and catch the boat to a new island. Malcolm has to go dig up his immunity idol and he sticks it in a pocket and then puts it in his bag.
At the new nameless tribe, none of the members from Tandang recognize that Jeff is a former baseball player, so he can rest easy because he's convinced that this would make everyone immediately vote him off. And no one on Kalabaw, except Jonathan, recognizes Lisa and he promises not to blow Lisa's cover. Lisa is really enjoying her experience and having all of these people who don't recognize her as Blair getting to know her for her. Also: she is adorable.
After the customary merge feast, things get a little sketchy with everyone talking to everyone about basically voting off everyone. Let me try to get this straight without confusing you or myself.
Jonathan approaches both Michael and Lisa about possibly joining up with him and his "loyal four" which he considers to be himself, Carter, Denise and Jeff.
Michael and R.C. are still thick as thieves and sense that they were on the outs with the old Tandang but still haven't decided what will be the best move for them.
Jeff approaches Artis, Pete, Abi and Malcolm and tells them that he wants to get rid of Jonathan as soon as possible (so much for the "loyal four"). They agree to join forces but they want R.C. out first and they think Jonathan has an idol. So if they don't win immunity, they plan to split their votes between those two at the next tribal.
Lisa accidently finds Malcolm's idol while hanging clothes so he is forced to come clean with her and form a three-part alliance with him, Lisa and Denise, who he remains allied with. She is wary of what Malcolm tells her, though, knowing that he is just trying to salvage the fact that she found out something she wasn't supposed to know.
Got all that? Sheesh, talks of alliances and votes were even more maddening than usual today, but there's nothing like the first tribal council after the merge to draw real lines in the sand.
All I can say is that it would be a shame to see Abi last longer than just about anyone. Or Pete, who has been rather terrible as of late, calling Michael names behind his back and just being rude and disrespectful in general.
Immunity Challenge
It's time for the contestants to start competing in individual immunity challenges, which actually means that Abi actually has to participate in one. Oh my, I hope she doesn't break a nail.
The challenge is for each of the survivors to hold onto a handle with a rope wrapped around it that is rigged to a bucket holding 25 percent of their individual body weight. The last man and the last woman standing will each win immunity.
Michael is unfortunately the first one out of the challenge, followed quickly and justly buy Pete who was just starting to get excited that Michael was out. Lisa and Malcolm drop their buckets next. R.C. tries to re-work her rope, but she loses her grip, and once Abi sees that she's out, she lets her bucket drop as well. That means Denise wins immunity for the women.
Artis, Carter and Jeff are left of the men. Artis winds his rope and then kisses his biceps like an idiot. And then like an idiot he let his bucket fall. Carter and Jeff fight out for another 25 minutes and the Jeff agrees to drop his bucket, but then Carter will "owe him one," and I have to say, as far as Survivor deals go, this is a pretty weak one, but I guess we'll see. So Carter is safe for tonight.
Before tribal council, R.C. is convinced that she and Michael are voting with the former Kalabaw members and will make up the majority. Michael approaches Jeff and tells him he will basically follow him to the end of the earth if it means not voting with Abi, Artis and Pete, who he thinks are all terrible people.
Jeff worries that if he votes with the former Tandang members that he and Carter will just be last in line in that new alliance, but they still haven't ruled out voting with Jonathan for Pete.
Tribal Council
It's good to see some new faces at tribal council and Jeff Probst tells us that in the last 25 seasons, there has never been a tribe that has not gone to tribal council until the merge like Tandang is currently doing. Yay for Survivor stats! They're almost getting as innocuous as baseball stats (no offense, Jeff Kent).
Michael admits that Tandang had some fractures. Abi puts it out there that R.C. betrayed her and the two of them have an awkward confrontation in which they both deny back-stabbing each other. Abi ends the argument by telling R.C., "I trust my own actions more than I trust yours," which makes an alarmingly amount of sense coming from Abi.
Then Jeff Probst points out that even though the former Tandang has numbers, it seems there are enough fissures within the tribe that would leave room for the former Kalabaw to gain back some ground. Then Jeff Kent pretty much guarantees a blind side.
One person who is not blindsided is Jonathan, who makes the smart decision to play his idol. It seems that the original Tandang split their votes between Jonathan and R.C., but Jonathan would have definitely had enough votes to send him home.
Because votes for John didn't count, in the end R.C. had three votes where Pete had two, sending R.C. home. In a twist of irony, Michael cast his vote for Jonathan, whereas if he had voted with R.C. for Pete, it would have least forced a re-vote, and his closest ally may not have been sent home.
(Image courtesy of CBS)
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customs value
Value of imported goods as appraised by the customs and used as the basis for assessing the amount of import duty and other taxes. It may be computed in several ways, but the most-preferred method is transaction-value which (in addition to the price paid by a buyer to a seller) includes other costs incurred by the buyer, such as packing costs, license fee or royalty, and any other sum(s) that accrue to the seller. It is the customs officer (and not the importer, exporter, or customs broker) who has the final say in assigning this value. Also called customs import value.
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If we're talking about financial sense -- maybe not. Most female doctors don't recoup the significant upfront cost of their education:
Recent literature has documented that women earn significantly lower returns than men to investing in professional degrees. However, these papers have not addressed the question of whether this gap is large enough to render professional degrees poor financial investments for women. To study this, we examine whether becoming a physician is a positive net-present-value investment for women. We sidestep some selection issues associated with measuring the returns to education by comparing physicians to physician assistants, a similar profession with lower wages but much lower up-front training costs. We find that the median female (but not male) primary-care physician would have been financially better off becoming a physician assistant. This result is partially due to a gender-wage gap in medicine. However, it is mostly driven by the fact that the median female physician simply doesn’t work enough hours to amortize her upfront investment in medical school. In contrast, the median male physician work many more hours, easily enough to amortize his up-front investment. We discuss the robustness of our results to other medical specialties and their relevance to gender-wage gaps more broadly. We discuss other sources of returns to education that rationalize these investments by women.
Source: "Are Women Overinvesting in Education? Evidence from the Medical Profession" from Journal of Human Capital
Follow me on Twitter here or get updates via email here.
Related posts:
Does it matter what a doctor wears?
When doctors face death, what treatment do they opt for?
Can you tell if a surgeon is prone to malpractice suits by the sound of their voice?
Read more posts on Barking Up The Wrong Tree »
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So as you can see, I haven't got anywhere with my Naval RTS game Warspite, partly because of lack of free time, and partly because of lack of motivation. Most of this demotivation is because the tech demos quickly showed how badly the pixel movement worked over a network. Even over a LAN, gameplay was jerky and annoying, and attempts to play with a remote server and any kind of real lag were awful. Since the RTS was always envisioned as multiplayer, this is a big problem.
I hope to resurrect the game eventually, either as a single player game (which would remove the movement problems but require a lot of work developing an AI to be worthwhile), or perhaps just finish it as the intended multiplayer game and hope that it would be playable enough, and the jerky feel could be improved eventually (possibly by improvements to BYOND itself). However, for the moment it is on permanent hiatus.
Recently, IainPeregrine's Get Something Done caught my attention. Since I've been failing to Get Anything Done for a while now, it's possible an external framework might help with my motivation a bit. I have about four ideas percolating, none of which have got any further than paper (apart from a few small test programs for various systems). The common feature of all the ideas is that they basically follow BYOND's traditional tile-based layout, which should help development immensely.
My current favourite is inspired by the old ST/Amiga/PC favourite Railroad Tycoon, though rather modified from that game (there's little point in making a straight copy, since the original is available to download for free). For one thing, it's intended to be multiplayer rather than single player, and for another, I want it to be rather smaller scale than RT was, with more emphasis on control and movement of the trains, and less on financial manipulation of stocks etc. In many ways, it'll be a virtual train set with a game bolted on to provide some competitive interest. More details in my next update.
I love Warspite.
I love Warspite.
I've tried to make a similar game several times.
I love Warspite.
There's an old Commodore 64 game called "Donald Duck's Playground" that has a section where you are a train switch operator, and you have a rail layout with different stops marked, and you are told that the next passenger needs to be picked up at such-and-such and dropped off at such-and-such, and you need to flip all of the switches to the correct direction to route the train to the next necessary stop...
I forget the exact details (like if you had to juggle more than one passenger at once, and could decide on the best route to hit them all in order, or if there were multiple trains or whatnot), but anyways, I just wanted to say that the last paragraph of your post reminded me of that old
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Contract to Chaos by Megablaze
Side view fighter. Similar to super smash brothers.
22 fans · Created Aug 3 2008
Image Hosted by
A = Attack (3-hit combo will launch enemies in your direction, and down+A will launch enemies in front and behind your character.)
S = Special (different characters have different specials)
D = Defend (hold down to block)
Z = Psycho Shift (when your blue bar is full)
Arrow Keys = Move and Jump
Ctrl+G = Bug/Abuse/Suggestion report.
Ctrl+H = Whisper
Space/Enter = Chat in a match
Esc = Return to lobby
Tab = Show score
Latest update:
-Better interface
-Random glitch fixes
Upcoming update:
-Finish more icons or something...
-Dr. Claw's psycho shift (delayed from lack of completed icon)
-Add descriptions for characters
-Characters: (2 complete, 3 bases)
-Battle System: 70%
-Movement/Control: 100%(possible bugs)
-AI: 33%
-Maps: (2 complete, 1 semi complete with temp background)
-Interface: 50%
-Game Modes: 40%
Pretty good, keep up the work!
awesome game play it
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GWAVA 4 Implementation
Thursday, February 14, 2008
By Christopher Wieringa
CIT will be updating the existing GWAVA software on the GroupWise server to version 4.0. Mail will be queued for a very short period while the service is restarted. Users should be able to continue to use GroupWise normally, however mail delivery may be delayed for a few minutes.
Page 1 of 1 pages
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Order Re Initial Disclosures and Discovery Conference (Oakland & San Francisco)
The Oakland and San Francisco Divisions of the United States Bankruptcy Court for the Northern District of California have promulgated a form of order dealing with the requirements of Federal Rule of Bankruptcy Procedure 7026, incorporating Federal Rule of Civil Procedure 26.
The clerk will issue this order on behalf of the court concurrently with the filing of a complaint initiating an adversary proceeding and the issuance of a summons. The order modifies the Rule 7026 requirements in some respects and directs plaintiffs to serve a copy along with the summons and complaint.
Counsel (and pro se plaintiffs) are directed to submit to the clerk an original and two copies of this form of order, completed to show the names of the parties, when filing the complaint. The clerk will insert the adversary proceeding number and return a copy to the plaintiff.
Attached is the form of Order Re Initial Disclosures and Discovery Conference.
In re
Adv No.
Debtor. /
Defendant. /
The purpose of this order is: (1) to notify the parties of their obligation under Fed. R. Civ. P. 26, as incorporated by Fed. R. Bankr. P. 7026, to make Initial Disclosures and meet for a Discovery Conference; and (2) to modify those Rule 26 requirements in certain respects. As such, this order has no effect in any proceeding exempted under Rule 26(a)(1)(E) and (f) from the Initial Disclosure and Discovery Conference requirements.
1. The Discovery Conference. At least 21 calendar days before the status conference scheduled in the summons, the parties shall confer (in person or by telephone) at a "Discovery Conference." Plaintiff shall initiate contact regarding arrangement of the Discovery Conference. Defendant shall cooperate in fixing the time and place of the Discovery Conference. Except to the extent the parties stipulate otherwise, no party shall initiate or conduct any formal discovery prior to the Discovery Conference. The parties may conduct informal discovery.
2. Settlement. At the Discovery Conference, the parties shall consider the nature and basis of their claims and defenses and the possibility of an early settlement. The parties shall also discuss ADR options, as required by B.L.R. 9040-3.
3. Initial Disclosures. At the Discovery Conference, the parties shall arrange to make the "Initial Disclosures" required by Rule 26(a), without necessity of a formal discovery request. The Disclosures shall be made at or within 14 calendar days after the Discovery Conference. All disclosures shall be in writing, signed by the party or his or her attorney, and served on all other parties.
4. Discovery Plan. Unless:
(a) the proceeding is exempt under Rule 26(f);
(b) the proceeding seeks to recover money or property, or except a debt from discharge pursuant to 11 U.S.C. § 523(a), of no more than $15,000, excluding interest, attorneys, fees, and costs; or
(c) the parties stipulate to the contrary in a writing filed with the court;
the parties shall, at the Discovery Conference, also develop a written Discovery Plan signed by all parties or their counsel, that reflects the parties' views and proposals concerning:
(i) what changes, if any, should be made in the timing,
form, or requirements of the Initial Disclosures;
(ii) the timing, subject matter, and limitations, if any, of discovery to be conducted after the initial disclosures; and
(iii) the subject of any orders that the court should enter under Fed.R.Bankr.P. 7016(b) and (c) and 7026(a)(1).
The Discovery Plan shall be filed within 14 calendar days after the Discovery Conference.
5. Pretrial Disclosures. Notwithstanding Rule 26(a)(3), pretrial disclosures shall be made in accordance with further order of the court.
6. Service hereof. The summons, complaint, and this order shall be served by the plaintiff within 10 days of the date of this order. A return or proof of service shall be filed within 5 days after service.
Clerk of Court
I certify that a copy of this Order was returned to the plaintiff at the time the original summons was issued.
Deputy Clerk of Court
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Join the Car Talk Community!
Equate This, Part Deux
The Puzzler
RAY: This was from my '4s' series and it was sent in by Elizabeth McCarahan.
Take the number 4 and use it five times to come up with the number 54. You can use any of the math operators you want: addition, subtraction, decimals, fractions, square roots, factorial, any of that stuff. You can't use cube roots because you'd be using the number 3. You can only use the number 4. What's the equation?
Think you know? Drop Ray a note!
[ Car Talk Puzzler ]
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global_05_local_4_shard_00000656_processed.jsonl/109550
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We believe
Every Sunday, millions of Christians recite either the Apostles' or the Nicene Creed. The first evolved over several centuries and first appears in the writings of St. Ambrose in 390 c.e.; the second was formalized by 318 bishops assembled to battle the Arian heresy at the Council of Nicea in 325. Some of us sleepwalk through the exercise of saying the creed, thinking of other things. Others puzzle over the creed's strange language or find offense in what it seems to say. Moderns who find these and other creeds boring or dated have antecedents in Anabaptist and other free-church traditions which, 500 years ago, decided that a fixed structure of belief was less desirable than a good heart and an open mind. Creeds, these traditions assume, close minds and harden hearts.
This article is available to subscribers only.
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Hopefully you had a chance to read the first part I wrote on basic electrical theory. If not, don't worry; I am going to go over some of the basics all over again. Plus, it is easier for most people to learn by repeating things over and over. The more you teach yourself about electrical the more you can relax about putting some miles on that old rust bucket or pristine show truck. Regardless if you have a carbureted street rod or a new fuel-injected LS3 truck, there is an electrical component that can and most likely will fail. This time I am going to cover charging systems and how to protect starters, alternators, and batteries from premature failure with aftermarket parts.
Testing the charging system can be very misleading, especially if you have no clue about how the system works. I headed over to North County Rebuilders in Escondido, California, so the owner John Carrel could explain the inner workings of an alternator.
The battery supplies the voltage to the ignition coil allowing the car to run, but without a charging system the battery will drain very fast, leaving you with your thumb out on the side of the road. So what does an alternator do? The alternator provides the battery with a variable voltage from 13.5-14.8 when the vehicle demands it.
When you put electricity down a wire, the wire will have a magnetic field around it. If the wire moves through a magnetic field, small current electricity is created in the wire. The more wires you use or the longer the wire windings are the greater the strength of the magnetic field, the greater the current or charge will be. These two theories are the basis for electric motors, generators, alternators, and even relays.
Charging voltage is higher than battery voltage because it has to overcome the internal voltage inside the battery. Most people think the alternator is very similar to a battery charger, but this is not the case. An alternator is used to maintain the battery and not fully charge it from the dead. So now that you know what the alternator does, one question has to be asked: How does the alternator charge the battery? Alternators have several internal components that all do specific jobs.
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Agamemnon, The Choephori, and The Eumenides By Aeschylus Summary and Analysis The Eumenides: Second Stasimon (Lines 307-395)
The chorus state that their eternal function is to punish criminals and avenge unpunished murders. They do not harm the innocent, but when a man is stained with guilt, as Orestes is, they haunt him until his evil deeds have been paid for in full. They call on the spirit of Night, their mother, to witness Apollo's efforts to hinder them in the pursuit of their duties. They say that their function was given to them at the very dawn of time, and they are implacable in carrying it out. They are feared by all men. Even the gods cannot interfere with the Furies, for their role was assigned them by Destiny.
The ancient conception of justice represented by the Furies is explained in this ode. They stand for the primitive lex talionis, or law of retaliation — the criminal is punished by being made the victim of the same crime he committed ("an eye for an eye"), and the ties of blood kinship are the most sacred of human bonds. These ideas are the legal basis for the blood feuds that were common in ancient Greece and for the tragic experiences of the family of Atreus recounted in this trilogy.
Certain stanzas of this ode are known to scholars as the "binding-song" or "binding-spell" because the words have an almost hypnotic quality in Greek and seem intended as an effort to entrance and trap Orestes by magical means.
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As the play opens, the watchman is looking for
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Viral Cultivation and Physiology
Viruses can be cultivated within suitable hosts, such as a living cell. To study bacteriophages, for example, bacteria are grown in a suitable growth medium; then bacteriophages are added. The bacteriophages multiply within the bacteria and increase their numbers substantially.
Animal and plant viruses are cultivated in cell cultures. A cell culture is prepared by encouraging cell growth outside the animal or plant source. The cells are kept alive in a suspension of growth factors within a Petri dish. A thin layer of cells, or monolayer, is then inoculated with viruses, and replication takes place. Fertilized eggs and living animals can also be used to cultivate viruses.
For research study, viruses can be cultivated in large volumes by inoculations to tissue culture systems. After a time, the cells are degenerated, and viruses are harvested. The viral particles are concentrated by precipitation methods and purified by repeated centrifugations. Highly purified viruses can be obtained by crystallization and concentration under established conditions.
Viral measurements. Viruses are generally too small to be seen under the light microscope, and an electron microscope is usually necessary to make them visible. Although viruses can be quantified by observation, it is also possible to determine their number in terms of virus infectious units, each of which is the smallest unit that causes a detectable effect when viruses infect a susceptible host. Virus infectious units are expressed per volume of fluid.
One method for determining virus infectious units is by the plaque assay. The plaque assay is performed by cultivating viruses on a “lawn” of host cells and noting the presence of clear areas where viruses have replicated and destroyed the cells.
Another way of determining virus infectious units is by cultivating viruses in living animals and determining which dilution of virus is lethal to the animals. The end-point dilution can be calculated by this method.
Antiviral agents. The antibiotics normally used to treat bacterial disease cannot be used to inactivate viruses because viruses do not perform the biochemical functions that antibiotics interfere with. For example, penicillin is used to interrupt the synthesis of the bacterial cell wall, but viruses have no cell wall.
However, there are several nucleotide analog drugs that interfere with viral replication.Acyclovir, for example, is used against herpes viruses because this drug prevents the synthesis of DNA during viral replication. A drug called azidothymidine (AZT) is used for patients with HIV infection because this drug also prevents the synthesis of DNA. A drug called ganciclovir is used against cytomegaloviruses, and amantadine is useful against influenza viruses.
Interferon, a naturally produced antiviral agent approved for certain uses, is a group of proteins produced by host cells after they have been infected by viruses. The interferons do not protect the host cell, but they do provide protection to neighboring cells against viral replication. Interferons can be produced by genetic engineering methods.
Viral vaccines. Protection against viral disease can be rendered by using a viral vaccine. Viral vaccines can be composed of inactivated or attenuated viruses.Inactivated viruses (“dead viruses”) are unable to replicate in host cells because of some chemical or physical treatment. The Salk vaccine against polio and the yellow fever vaccine are examples.
Attenuated viruses (“live viruses”) are weakened viruses that replicate at a very slow rate in host cells and generally do not produce any symptoms of disease when inoculated to humans. Attenuated viruses are used in the Sabin polio vaccine and in the vaccines against measles and rubella. The most contemporary vaccines are composed of viral proteins produced by genetic engineering methods. The vaccine for hepatitis B is an example of this type of vaccine.
Viral inactivation. Virus particles are composed of nucleic acid, protein, and in some cases, a lipid envelope. As such, the viruses are susceptible to normal inactivation by chemical substances that react with any of these organic compounds. Such things as chlorine, iodine, phenol, detergents, and heavy metals rapidly inactivate viruses. In addition, viruses are destroyed by heating methods used for other microorganisms, and they are very susceptible to the effects of ultraviolet light. Filters can be used to remove viruses from fluids so long as the filter pores are small enough to trap viral particles.
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Tell a friend about the Fozzie Bear page on Collectors Weekly
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global_05_local_4_shard_00000656_processed.jsonl/109659
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INTERACTIVE GRAPHIC: the effects of BPA on the cell of a fetus
January 27, 2012 | 1:22 p.m. CST
BPA is a chemical used to make plastic more durable. It is found in plastic No. 3, as well as plastic No. 7, which is used to make baby bottles among other baby products. It is also used in the production of some food cans. MU professor Frederick vom Saal has concerns about the effects of long-term exposure to BPA, especially for fetuses and young children.
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global_05_local_4_shard_00000656_processed.jsonl/109698
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Talk:Perpetual motion machine
From Conservapedia
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Perpetual motion machine
I'm sorry, but I think you're just wrong about the meaning of the phrase "perpetual motion" as used in discussions of thermodynamics, statements about the impossibility of perpetual motion, etc.
The perpetual motion, then, which has been the subject of such anxious and laborious search, is not a mere motion which is continued indefinitely. If it were, the diurnal and annual motion of the earth, and the corresponding motions of the other planets and satellites in the solar system, as well as the rotation of the sun upon its axis, would be all perpetual motions....
In short, a perpetual motion would be a watch or clock which would go for so long as its mechanism would endure without being wound up: it would be a mill which could grind corn or work machinery without the action upon it of water, wind, steam, animal power, or any other moving force external to it.
—Dionysis Lardner, 1857, Natural Philosophy for Schools, p. 70
Perpetual motion is of course possible, as is stated in the first law of motion, "Motion continues in a straight line undiminished in velocity unless acted on by some external force." A top set spinning under conditions where there is no friction will never cease to spin. These conditions are very nearly realized in the motions of the planets and stars. The statement that energy cannot be destroyed asserts this possibility.
But by "perpetual motion" is generally meant a machine which will do work and keep going though energy equivalent to the work done is not supplied to it. Many attempts have been made to construct such a machine. They have all failed. The statement that energy cannot be created denies the possibility of such a machine.
—S. Lawrence Bigelow (1912), "Theoretical and Physical Chemistry," Theoretical and Physical Chemistry By S Lawrence Bigelow p. 26
Dpbsmith 18:20, 1 January 2007 (EST)
Retrieved from ""
Dpsmith, I moved this discussion to the talk page for perpetual motion, so others can benefit and contribute as desired to this.
Your quotes are helpful, and I agree that there are different definitions for a perpetual motion machine. But everyone agrees that a machine that does work without energy is impossible. So the above definitions do not lead to productive discussion. Besides, the earth is not really a perpetual motion machine. Our orbit would eventually become unstable, and presumably we would slow down eventually.
What is a fascinating question is whether motion can continue indefinitely in a closed system. One quote above implies it can, but I doubt most would agree. I wouldn't. --Aschlafly 18:59, 1 January 2007 (EST)
He's right Mr. Schlafly; the impossibility of perpetual motion is proven by the 1st law of thermodynamics, not the second.
OK, Ben, but define perpetual motion machine in a trivial away and it only results in a trivial answer.
How about this, let's define "perpetual motion machine II" that simply means a machine capable of perpetual motion (without a perpetual energy supply).
Now that's an interesting question that is difficult to answer fully! --Aschlafly 19:05, 1 January 2007 (EST)
Theoretically it is possible (the first law of motion), but practically it is impossible just because you wouldn't be able to eliminate all outside forces.
I also have a comment on your proof using the 2nd law of thermodynamics:
"The only argument that a perpetual motion machine is impossible is based on an interpretation of the Second Law of Thermodynamics. If entropy is always increasing, even in closed (and isolated) systems, then indefinite motion is impossible because an increase in the disorder of the system will inevitably disrupt the motion"
Firstly, as Dpbsmith has demonstrated, this is not the only argument against perpetual motion.
Secondly, though it is almost inevitable that increaced disorder will disrupt motion, it still isn't logically proven; it is always possible that it might go on just a little bit longer.
So, Ben, you seem to be saying that a "perpetual motion machine II" (as defined above) may be possible to build.
Really think so? If you doubt it, then maybe you can discovery a way to prove it is impossible. I don't think anyone has proven that yet, and no one else seems to be trying at this time either. But it would be worth proving. --Aschlafly 23:53, 1 January 2007 (EST)
Aschlafly: you said "But everyone agrees that a machine that does work without energy is impossible." Well, no. Historically the whole debate arose because for centuries people have believed that they have found a way to build a machine that does work without energy, something for nothing. There are still people who believe it. They tend to use the terms "free energy" and "overunity" to avoid the onus of the term "perpetual motion." An example of a modern machine claimed by its inventor to generate more power than it consumes is the Adams Motor[1], [2]. A classic fraud was the Keely motor.
My point is that the phrase "perpetuum mobile" goes back to the days before thermodynamics and refers to innumerable attempts to produce simple mechanical arrangements, typically involving shifting or pivoting weights, that on paper look as if they might really do work without an external input.
You seem to be interested in a different philosophical question, one which I don't know much about or whether there is any established name for it. I'm arguing strongly that you should either find out what that name might be, or invent something that doesn't use the phrase "perpetual motion" at all.
Here is my guess at what an answer to your question might be. If you use the best modern techniques, e.g. suspending a spinning object in vacuum via superconductive magnetism, you can get something that will move without additional energy input for a really long time. You can measure the rate at which it slows down very carefully or predict it theoretically.
My guess is that it may well be possible today to build a system in which the rate of energy loss is so slow that it can be predicted continue to run for hundreds of thousands of years if the apparatus remains intact; thus the limiting factor in how long it runs is not the apparatus itself, but unrelated external catastrophes (an asteroid hits it, the building it is in collapses in an earthquake, funding runs out and someone pitches the apparatus in the trash, breaking it, etc. etc.)
Probably the place to look for one of these things in real life would be the gyroscopes used in inertial guidance systems.
If the word "forever" is taken literally, then I don't know how you answer the question, because beliefs about the future lifetime of the universe change every generation or so. If the word "forever" means something like a mathematical limit—then I think the answer is: according to current understanding, it is possible to build a machine that will run indefinitely long, or as long as you like, receiving no external energy and performing no external work, where the actual limit on the running time is set not by the construction of the machine itself, but by the probability of external catastrophe.
I think. Dpbsmith 08:44, 2 January 2007 (EST)
OK, Dpsmith, you win on your point about what a perpetual motion machine really means. But I'm still interested in why perpetual motion (without producing extra energy) is impossible. The increase in entropy must prevent it. Underlying that may be the uncertainty principle in quantum mechanics.
More thought and research would be worthwhile here. I think we're all convinced that the motion would eventually stop. But why? What force stops it? --Aschlafly 22:36, 2 January 2007 (EST)
It's beyond my own knowledge. I suspect such questions are like the irresistable force and the immovable object, though. Provisionally, let's call your gadget an "endless coaster."
Point #1: At least according to Newtonian physics as I understand it, if you truly had a closed system, it would not stop. But if you truly had a closed system, there would be no way to see that it was still moving.
In order to observe it, there would have to be some energy exchange between the "perpetual motion" and the observer. I have an idea that since the observer is gaining information, the observed must be gaining entropy, but that's just handwaving and I don't know how to prove it.
What I don't know whether there are any theoretical reasons that would make it impossible to have a truly closed system.
Here's another angle. If we're considering, say, a ball bearing magnetically suspended in a vacuum by a superconducing magnet or something like that, if if there is a small amount of friction the result, according to classical physics, would be to make the ball bearing spin slower on an exponential decay curve. It would have a half-life, like radioactive decay. Perhaps it loses half of its spin every day. Well, according to classical physics, it would spin slower and slower but would never actually stop. Asymptotically approaches zero, never eaches it. Most likely (out of my depth again) quantum physics would say that at some point the spin becomes quantized, meaning that after some period of time it can't slow down any more. The spin must be either one quantum or none... and then you get all that crazy wave-function collapse stuff. You have a superimposed state in which the spin is one with some probability and zero with some probability, and the probability decreases over time.
But really, once you start talking about whether something can literally go on forever, you're outside the bounds of science. I can't keep track of the number of times the "scientific" narrative of cosmology has changed during my own lifetime, and it shows no signs of settling down. Is the universe closed? Open? Continuously expanding? Oscillating? Obviously, if physics predicts a finite lifetime for the universe, then a "perpetual" motion, meaning one that would last longer than the universe, is impossible. Dpbsmith 10:03, 3 January 2007 (EST)
That's an interesting point of linking observation to entropy. But I do think even a purely closed system would stop without observation. Don't you? Perhaps Newton would not be pleased, but the Second Law of Thermodynamics suggests that motion does eventually stop. --Aschlafly 00:57, 5 January 2007 (EST)
No, I don't think it does. The question here is whether anything says how fast entropy increases... and what counts as "motion."
I think that the Second Law applies to large systems with many interacting particles or bodies and is some kind of statement about their statistical behavior and how easily that motion can be observed.
Imagine, say, an ideal, large, sealed box whose walls perfectly hard (do not flex or absorb energy), and imagine that it contains one ideal moving billiard ball. By an "ideal billiard ball" I mean, again, one that is perfectly hard and perfectly elastic. If you have a single billiard ball in the box and it is moving, I think it keeps bouncing off the walls and moves forever. After all, energy is conserved.
Now, suppose, instead, that you have twenty-one ideal billiard balls, twenty of them at the vertices of an icosahedron and one in the center, all connected to each other by ideal springs. The entire structure, which I'll call a "blob," resembles a non-ideal ball. Put one of these into the ideal box and set it in motion with a gentle and identical force on each of those billiard balls, so that they are not moving with respect to each other and the whole blob moves together.
Initially, the blob moves as a whole, and you can calculate the kinetic energy just by observing the blob; 1/2 mv2 where m is the total mass of the blob and v is the velocity of the blob as a whole.
But when it strikes the walls, the billiard balls are going to hit it at more or less random times. The result is that the balls in the blob are going to start to acquire motion relative to each other, and soon there is going to be lots of relative motion within the blob.
This relative motion represents kinetic energy that belongs to individual billard balls within the blob, not to the blob as a whole, so because of conservation of energy, the energy we can ascribe to the blob as a whole is going to decrease, and so is the average velocity of the blob.
I think that what the Second Law is saying is that the way in which the blob hits the wall is essentially random, and that with each impact, statistically, more and more energy is going to end up in the form of billard balls oscillating with respect to each other within the blob, and less and less in the form of organized motion of the entire blob as a whole.
So that whereas the motion of the single billard ball "never stops," after a while the motion of the blob has stopped, and instead you just have a stationary blob with the billard balls within it oscillating on their springs.
In other words, the behavior of the system has degraded from observable motion of the blob as a whole to less-observable relative motion of the billiard balls within the blob. The system is in a less organized or "heat-like" state.
However, because in this case we're talking about fairly large particles and a fairly small number of them, it is clear that the system is still "in motion," just on a smaller scale, and since we posited that the box, the springs, and the billiard balls are all ideal (and don't absorb energy), by conservation of energy the balls within the blob also continue in motion forever.
Now, we go one step further and still keep the idealized, closed system with vacuum and perfect walls, but instead of a billard ball we use a real rubber ball. What the Second Law says is that the mechanical energy of the bouncing ball, 1/2 mv2 where we can measure the "velocity" of the ball as a whole, inevitably and statistically degrades into heat; the ball "loses energy" with each impact with the wall, the measurable v decreases, and eventually it comes as close to "stopping" as we like. Conservation of energy says energy hasn't really been lost; it's been transformed into heat energy. The ball is warmer than before, meaning the molecules within it are moving, and since we've defined the system to be closed, it won't cool down. It has stopped moving, but there is still motion.
So, I think the whole thing becomes a sterile exercise in what we mean by "forever," and how close we can approximate ideal conditions with realizable machinery, and whether the motion of molecules due to heat counts as "motion."
I don't think Second Law has anything to say about how fast entropy increases, or how close we can come to an ideal situation where entropy doesn't decrease at all.
In a way the two are related, because "frictionless pivot," for example, means "no entropy increase in the form of heating at the pivot."
Probably the place where the Second Law comes into play is that it says that even if you have a perfectly idealized "closed system," within that system energy won't be lost, but nevertheless energy observable as macroscopic motion can still degrade into heat energy no longer observable as macroscopic motion. Dpbsmith 09:40, 5 January 2007 (EST)
The Uncertainty principle doesn't invalidate Perpetual motion...
The Heisenburg Uncertainty Principle applies to sub-atomic particles like electrons only, we cannot know where they are at any given time because of Brownian motion. It does not apply to anything that can be seen without the aid of an electron microscope. Also, entropy doesn't increase, and the Second Law of Thermodynamics merely states that the universe tends towards Entropy. Also, the lack of creation of energy would be the Law of Conservation of Energy, which is present in many parts of Physics beyond the First Law of Thermodynamics. Also, the Earth is not a perpetual motion machine, to argue that it is does not border, plunges headfirst into absurdity and ignorance. Finally, the Earth has been slowing at a rate of about 2.2 seconds every 100,000 years due to frictions, no one considers it a perpetual motion machine. JanSmuts 16:26, 12 April 2012 (EDT)
I don't think that Brownian motion affects sub-atomic particles. Brownian motion moves things like pollen and dust which are orders of magnitude greater.--DavidEdwards 16:44, 12 April 2012 (EDT)
No, Brownian motion is associated with sub-atomic particles, but has to do with collisions at an observable level, rather than their placement in shells. It would appear we are both incorrect, my mistake. JanSmuts 17:02, 12 April 2012 (EDT)
I'm sorry, but you remain totally confused about Brownian motion even after acknowledging your earlier error. Brownian motion was first described by the biologist Robert Brown around 1827. He was describing a microscopic phenomenon and not a molecular one and certainly not a sub-atomic one. If your understanding of basic terms is so faulty I am not surprised that your conclusions are bad.--DavidEdwards 10:11, 13 April 2012 (EDT)
Well, then, do you think a perpetual motion machine can exist and, if not, then why not?--Andy Schlafly 17:36, 12 April 2012 (EDT)
Isn't friction usually the answer? --JeromeKJ 18:19, 12 April 2012 (EDT)
Another appeal to hearsay? The question doesn't request more hearsay.--Andy Schlafly 18:38, 12 April 2012 (EDT)
Sorry, you'll have to explain that comment. --JeromeKJ 18:48, 12 April 2012 (EDT)
According to all known laws of physics, no, such a machine cannot exist. However, the proofs you have offered are quite misleading and examples of bad science to say the least. JanSmuts 23:04, 12 April 2012 (EDT)
"no, such a machine cannot exist." Why? And in response to the prior comment above, I'm not asking what is "usually the answer" by others (i.e., hearsay). I'm asking for your opinion and explanation.--Andy Schlafly 23:49, 12 April 2012 (EDT)
Can I please point out that the 2nd Law, at present, does NOT have any consistent and/or accepted deep physical mechanism behind it involving quantum mechanics or whatever. It can be justified by the argument that systems will naturally move towards larger homogenous volumes in phase space, but the question of WHY we think the 2nd law is valid is still entirely open. The Uncertainty Principle as normally presented (i.e. the product of uncertainties between certain pairs of eigenvalues of observables - specifically, those that don't commute with each other) in no way has any time-asymmetry in it. The 2nd law DOES have time-asymmetry. There's no argument that you, I, or any of the most learned physicists in the world can currently make which directly attributes "entropy" to "quantum uncertainty". If you have one, with the mathematics to back it up, please submit it to Nature, and prepare for a trip to Stockholm... Dan W
I appreciate the flattering suggestion, but the Nobel Prize is never given to a conservative and/or anyone who has publicly criticized the Theory of Relativity or the Theory of Evolution. See, e.g., Robert Dicke, Fred Hoyle, Ronald Reagan, etc.
I agree that narrow interpretations of the Second Law are, well, limited in what they conclude. But a full view of the meaning of the Second Law does recognize that quantum uncertainty underlies it. Quantum uncertainty does have a time-asymmetry to it ... just as attempts at a perpetual motion machine do.--Andy Schlafly 22:33, 5 May 2012 (EDT)
Interesting; as I said before, if you indeed can demonstrate this, and were subsequently denied a Nobel prize for it, I may accept your opinion that the committee is biased against those with a conservative viewpoint. Please point me to a derivation / demonstration of the uncertainty principle (other than those I have come across in my career, which are based on the Fourier transform of a wavepacket, for example, and which are not inherently time asymmetric) to back up your claim. Alternatively, please point me towards evidence that all current holders of the Nobel prize are liberals. User:DanPW
High correlation, in the absence of another plausible explanation, suggests high likelihood of causation. Undeserving liberals, such as Obama, have won the Nobel Prize, while over-deserving conservatives, such as Ronald Reagan, have not. Also, over-deserving scientists who criticized the liberal-promoted Theory of Evolution or the Theory of Relativity, such as Fred Hoyle and Robert Dicke, were passed over for the prize.
As to the time asymmetry of quantum mechanics, the uncertainty yields greater uncertainty over time, as in quantum tunneling.--Andy Schlafly 17:47, 6 May 2012 (EDT)
As to your "argument" about quantum tunnelling, I see that since you clearly have absolutely no understanding of what these concepts actually mean, there's little point in arguing this anymore. For the record, though, quantum tunneling arises due to the non-zero amplitude of a wavefunction in a classically forbidden region of a potential. The uncertainty principle is not what "causes" tunneling, rather both tunneling and the uncertainty principle are consequences of the wave nature of the statefunction. As to the Nobel prize, 1) whether or not you agree with Obama winning it (I certainly do not think he should have!), the Nobel Peace prize should be separated from the scientific prizes since it's clearly actually something to do with politics, wheras the other prizes are not, save perhaps for economics. Also, the fact that the committee has sometimes missed out on giving deserved awards (e.g. Franklin, Burnell, Hoyle, not so convinced about Dicke but I do recognise he was a great scientist, particularly in the area of electronics), does not give you any evidence of a liberal bias. As far as I can see, no mention has ever been made to the politics of any of these people. Fred Hoyle might well have been a liberal, or a conservative, we have no idea. User: DanPW
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Beck IPC GmbH
Wireless LAN Solution
WL01 wireless LAN extension connects mobile and distributed automation devices via TCP/IP. A separate 23x36x5 mm add-on module is implemented serially via an SPI interface with a maximum transfer rate of 48 MHz. The module supports the latest 802.11b and g transmission standards, as well as the security standards in compliance with 802.11i (WEP and WPA), and offers two antenna terminals for optimizing reception and transmission.
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global_05_local_4_shard_00000656_processed.jsonl/109727
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Penciclovir Cream
Brand Name(s):
• Denavir®
WHY is this medicine prescribed?
Penciclovir is used on the lips and faces of adults to treat cold sores caused by herpes simplex virus. Penciclovir does not cure herpes infections but decreases pain and itching if applied when the earliest symptoms first appear.
HOW should this medicine be used?
Penciclovir comes as a cream. It is usually used externally every 2 hours while you are awake for 4 days. Follow the directions on your prescription label carefully, and ask your doctor or pharmacist or doctor to explain any part you do not understand. Use penciclovir exactly as directed. Do not use more or less of it or use it more often than prescribed by your doctor. Use this medication as soon as possible after symptoms appear.
Clean and dry the area before applying the cream to avoid spreading the infection. Rub the cream in gently, using enough cream to cover all sores completely.
Continue to use penciclovir even if you feel well. Do not stop using penciclovir without talking to your doctor.
What SPECIAL PRECAUTIONS should I follow?
Before using penciclovir,
• tell your doctor and pharmacist if you are allergic to penciclovir, acyclovir (Zovirax), or any other drugs.
• tell your doctor if you are pregnant, plan to become pregnant, or are breast-feeding. If you become pregnant while taking penciclovir, call your doctor.
What should I do IF I FORGET to take a dose?
Apply the missed dose as soon as you remember it and apply any remaining doses for that day at evenly spaced intervals. However, if it is almost time for the next dose, skip the missed dose and continue your regular dosing schedule. Do not apply a double dose to make up for a missed one.
What SIDE EFFECTS can this medicine cause?
• headache
• irritation at the site of application
What should I know about STORAGE and DISPOSAL of this medication?
What OTHER INFORMATION should I know?
Keep all appointments with your doctor. Penciclovir should only be used on the lips and face. Avoid getting it in your eyes. Keep the infected area clean and dry.
Do not let anyone else use your medication. Ask your pharmacist any questions you have about refilling your prescription. If you still have symptoms of infection after you finish the penciclovir, call your doctor.
Last Reviewed: September 1, 2010.
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global_05_local_4_shard_00000656_processed.jsonl/109729
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Counting Cats in Zanzibar Rotating Header Image
What a crock
It will destroy jobs, it will cause difficulties with bills, and it has nothing to do with children’s health.
And, why are they using Battersea Power Station?
1. Angry Exile says:
So let me get this right. When someone who is not a climate scientist says there are reasons to doubt the warble gloaming narrative they are at worst an oil/coal industry shill (even if they aren’t) or at best unqualified to know what they’re talking about (even if they are more than adequately able to spot holes in a theory outside their field). But when someone who is not only not a scientist at all but an actor, someone whose actual job is to entertain by pretending things are other than what they are, is wheeled out to say that warble gloaming is definitely all our fault and that Mount Dandenong will be Dandenong Island by the end of the century we’re supposed to just take her word for it. That’s about right, isn’t it?
2. Not Cate Blanchett as well! First Gillian Anderson, now this. :(
3. Lynne says:
Celebrity endorsement seems to be losing its appeal. And a good thing too!
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global_05_local_4_shard_00000656_processed.jsonl/109752
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83 Cards in this Set
• Front
• Back
The 3 layers of the dicidua
1. Decidua Capsularis (surrounds blastocyst)
2. Decidua Vera/Parietalis (lines remainder of endo cavity)
3. Decidua Basalis - attachment by blastocyst to support the trophobastic implanatation.
When can you first see the Gestational Sac and at what size?
GS is first seen at 4.5 weeks
GS size is 3-5 mm
How fast does the gestational sac grow mm/day?
1 mm/day
How big is the GS at 5 weeks?
10 mm or 1 cm
When can you first see the Yolk Sac?
6 weeks
When can you first see the fetal heart and at what size?
5 weeks at 4 mm
How big is the embryo at 6 weeks
5 mm
How big is the GS at 7 weeks and embryo?
GS = 2.4 embryo = 1 cm
When does embryogenesis end?
10 weeks and choroid plexus is dominant within the fetal brain.
What amount pelvic dilation is normal in 2nd/3 tri?
4.33 mm or less.
Two components of the placenta?
1. chorion frondosum - from blastocyst (fetal portion)
2. Decidua basalis - maternal portion
You can see the difference in amnion chorion until about how many weeks?
15-16 weeks.
velamentous cord insertion means?
The c0ord inserts at one edge and into the membranes.
What are allantoic cysts?
Cysts where the cord enters the fetal abdomen.
Classic features of placenta previa?
painless vaginal bleeding in second and tird trimester?
What is vasa previa with velamentous cord insertion
Occurs when thef etal vessels from placenta cross between the internal cervical os and the presenting fetal part.
Ratio of S/D in
1. umbelical artery
2. middle cerebral artery
- Umbelical artery= high velocity with considerable diastolic flow.
- MCA = high resistance flow withy little diastolic flow
When is CRL used to date pregnancy?
5-12 weeks
When can you use transcerebellar measurements for dating?
- until approximately 20 weeks the transcerebellar measurement is approximately equivalent to gestational age.
- when bpd is distorted
How big should these be?
- Lat Vent
- Cisterna magna
- NT
- Lat vent = <11 mm
- CM = <10 > 2
-NT = <3
-NF = <6
Maternal causes of IUGR
- Poor nutrition
-heart conditions (including HTN)
-chronic renal disease
Placental causes of IUGR
-placental ischemia and infarcts
- abruption
Fetal causes of IUGR
- Infections (TORCH)
-chromosomal anomalies
- TWINS and cause -polyhydramnios too
Appearance of twins with Twin-to-Twin transfusion syndrom
- recipient twin = large, hydrops
- donor = small, IUGR
Appearance of twins with Acardiac parabolic twins
Pump twin = - edemous and hydropic
Donor twin = grossly thickened skin with cystic hygromas
Sono appearance of macrosomic babies - >90%
polyhydramnios , thick skin, enlarged placenta
What is VACTERAL ( more common in diabetics)
V- vertebral
A - norectal
L-imb deformities
Finding of Rh isoimmunization fetus
- hydrops
-pleural effusion
-pericardial effusion
-skin thickening
-enlarged placenta
Causes of polyhydramnios
- skeletal dysplasia
-CNS anomalies
GI anomalies
-maternal diabetes
-chest/abdominal masses
-Rh incompatability
Diagnostic limit for Polyhydramnios
- > 20 cm - 4 quads
- >8 cm - single pocket
Causes of Oligohydramnios (DRIPPC)
D- emise
R-enal anomalies
-C-hromosomal anomalies
Amount of fluid with oligohydramnios
4 pockets = 5-10 cm
1 pocket - >2 cm
- Decreased with
- Increased with
-Decreased with Downs
-Increased with
* spina bifida
-abdominal wall defects
-placental mass and thickening
-multiple gestations
-fetal death
What is measured with tripple screen and most often used to screen for what?
2. decreased estriol
3. increased hCG
Down's Syndrom / T21
5 most common seen chromosomal anomalies seen with US
1. Down's syndrom (T21)
2. Edwards' syndrom (T18)
3. Patau's syndrom (T13)
4. Turner's syndrom (monosomy X
5. Triploidy
Symtoms of Dandy-Walker syndrome
- 4th ventricle obstruction & dilated
-Dilation of 3rd and lateral ventricle
-hypoplastic cerebellar vermis
US symptoms of Arnold-chiarii II malformation
- spinabifida
-banana-shaped cerebellum, displaced posteriorly, and a lemon-shaped cranium
US symptoms of Hydrancephaly (brain infarct with desctuction of parenchyma in frontal and paraetotemproal regions)
- complete absence of brain above the level of the brainstem
U/S symptoms of Holoprosencephaly
What is it strongly associated with (other defects)
- lateral ventricles are fused
-thalamus is fused
-absent 3rd ventricle
-fused common ventricle expands into dorsal cyst
- Other midline defects
-T 13
- midline facial malformations
US symptom of cephalocele and encepholacele
- meninges and or/ brain protrude through a bony defect
What are central defects strongly associated with
T 13 and holoprosencephaly
2 syndroms micrognathia is associated with
T 13
T 18
What syndroms are cystic hygromas associated with
* Turmers
- T 21, T18
Lesser association with T13
What is seen with Open spina bifida (spina bifida cystica)
- meningocele ( minenges protrude through the defect and make a sac with CSF)
- myelominingocele - neural elements and CSF protrude into a sac enclosed by meninges
What is seen with closed spina bifida (oculta)
- Small bony defect covered by skin
Associations with omphaloceles
- Chromosomal anomalies
- Increased MSAFP
What are Gastroschesis associated with?
Right of umb cord, no membrane!
No association with other anomolies or karyotype.
Increased MSAFP
Appearance of Pentalogy of Cantrell
- omphalocele and heart are located outside of the chest
Levels of CAMs
- (fluid in lungs) cystic or solid-looking mass in thorax, displacing heart
Type I: large cysts, anechoic areas
Type II: numerous small to medium-sized cysts
Type III: multiple tiny cysts forming a solid, echogenic mass
Diaphragmatic hernias
-occur most often on what side
-associated with
- Left side
- chromosomal anomalies and heart problems
Autosomal recessive (infantile) polycystic kidney DZ
Causes what?
- oligohydramnios or anhydramnios
-enlarged, echogenic kidneys
- small or no bladder
Multicystic dysplastic kidney diz is
- TMC cystic renal abnormality
- unilateral, bilat (fatal).
- affected kidney is large with multiple noncommunicating cysts
Causes of hydronephrosis
- renal abnormalities
-obstruction of fetal urinary tract
Ureteropelvic junction obstruction causes?
- dilated renal pelvis and calyces, often bilat
Posterior uretheral valve obstruction causes?
- males, dilated, thick-walled bladder with dilated posterior urethera (keyhole sign),
0bilat hydro neurphosis and hydroureter
- oligohydramnios
Duodenal atresia is associated with what syndrom
- appearance by U/S
Down's Syndrom (T21)
- distended stomach and proximal duodenum (double bubble)
What is the apperance of meconium cysts and meconium periotonitis
-dilated loops of bowel
psedocysts with echogenic and calcified walls
-intrabdominal fluid
What is Rizomelia
Shortening of proximal limbs
What is Mesomelia
Shortening of middle segment of limb
What is micromelia
Shortening of entire limb
What is Acromelia
Shortened distal segments (hands/feet)
Achondrogeneisis (lethal, short-limb dysplasia)
-results in
- polyhydramnios
-short ribs
-very short limbs
-bell shaped abdomen
Thananatophioric dysplasi (TMC lethal form of dwarfism)
- polyhydramnios
very short bones
-bowed femurs
-protruding, bell-shaped abadomen with small thorax
-macrocephaly with cloverleaf skull
-trident hand
Achondroplasia (autosomal diminant( lethal in homozygous form(
Fetus appears normal until 24 weeks, then
-short limbs, bell shaped trunk, large head, flat nose, prominant forehead
Osteogenesis imperfecta (3 forms) type
-bowed, irregular, fragile bones with fractures, hypominiealization of skeleton
What is associated with Clubfoot (abnormal angle beetween the lower leg and foot
- oligohydramnios, neurologic disorders, spina bifida, chromosomal disorders
What Trisomy is polydactyly associated with
T 13 (pateaus)
Characteristics of Beckwith-Wiedemann Syndrom
- autosomal dominant with enlargement of all organs
-cardiac anomalies
Characteristics of Down syndrom (T21)
Dodenal atresia
-endocardial cusion defects
-posterior urethral valves
- screen with tripple screen
-thickend NT
Short femur and humerous
Echogenic bowl
sandal gap between toes
Characteristics of T 18 (Edwards's Sytndrom)
-diaphragmatic hernia
congenital heart defects
-clenched hand
choroid plexus cyst
2 vessel cord
Characteristics of T13 (Patau's syndrom(
- holoprosencephaly
facial abnormalities (midline defects)
- congenital heart lesions
-Two -vessel cord
What viruses are included with TORCH
C-ytomegalic inclusion disease
P-arvo virus
H-iv/ Herpes
What are the 3 forms of gestational trophoblastic disese? (high hCG)
1. Hytadidiform mole
2. Invasive moles
3. Choriocarcinoma
Normal size of UT
Pre cvx 2:1
Potential spaces for fluid accumulation
1. anterior cul-de-sac
2. posterior cul-de-sac (pouch of douglas)
3. Space of Retzius between pubic symphisis and anterior bladder wall
What is Ashermans syndrom, US signs?
Adhensions in uterous
Endometrium measurement for postmenopause
no greater than 8
Appearance of endometrial CA
- thickend endo with variable echogenicity
-polypoid mass
-low impedance floor
endometrial halo
What are dermoids/cystic teratomas
Tip of the iceberg, hair, teeth, skin, fat
What are cystadenomas (serous and muscinous(
B-9 thin, serous septa or papillary projections, often bilateral
What are stromal tumors (2)
Fibromas and thecomas
solid tumors
What tumor is Meig's syndrom associated with
Fibromas, abdominal ascitees, pleaural effusions
Doppler patterns B-9 and malignant masses and corpus lutea
B-9 = high resistance doppler
Malignant = low resistance doppler
Theca Lutea- low resistance doppler
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Jesus is God – It’s in the BIBLE
• I and my Father are one. John 10:30
• And Thomas answered and said to Him, “My Lord and my God!” John 20:28
• For many deceivers have gone out into the world who do not confess as coming in the flesh. This is a deceiver and an antichrist. 2 John 1:7
2 thoughts on “Jesus is God – It’s in the BIBLE
1. Well, I do know that the JWs deny Jesus the Christ is God, but so do many Jews and others. However much they[JW] have written their own bibles to facilitate their view Colossians 2, 8-9 is still in there with all it’s glory. I take them there all the time and re-start the discussion from there with prayer.
2. 6 For there has been a CHILD born to us, there has been a son given to us; and the princely rule will come to be upon his shoulder. And his name will be called Wonderful Counselor, Mighty God, ETERNAL FATHER Prince of Peace..
There is only one eternal father even Jehovah God Almighty and God’s word here in the Watchtower’s New World translation proves who Jesus Christ really is . There is only one Eternal Father even Jehovah God Almighty and here we see God’s Holy word calls the child (son) Eternal Father. Jesus Christ is God manifested in the flesh.
Here in another place in Watchtower bible see what Peter and David call Jesus.
22 “Men of Israel, hear these words: Jesus the Naz·a·rene´, a man publicly shown by God to YOU through powerful works and portents and signs that God did through HIM in YOUR midst, just as YOU yourselves know, 23 t I THIS MAN, as one delivered up by the determined counsel and foreknowledge of God, YOU fastened to a stake by the hand of lawless men and did away with. 24 But God resurrected HIM by loosing the pangs of death, because it was not possible for HIM to continue to be held fast by it. 25 For David says respecting HIM ‘I had Jehovah constantly before my eyes; because he is at my right hand that I may never be shaken.
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Last week, I received a comment on YouTube challenging the assertion I made in our Sexual Brokenness series that homosexual behavior was one of the many ways we exhibit sexual brokenness.
Dennis asked: “Why do you focus on that sin and ignore the rest of Leviticus? There are laws in there against gluttony, eating pork and shrimp, and wearing cotton-poly blends.” You know what? He’s right. In the book often quoted to condemn homosexual sin, these other things are condemned also. So what do we do now?
Yesterday we talked about how important it is for Christians to commit themselves to the Scriptures. But it’s not enough that we read and quote the Bible. How we read and quote it matters too. A lot. The basic fact is that we evangelicals often misuse the Bible in ways that can look just silly to the outside world.
We’re often quick to quote verses or moralize stories out of context. For example, we’ll quote Jeremiah 29:11, and claim that the promise found there means God has plans to prosper us and not harm us. But we’re unaware that that particular promise was delivered to Israel, a nation whom God had just punished by sending them to captivity.
The problem here is not that we don’t know what the verse says, but that we don’t really know what the verse means, because we don’t know the rest of Jeremiah 29, or the rest of Jeremiah 1, or where this promise fits in the whole scheme of redemptive history.
This sort of proof-texting reveals our tendency to selectively focus on certain parts of the Scripture, like the promises, while we ignore the other parts, like the curses.
Jewish philosopher and Rabbi Abraham Heschel once remarked to a group of Christians: “It seems puzzling to me how greatly attached to the Bible you seem to be and yet how much like pagans you handle it. The great challenge to those of us who wish to take the Bible seriously is to let it teach us its own essential categories; and then for us to think with them, instead of just about them.”
Ouch! But he has a point. The Bible is not a set of disconnected stories or self-contained phrases. Even the morals and the songs found in the Proverbs and the Psalms are given to us within the context of the history of Israel, which is given to us in the context of the history of everything — from the creation of the heavens and earth to the re-creation of the heavens and earth.
This big picture of the Bible should always be the backdrop whenever we read any part of the Bible. And we should keep in mind what kind of book we are reading: history, theology, poetry, prophecy, proverbs, or letters. A letter shouldn’t be picked apart like a proverb, and history shouldn’t be read as theology. Reading it as it was written, in light of the larger context of redemptive history, will help us learn what God is revealing to us about Himself and the world.
Which takes us back to Dennis’s comment about Leviticus. Leviticus 1 clarified God’s law for the Israelites. Some of these laws were specific to Israel, to set them apart from the other nations. Other laws reflected God’s created order for everybody — such as the the one-man, one-woman sexual love described in Genesis and later endorsed by Jesus and Paul.
Any form of sexual brokenness is harmful precisely because it violates God’s good design which Jesus said was “Matthew 19.” And because Scripture reflects the world as it actually is, the tragic results of sexual brokenness are evident not only in the Bible but throughout human history.
Folks, we must be thoughtful and thorough in our use of the Scriptures, and if you visit and click on this commentary, we’ll link you to several terrific resources to help you develop strong study skills.
Publication date: August 8, 2012
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Urkel & Freddie Mitchell Chillin at the Mansion
Urkel & Freddie Mitchell Chillin at the Mansion
January 9, 2006, 4:19 am
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With Leather points out that Freddie Mitchell and Urkel have been chillin at the Playboy mansion. I knew they were boys as I pointed out a year or so ago, but I didn't realize they had credentials to get into the mansion. WL writes:
party at the Playboy Mansion, but now I'm not so sure. If Freddie
that's a whole sphere of coolness I'm not prepared to compete with. Who
I'm thinking Brian Bosworth and Boner from "Growing Pains." They sure as shit aren't doing anything.
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Bike train
Julie Rand's picture
Commuting cyclists in a group
CTC has long campaigned on the 'Safety in Numbers' effect which says that cycling gets safer, the more people do it.
Now campaigners in Sterlingshire have taken this literally with the formation of a bike train to encourage commuters to use the bike and train combination, rather than taking the car to work.
This BBC report explains the whys and wherefores of it. Maybe this is an idea that could spread to other towns and cities across the UK?
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• Patron: Her Majesty The Queen
• President: Jon Snow
• Chief Executive: Paul Tuohy
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Forum Archives
The Blood Type Diet Archives Volume 8
Re: Veggie ideas.
Posted By: Linda L.
Date: Tuesday, 26 January 1999, at 12:05 p.m.
In Response To: Re: Veggie ideas. (Patti-O)
When I'm cooking for myself, I cook everything in one pan. I brown whatever meat I'm having, cut whatever veggies I like into chunks, throw them on top of the meat, maybe add a little water, throw on the cover, and braise 10 minutes or so until the veggies are the consistency I like.
One combination I love is a loin lamb chop, asparagus, celery, and sweet potatoes. Just slice all the vegetables into similar-sized chunks and they cook up fine. Season with a little minced garlic and fresh parsley or other chopped fresh herbs, if you like.
My daughter is very fussy about vegetables but she likes anything if it's in a stir fry. This is something even your husband might like. You can stir fry any veggie you're in the mood for - - parsnips (slice them into THIN matchsticks), turnips, sweet potatoes, sugar snap peas - the sky's the limit. Season with some finely chopped garlic and ginger root and wheat-free tamari soy sauce.
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Vermin, Improved (3.5e Template)
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Improved Vermin[edit]
More information...
Some vermin become greater than others of their species. These are improved vermin; vermin which are stronger, more dextrous and tougher than others, as well as more intelligent (even gaining the ability to take class levels).
Creating a Improved Vermin[edit]
Improved vermin is an aquired template that can be applied to any vermin creature (referred to herafter as the "base creature"). An improved vermin uses all the base creature's statistics, except as noted here.
Armor Class[edit]
The creature gains a natural armor bonus of +2, or it's existing natural armor bonus improves by 2.
The creature can make multiple attacks with it's primary natural weapon when it makes a full-attack (so long as it does not attack with any other natural attack), albeit at a -5 penalty per additional attack.
The creature gains an intelligence score of 3, and gains a bonus to strength, dexterity and constitution of +2. The creature retains it's immunity to mind-affecting spells or effects.
The creature gains the ability to aquire skill points at each level.
The creature gains the ability to aquire feats (1 per 3 Hit Dice). The creature gains no hit dice due to it's current Hit Dice, but gains a feat as if it where a 1st level character if it takes levels in a class.
Challenge Rating[edit]
The creatures CR increases by 1.
By character Class.
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Four Likely Causes of Swine Flu
by Jeff Hopkins '12
4. Iran
Why they may be responsible: Because anyone who knows something about diplomacy knows that claiming you made build a nuclear arsenal is always a cover for something far more heinous. For example, Soviet Union’s former stockpile was merely a cover for a secret government program to create a surplus of attractive female humanoid spy robots, which lonely American males could take as mail-order brides. Thankfully, this program ended with the fall of the country.
Why they may not be responsible: If your ultimate goal is to destroy Israel, would you really try to do that with swine.
Final Verdict: It’s unlikely Iran started swine flu considering they’re probably too busy oppressing the masses, Twittering, oppressing Twitter, or Twittering about oppression.
3. The Sport of Soccer
Why it may be responsible: Like soccer, swine flu is a huge deal in Mexico, but not so much in the United States.
Why it may not be responsible: As every shirtless picture of David Beckham can attest, soccer really isn’t really known for making people less healthy.
Final Verdict: Considering the success of hooliganism, it’s unlikely that soccer would be trying to find another way to kill people.
2. Cornell
Why it may be responsible: Because it’s fucking Cornell, that’s why.
Why it may not be responsible: If Cornell had created swine flu, wouldn’t Harvard have created a way more terrible disease by now?
Final Verdict: Considering Cornell doesn’t have the ability to perform simple tasks like keeping all its students social security numbers secure, can they really be expected to have the intellectual capacity to start a global pandemic? Exactly.
1. Taylor Swift
Why she may be responsible: Both have been described as “incredibly contagious” and “taking the world by storm”. Also, you are likely to come into contact with both of them in a frat basement.
Why she may not be responsible: Can someone who wrote a song as amazingly catchy as “Love Story” be responsible for anything negative in the world? No, no she cannot.
Final Verdict: Highly Likely. If Hurricane Katrina taught us nothing, it’s that if Kanye West disses you must really have majorly fucked something up in the world. Now, all we need is to get Beyonce working on a vaccine.
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David Bordwell's website on cinema click for CV
Film Art: An Introduction
Christopher Nolan: A Labyrinth of Linkages pdf online
Planet Hong Kong, second edition pdf online
The Way Hollywood Tells It pdf online
Poetics of Cinema pdf online
Chapter 3 | Three Dimensions of Film Narrative new pdf!
Figures Traced In Light
Ozu and the Poetics of Cinema pdf online
CinemaScope: The Modern Miracle You See Without Glasses
How Motion Pictures Became the Movies
Constructive editing in Pickpocket: A video essay
Shklovsky and His “Monument to a Scientific Error” new!
Murder Culture: Adventures in 1940s Suspense
The Viewer’s Share: Models of Mind in Explaining Film
Common Sense + Film Theory = Common-Sense Film Theory?
Mad Detective: Doubling Down
The Classical Hollywood Cinema Twenty-Five Years Along
Nordisk and the Tableau Aesthetic
William Cameron Menzies: One Forceful, Impressive Idea
Another Shaw Production: Anamorphic Adventures in Hong Kong
Paolo Gioli’s Vertical Cinema
(Re)Discovering Charles Dekeukeleire
Doing Film History
The Hook: Scene Transitions in Classical Cinema
Anatomy of the Action Picture
Hearing Voices
Preface, Croatian edition, On the History of Film Style
Slavoj Žižek: Say Anything
Film and the Historical Return
Studying Cinema
Book Reports
Observations on film art
Archive for August 2010
No coincidence, no story
DB here:
Hong Kong vs. Hollywood?
Initial D; I Corrupt All Cops.
The roots of coincidence
Narrative norms
Care to have a guess where Ma lands?
Three dimensions of narrative
It was meant to be
Time out
Clearly, though, timing is a tale for another occasion.
Never too late silents
Kristin here:
The Last Command
The Docks of New York
Where Roxie Hart got her start
A reporter sets up a dramatic photo of Roxie in Chicago
The Docks of New York
Revisiting INCEPTION
Christopher Nolan, on the origins of Memento
Jonathan Nolan, on the origins of Memento
Exposition rules
Kristin here:
Ten years ago he envisioned the film as a heist caper:
Prestigious patterning
The Prestige.
DB here:
Letters, we get letters (and links)
DB again:
Scientific American weighs in on lucid dreaming. And again here.
Thanks to Sean for his comment.
INCEPTION; or, Dream a Little Dream within a Dream with Me
Kristin here:
Inception reminds me of the common claim that Hollywood films are no longer character-centered. Special effects and slam-bang action supposedly have replaced character traits as the basis for storytelling. Now, here is a contemporary film released as a summer tentpole film and definitely successful in box-office terms. It crossed the $200 million domestic gross figure on Tuesday, August 3. Yet the nearly universal complaint, for those who don’t like the film, or some aspects of the film, is that we don’t get to know the characters.
If modern tentpoles have generally neglected characterization, that must be a convention by now. Why would people expect to find rounded characters? Is this complicated/complex (take your choice) intellectual film aimed at adults ironically going to prove that the critics of modern Hollywood blockbusters have been right all along?
I agree that the characters in Inception, apart from Cobb, the protagonist, are barely assigned traits. Ariadne, for example, does not return to join Cobb’s team as its architect because she has some personal goal or trait that inclines her to want to do so. It’s just that everyone who experiences the possibilities of shared dreams gets hooked.
But if there’s little characterization, is Nolan substituting something interesting in its place—apart from the usual computer-effects and spectacle? The first time I saw the film, I suspected he is, but for a long time I couldn’t figure out what. As a result, I did not really enjoy it until the point where the van breaks through the railing on the bridge and starts to fall. That’s pretty far into the film, 104 minutes in a roughly 140-minute film, not counting the credits. The van’s beginning to fall also marks the end of what we’ve called the Development portion of the film and the beginning of the Climax. (See here and here and here.)
We grasp most of the characters by the types of premises they provide. Yusuf is the man who understands how to manipulate the sedatives that will allows the team to progress deep enough into Fischer’s subconscious to plant the idea. Oh, yes, and he has a cat. Robert Fischer is the man who thinks his father despised him, so he is susceptible to the team’s machinations to plant the idea in his subconscious. (Saito says that Fischer has a “complicated” relationship with his father, but it’s actually just the opposite: a single trait, which is all that’s needed to establish his part in the action.) He also seems to be very concerned with security, since his subconscious conveniently peoples the dream levels with bodyguards who provide obstacles, fatally wound Saito, and force the van off the bridge, among other functions.
The characters’ goals, apart from Cobb’s, arise from the premises of the dream-sharing technology. Of course, they want to get paid, but that’s assumed. Their actions all arise from the need to keep doing what they must to sustain the dreams and later from the need to improvise solutions to unforeseen problems that seem to violate the rules they have previously known. Why they need the money, whom they go home to when off-duty, how they got into this business, and all the other conventions of Hollywood characterization, are simply ignored. Even Saito’s claim that Maurice Fischer’s corporation is dangerous to the world because it controls so much of its energy sources is simply assumed to be true. Our possible suspicions that Saito himself might really be the more dangerous tycoon, out to eliminate a powerful rival, might add a little complexity. The film, however, never hints at such a possibility.
Ariadne is somewhat different in her function. As in so many Hollywood films, there are two lines of action. First, there is the attempt to perform inception in Fischer’s subconscious. Second, there are Cobb’s related goals of getting back to his children but also of holding onto his dead wife through his visits to his projection of her in dreams. No one besides Ariadne fully understands Cobb’s obsession with Mal and hence she alone sees the danger it poses to the team. Ariadne lives up to her ancient namesake, guiding us through the maze of the Cobb’s obsession by acting as an expository figure in that storyline.
That is presumably why she doesn’t simply tell Arthur, who is much more experienced than she is in sharing dreams, about Cobb’s dangerous obsession. Instead, she decides to go into the dream levels as part of the team to keep on eye on Cobb—thus allowing her to continue as a privileged witness and transmitter of vital information about that storyline.
Each new premise creates a link in the chain of actions, and for the most part the actions are governed by the rules, or apparent rules of the dream-sharing machine, the sedatives, the levels, the characters’ respective skills, and all the other factors.
The narration constructs its causal chain by being nominally omniscient. For short stretches of the film we may be “with” Ariadne and Cobb or Mal and Cobb and witness them having personal conversations, most dramatically when Cobb fails to talk Mal out of leaping to her death. These moments provide the main alternative to the exposition-ridden dialogue, and they are a very small portion of the overall speech in the film. Yet the narration arches over all, stitching together the series of causes by moving us among the levels, catching at exactly the right moment the critical action (Arthur is putting a stack of dreaming people into an elevator) or dialogue (Cobb is asking Ariadne where she designed a route bypassing the labyrinth in the hospital).
Once I realized that this film’s plot concerns fiendishly complicated action that requires almost constant exposition from the characters, I enjoyed the rest of it. I saw it a second time and enjoyed it even more. I certainly don’t understand the entire plot, and I suspect that’s partly because, despite the nearly constant revelation of premises, there were a few left out. For one thing, just how does Eames, the “forger,” manage to change into other people? (No mention of polyjuice potion or anything else.) I can understand how he might do it in his own dreams, but the one dream where he doesn’t change is his own. Even the guides to Inception that have already been posted on the internet don’t answer every question. (Here and here are two examples of many.) Perhaps when the DVD comes out, the answers will be forthcoming—more of them, but probably not all.
In the meantime, I don’t see why we should get annoyed because Inception doesn’t contain rich, fully rounded characters. It’s clearly a puzzle film that takes the usual complicated premises of a heist movie and pushes them to extremes. Accepting the flow of nearly continuous exposition may remove some of the frustrations viewers face. After all, there’s no rule against it.
DB here:
When an actor comes to me and wants to discuss his character, I say, “It’s in the script.” If he says, “But what’s my motivation?”, I say, “Your salary”.
Alfred Hitchcock
Forget dream stuff for a while. Yes, Nolan says he was interested in dreams, especially lucid dreaming. Yes, he claims that the precision of detail in the film was an effort to suggest how “real” dreams feel when you’re having one. And yes, critics have defended the films’ dream worlds as realistic, or attacked them as phony substitutes. All interesting points and worth exploring, but not my focus at the moment.
And forget videogames. I leave that stuff to the experts, such as several members of our Wisconsin Filmies listserv. They have kindly pointed out many analogies and disanalogies. (See the coda for specifics.) And of course there’s no shortage of commentary about the film’s ties to gaming, or dreaming, on the Net.
My focus instead is motivation. Not the sort that Hitchcock and Bergman talked about, but rather the idea that any artwork needs to justify certain elements or strategies it presents.
Motivation beyond Bergman
You want your movie to have musical numbers. How to justify them in your story? Many early musicals simply make the characters show-business types, so we see them rehearsing and performing numbers for the audience. Other musicals cast that “realistic” motivation aside and let the characters sing and dance wholly for one another. But then those films were appealing to a sort of motivation familiar from opera, where characters simply burst into song or dance without realistic motivation. We accept this type of artifice too because that’s just what this genre of film permits—the way that horror films include monsters that are unlikely to exist in the real world.
The notion of motivation turns a lot of our usual thinking about cinema inside out. Usually we think that something is present in order to support what the film “says.” But actually a lot of what we find in films is motivated, either by genre or by appeal to realism, in order to give us a particular narrative experience.
The film industry encourages some degree of innovation. Novelty can attract attention, and perhaps audiences too. Yet, as I argued in The Way Hollywood Tells It, such innovations are counterbalanced by traditional storytelling maneuvers. These make sure that audiences aren’t entirely lost. For example, Memento’s backward structure requires very explicit signposting of the transitions, highlighting objects or gestures we’ve seen in the previous time-slice to link them to the next one we see. At the same time, these experiments can pay off financially: a complex narrative that balances enigma and understanding can lure audiences to revisit the multiplex or buy the DVD for further scrutiny. Remember, we are all nerds now.
Memento illustrates a couple of ways in which Hollywood efforts at innovation are controlled by tradition. First, you can motivate a film’s formal play through genre conventions. A science-fiction film, for instance, can invoke time travel or alternate universes. Doc’s time machine in the Back to the Future series motivates a fairly unusual play with cause and effect, particularly in the second installment. Likewise, mystery and detective stories pioneered the “lying flashback,” when people give false testimony about a crime (as in Crossfire). The possibility that a film noir will encourage complicated narration (an optically subjective first-person narrator in The Lady in the Lake, a dying narrator in Double Indemnity, a dead one in Sunset Blvd.) helps us recognize that Memento is an experiment in that tradition.
Second, you can motivate formal experiment through the movie’s appeal to some widely-believed law of life, a common-sense realism. Uncanny coincidences in movies like Serendipity and Sliding Doors are justified by the notion that fate or spiritual harmony can bring soulmates together. Six Degrees of Separation’s plot exploits the idea of social networks. Likewise, the backward progression of Memento’s plot is partly justified by the clinical condition of short-term memory deficits. I grant you, why this ailment supports a reverse-chronology tale is a bit puzzling—but that may only suggest that we’re ready to overlook flimsy justification if the novelty is piquant enough. A little motivation can go a long way.
So we ought to recognize that Inception is relying heavily on motivation from these two sources, genre and commonsense realism. Science fiction grants the possibility of entering people’s dreams through a futuristic technology. Likewise, we have all experienced dreams, so the film can appeal to folk wisdom about them. I suggest, though, that the purpose of the film not to explore the dream life but rather to use the idea of exploring the dream life to justify creating a complex narrative experience for the viewer. That is the purpose of the film; the dreams operate as alibis.
Interestingly, traditions outside Hollywood don’t require these sorts of motivation for narrative experiments. Last Year at Marienbad is perhaps the supreme example of a purely artificial construct, which can’t be justified by genre or subject/theme. I’d argue that Kieslowski’s Blind Chance, Buñuel’s Obscure Object of Desire, van Dormael’s Toto le héros, and other films of a highly artificial cast either ignore or cancel both realistic and generic motivation. They present themselves as experiments in storytelling, pure and simple. Another art-cinema motivational ploy invokes psychological realism, as in Fellini’s 8 ½. This is less daring than the blunt-artifice option, and so has been more easily adapted to mainstream storytelling.
One more point about the New (or now Not-So-New) Narrative Artifice. Strategies that seemed striking in the pioneering films are quickly mastered by others. Innovations are copied, and the learning curve is steep. By now anybody can create a fairly coherent network narrative or forking-path tale. Artistically ambitious filmmakers want to press further. So how can you create fresh experiments in storytelling today?
Architecture beyond Ariadne
If you decide to organize a film in sharply distinct plotlines, you have two problems. First, how do you combine them? What will be the overall architecture? Second, how do you fill in the chain of actions?
Consider combination first. You can create parallel plotlines, as in Intolerance’s assembly of four different historical periods or in Vera Chytilová’s Something Different, in which two women living at the same moment lead very different lives. You can create branching or forking-path plotlines, as in Run Lola Run. You can link stories through a simple overlap, as in Wong Kar-wai’s Chungking Express, or by letting them pass through the same place; the inn in Wong’s Ashes of Time functions as a sort of node that gathers together the destinies of different characters.
One sort of plot construction that hasn’t been explored deeply in recent years is actually one of the oldest. The embedded story, or the tale-within-the-tale, dates back at least to The Odyssey. In the standard case, we have one level of story reality, and in that a character tells a story that takes place earlier and elsewhere. Typically the embedded story is pretty extensive, with its own structure of exposition, development, crisis, and climax. You can of course multiply the stories, as in The Arabian Nights, The Decameron, and The Canterbury Tales.
Sometimes the framing story is merely a backdrop, though usually that has its own dramatic impetus: Scheherazade tells a story each night to postpone her death. Often, though, the framing situation carries the main interest. In Don Quixote, readers are tempted to skip the tales told by people whom the knight and Sancho encounter, in order to get back to the real story, the relationship of the central pair.
The “discovered manuscript” convention of nineteenth-century fiction was an equivalent of this pattern, a sort of novel-within-a-novel. Some experimental fiction has exploited the embedded story; I think of Calvino’s If on a Winter’s Night a Traveler. The principle of embedding has been found in cinema too, of course. Citizen Kane is the classic example, since it embeds recounted stories (most of the flashbacks), a written text (Thatcher’s memoirs), and even a film-within-a-film (News on the March). Many of the embedded stories we find in films are presented as flashbacks, and those are usually motivated by a character recalling or telling another character about past events. (See our blog entry “Grandmaster Flashback” for some more discussion.)
The task of the author is to motivate the story’s presence through relevance to the framing situation. Why insert the tale in the first place? Most commonly, it involves some of the same characters we find in the surrounding story world, as in a flashback. In that case, the embedded tale supplies new information about plot or character. It may also provide a parable or counterpoint to what’s happening in the surrounding situation. In The Sin of Madelon Claudet (1931), a woman is about to leave her husband, but she changes her mind when a family friend tells her, for the bulk of the movie, about the sacrifices made by the husband’s mother.
Some researchers might argue that the purest instance of this format is one in which the characters of the overarching frame story don’t participate in the embedded tale. Classic instances like the Mahabhrata are often studied as compilations. A partial instance in cinema is the country-house frame story of Dead of Night, in which some characters recount stories that didn’t involve them. Here the frame story arouses considerable interest in its own right.
Once you allow the possibility of an embedded story, some storyteller will ask: Why not embed a story into the embedded story? And so on. Calvino’s novel does this, suggesting the possibility of that infinitely extended series we see when somebody stands between two mirrors and the image is multiplied forever. (Inception gives us such an image when Ariadne summons up mirrors on a Parisian street.) Hollywood filmmakers experimented with multiple embedding in some flashback films of the 1940s. In The Locket and Passage to Marseille, there are flashbacks within flashbacks. More daring, and closer to Calvino, is Pasolini’s Arabian Nights, in which one character recounts a tale in which he encounters another character, who recounts his tale, and so on.
Here, I think, is the accomplishment of Nolan’s film. The general absence of complicated embeddings today (at least since The Matrix) presents an opportunity for an ambitious moviemaker. Inception constitutes an extended experiment in what you can do with a nested plot structure, motivated by the dream-invasion premise.
The Dream team
Nolan adds a new wrinkle. Instead of recounting or recalling stories, the characters enter worlds “hosted” by one of their number and furnished by another. The movie introduces this strategy to us obliquely. After the prologue in which Cobb confronts a very aged Saito in Limbo (which I think you can take as either a flashforward or a symptom of their collaborative dreaming at the moment), we are plunged into layers of embedding. In the real world, Cobb, Arthur, and the architect are dreaming with Saito on a train; we later learn that this is an audition to test Cobb’s extraction skills. They dream that they are in an apartment where Saito meets his mistress. But in that apartment they are sleeping, and dreaming that they are in a luxurious mansion where Cobb is trying to discover Saito’s secrets. That effort is disrupted by Mal, Cobb’s ex-wife, and the dream world collapses.
What’s tricky is that Nolan doesn’t establish these layers of embedding in customary order. The flashback tradition leads us to expect to move from outside to inside, like peeling an onion: from the train to the apartment to the mansion. Instead, we are first shown the mansion, and we get glimpses of the apartment. That tactic hints that the apartment is the primary level of reality in the fiction. But in the apartment Saito notices discrepancies in the carpet, making him realize he’s dreaming. Only then does Nolan shift to the external frame, the four men on the train, minded by a young Japanese passenger.
This has been our first training exercise, and it turns out to be based on surprise: We weren’t aware of how many embedded plotlines were in play. In the film’s terms, the dream session on the train went down two levels. Cobb says he can go down three, and that forms one goal for the team.
Later exercises are simpler, involving only shared dreams rather than embedded ones. That’s because these dreams operate as tutorials, as when Cobb shows Ariadne how dreamworlds are constructed and populated (though the framing situation is deleted at the outset–another, if milder, surprise). The dreams also function as psychological probes, as when Ariadne learns that Cobb’s unresolved problems with his wife are expressed in her eruptions into whatever dreamworld is conjured up. These études have to be relatively transparent if we’re to understand all the premises of this game. Similarly, our introduction to Limbo is given not through dream-penetration but through a good old flashback, when in the first-level dream world Cobb confesses to Ariadne that he and Mal built their own dreamscape there. Limbo changes the rules of the game to such an extent that we shouldn’t have to worry about who’s dreaming what for whom; a straightforward piece of visual exposition does the trick.
The most intricate embedding takes place in the final seventy-five minutes, most of the second half of the film. Instead of a train, a plane. Instead of four dreamers, six: the target young Fischer, plus all the members of the team, including Ariadne, who will monitor Cobb’s subconscious. Each team member hosts one story world, the other members enter it, and Fischer gets to populate it. Yusuf the chemist hosts the rainy car chase that leads to the van’s descent to the river. Arthur the point man hosts the hotel scene in which Cobb accosts Fischer. Eames the Forger (or rather the imposter) hosts the snow fortress siege, in which Fischer is induced to confront his dying father (thinking he is entering the dream of the family confidant Browning). Finally, to pursue Mal, Cobb and Ariadne plunge into the beachfront/ metropolis zone of Limbo constructed by the couple during their dream days. It’s then revealed that Cobb brought about his wife’s idée fixe by planting the idea that dreams could become reality; this showed him, with tragic consequences, that inception could work.
So we have five levels: the plane trip embeds the rainswept chase, which embeds the hotel, which embeds the snow fortress, which embeds the Limbo confrontation. The nested structure is recapitulated in the burst of shots showing Ariadne snapping awake in each level up to the submerged van (dream level 1).
Indeed, I think that one prime purpose of Nolan’s fancy structure is to foster such little coups. The Ariadne passage is cinematically simple—just a string of quick, graphically matched close-ups—but in context arresting. Of course that context displays a clockwork intricacy. What Nolan has done is created four distinct subplots, each with its own goal, obstacles, and deadline. Moreover, all the deadlines have to synchronize; this is the device of the kick, which ejects a team member from a dream layer. With so many levels, we need a cascade of kicks.
The last forty-five minutes of the film become an extended exercise in crosscutting. As each plotline is added to the mix, Nolan can flash among them, building eventually to four alternating strands—with additional crosscutting within each strand (in the hotel, Cobb at the bar/ Saito and Eames in the elevator/Arthur and Ariadne in the lobby). Each level has its own clock, with duration stretched the farther down you go. One thing that has long struck me about classical crosscutting is that in one line of action time is accelerated, while in another it slows down. The villains are inches away from breaking into the cabin/ the hero is miles away/ the villains are almost inside/ the hero is just arriving. I wonder if Nolan noticed this aspect of the crosscutting convention and built it into his plot, supplying motivation (that word again) by stipulating that different dream levels have different rates of change.
Another clever touch is what Nolan doesn’t include in the orgy of crosscutting: the framing situation in the first-class jet cabin. Once we leave that, we don’t see it again for about seventy minutes. I think we tend to forget about it, so that Cobb’s startled expression upon finally awakening mimics our own realization that all the intense physical action has been enframed by this quiet, stable situation.
I think that structurally, if not stylistically, the climax is a virtuoso piece of cinema. It recalls Griffith’s Intolerance, which also intercuts the climaxes of four plotlines, and supplies crosscut lines of action within each line as well. Here, one might say, is one way to innovate in the New Narrative Artifice: Create something like the Intolerance of the twenty-first century.
Possible, and not that unstable
The film is shameless in its regard for cinema, and its plundering of cinematic history. What’s fun is that a lot of people I talk to come up with very different movies that they see in the film, and most of them are spot-on. There are all kinds of references in there.
Christopher Nolan
Also like Griffith, Nolan has hit upon some ways to make his innovation user-friendly. For one thing, as most viewers have noticed, he situates his levels in very different locales: rainy, traffic-filled city versus eerily vacant metropolis; cushy hotel versus more Spartan one; beach versus mountains. This allows us to keep oriented during even the most rapidly cut portions. More subtly, Nolan has, deliberately or not, respected the limits of recursive thinking, or metacognition.
As shrewd members of a very social species, we are all good at mindreading, figuring out what other people are thinking. I know that Chelsea admires Hillary. We’re good at moving to the next level too: I know that Chelsea believes that Hillary wants to monitor Bill. And I know that Chelsea believes that Hillary suspects that Bill is smitten with Monica. If you drew this situation as a cartoon, you’d have one thought bubble inside another inside another, and so on—like the Russian-doll structure of the climax of Inception.
It turns out that our minds can’t build these nested structures indefinitely. We hit a limit.
Peter believes that Jane thinks that Sally wants Peter to suppose that Jane intends Sally to believe that her ball is under the cushion.
Robin Dunbar, whose example this is, suggests that most adults can’t handle so much recursion. His experiments indicate that the normal limit is at most five levels—just what we have in Inception (four dream layers plus the reality frame). Add more, and most of us would get muddled.
The filmmaker’s second big problem with modular plotting, I mentioned near the start, is how to fill in the plotlines. Let me suggest a general principle, at least for storytelling aimed at a broad audience: The more complex your macrostructure is, the simpler your microstructure should be. In Memento, the high degree of redundancy between memory episodes and the unusually heightened transitions help us track the backward layout of scenes. Similarly, all four episodes of Intolerance culminate in a race to the rescue—a device that was by 1916 immediately legible for audiences.
Genre plays a role in simplifying the modules too. Our efforts to make sense of Memento are helped by film noir conventions like the trail of clues, the deceptive allies, and the maneuvers of a femme fatale. Likewise, Griffith used the conventions of current genres to fill in the plotlines of Intolerance. The Christ story can be seen as a recasting of the many pious Passion plays of the first years of cinema. The Babylonian story and the Huguenots’ story rely on the established conventions of the costume pictures, including the French and Italian features that were popular at the time. (Capellani, discussed in an earlier entry, was one master of this genre.) And of course Intolerance’s modern story is pure melodrama, showing a young family pulled apart by the forces of urban poverty and bluenose reform. Griffith wove together not only four epochs but several genres.
So does Nolan in Inception. He recruits the conventions of science fiction, heist movies, Bond intrigues, and team-mission plots like The Guns of Navarone to make the scene-by-scene progression of the plot comprehensible. The iterated chases and fights keeps us grounded too, though you might wonder why Fischer’s subconscious projections all seem to have leaped out of a Bruckheimer picture. And of course you’ve seen many of the other images before, from the Paris café to the luxury hotel bar. Shamelessly clichéd, the image of kids playing in the sunlight immediately evokes fatherhood and family in any film.
I’ve already argued that the comparatively transparent training and exploration sessions in the middle of the film help us keep our bearings. Another handhold is the convention of the new male melodrama, the husband or boyfriend trying to come to terms with the death of his woman. The simple action movie, from Death Wish to Bad Boys, uses vengeance to ease the man’s torment. The more “serious” plot makes the man responsible in some degree for the woman’s fate. The emotional temperature rises as the male protagonist tries to fight his feelings of guilt, turning it outward to a perpetrator (as in The Prestige) or inward (as in Memento, and Shutter Island). The under-plot of Inception, driven by Ariadne’s curiosity, gradually reveals to us that Cobb gave Mal the fatal idea of dwelling in dreams.
Moreover, the rise of fantasy, science-fiction, and comic-book movies has brought a new interest in creating “worlds” with their own laws. Once you have Superman, you need a secret identity and Kryptonite and well-placed phone booths, not to mention a host of constraints on what can and can’t happen. Comic books supply not only a world furnished with characters and settings but also rules about conduct, morality, even physics. George Lucas, in his youth more of a comic-book reader than a cinephile, took over this principle of construction for Star Wars. Of course this idea of richly furnished, rule-governed worlds has been elaborated more fully in videogames. My point is that contemporary viewers are ready to ride with this as another convention of contemporary virtual-world storytelling, and this habit simplifies our pickup of the rules governing Inception’s embedded stories.
In sum, as ambitious artists compete to engineer clockwork narratives and puzzle films, Nolan raises the stakes by reviving a very old tradition, that of the embedded story. He motivates it through dreams and modernizes it with a blend of science fiction, fantasy, action pictures, and male masochism. Above all, the dream motivation allows him to crosscut four embedded stories, all built on classic Hollywood plot arcs. In the process he creates a virtuoso stretch of cinematic storytelling.
I could find faults. As in The Dark Knight, Nolan’s action scenes are clunky and distressingly casual in their composition and cutting. He is much better at mind games than spatially precise physical activity. Some dialogue could be pruned too. (What are you doing here? He loved you–in his own way. Something is happening…as we speak.) And I haven’t even posed the interpretive issues. Find a sympathetic young woman to exorcise the demonic wife you can’t quite abandon. Find a new father figure (Japanese mogul) to replace the old one (Brit architect). Use the spinning top to exemplify both change and stability, childhood and maturity, and/or the unending flux of narrative. As Kristin hints, the whole thing might actually be complicated rather than complex; instead of a dense but coherent cluster of principles we might have a shiny contraption, bolting on new premises as it hurtles along.
Nonetheless, if current excitement about this movie is any measure, Nolan has pulled off the big balancing act. The film is redundant and familiar enough to let most of us follow the main trajectories on the first pass. Yet it’s enigmatic, elliptical, and equivocal enough to keep many of us talking about it. . . and watching it again. Recidivism, thy name is Inception.
Based on Uncle Scrooge? That’s rich!
Kristin back again:
There has been much suggestion on the internet, sometimes in jest, sometimes in earnest, sometimes half in jest and half in earnest, that Nolan got the idea for Inception from an Uncle Scrooge comic story with a shared-dream premise, “The Dream of a Lifetime!” Nearly all postings on this subject date this comic, created by Don Rosa, to 2002. Yes, “Dream” first appeared in 2002—in Norwegian. It came out in the U.S. in the May, 2004 issue of Uncle Scrooge (Gemstone #329). In 2006, it was reprinted in Rosa’s book, The Life and Times of Scrooge McDuck Companion.
The entire comic is available online here, and the published volume can be purchased here. The online version does not include Rosa’s informative afterword, “The Making of ‘The Dream of a Lifetime!’” which appears only in the Life and Times reprint.
If Nolan got the idea from the Rosa tale, he certainly developed upon and changed it considerably. In fact, there are more significant differences than similarities.
First, the similarities:
1. In “The Dream of a Lifetime!” several people enter the dream by being hooked up to a machine. Here it’s a radio-controlled device invented by Gyro Gearloose, who intended for it “to help psychiatrists examine the dreams of their patients.” (Gearloose was created in 1952 by Carl Barks to provide whatever wacky invention his plots required.) The receivers are metal colanders wired as antennae and worn on the heads of the people sharing the dream.
2. Waking up from visiting the dream is triggered by falling (see below).
3. Characters in reality can attempt to insert objects or situations into the dream by making sounds or presenting objects for Scrooge to smell, though this usually goes comically wrong. This somewhat resembles the premise that the jolts of the van in the first dream level of Inception cause earthquake-like rumbles in the second level and so on.
4. The characters frequently explain to each other how the shared-dream technology works. Rosa makes this humorous in part by starting the story with Scrooge dreaming and the Beagle Boys arriving in his money bin with the Gearloose equipment, which they have already stolen. He then makes the exposition deliberately clunky and obvious. One of the stupider Beagles asks, “Sure … uh … tell me again how it works?” There are then several panels of explanation as the group arranges the equipment to enter the dream. As they are about ready, one remarks, “But I’ll explain later” how they will get Scrooge to tell them the combination to his vault.
5. All of the characters who enter Scrooge’s mind are aware that they are in a dream, as is Scrooge, who has had each of these dreams many times.
Now, the differences:
1. There is a single dreamer throughout, and Scrooge remains in his own bed.
2. There is only one level of dreaming, and Donald, who enters the dream to foil the Beagle Boys, returns at intervals to the bedroom to report progress and plan strategies.
3. Spatially, the dream extends only a short distance around Scrooge. If the characters move too far from him, it fades out, which Rosa represents by having portions of the panels go white. The Beagle Boys exit the dream, one by one, by falling into the white void (see below).
4. Scrooge passes through a series of seven recurring dreams, all based on real adventures he has had in the distant past. Each of the seven dreams derives from situations in Rosa’s The Life and Times of Scrooge McDuck series. (The one-volume edition of this series is out of print, but it still is available in a two-volume version, here and here.) These dreams take place out of chronological order, and Scrooge’s age changes with each new dream. (The stories are “The Vigilante of Pizen Bluff,” #6, Scrooge age 23; “The Dreamtime Duck of the Never Never,” #7, age 29; “The Master of the Mississippi,” #2, age 15; “The Empire Builder from Calisota,” #11, age 45; “The Buckaroo of the Badlands,” #3, age 15; “The Last of the Clan McDuck,” #1, age 10; and “Hearts of the Yukon,” #8C, age 31.)
5. The rules are relatively simple. Crucially, Scrooge may be any age within the current dream, but he, being the main dreamer, recognizes Donald and the Beagle Boys.
6. “Dream” is designed to be funny, as when the Beagle Boys keep complaining that they’re in a nightmare, while Scrooge thinks of them as pleasant dreams. This is normal life to such an adventurous character.
It should be clear that the complexity of Rosa’s story originates not from the shared-dream structure, which is fairly straightforward. Rosa is more interested in finding a way to rework some of the scenes from his earlier biographical Scrooge comics. The whole Life and Times project originated from Rosa’s working method of teasing out minutiae about Scrooge from the original Carl Barks stories and then concocting sequels or prequels to them. Life and Times is an attempt to use all the mentions of past events, relatives, locales, and dates to devise a biography of Scrooge. “Dream of a Lifetime!” simply carries that modus operandi one step further.
The other big difference between “Dream” and Inception is that a reader who was not familiar with the seven earlier stories would miss much of what goes on in “Dream.” It was written for McDuck aficionados as a sort of game of recognition. For those who do recognize the seven situations referenced, “Dream” is quite easy to follow. For those who don’t, it must seem complicated and mysterious, most crucially since they won’t recognize Glittering Goldie, Scrooge’s lost love, in the opening “private” part of the dream.
In contrast, Inception is self-contained and tries for a very different sort of game of comprehension with the viewer, one which would not be aided by knowledge from other Nolan films.
“Dream” is also recognizable to fans as another of the “trick” stories that Rosa has written occasionally. These are not linked to Barks’s stories but develop some simple premise that allows Rosa to play with time and space in virtuoso fashion. These include “Cash Flow,” where the Beagle Boys buy an anti-friction ray-gun (Uncle Scrooge, Gladstone #224); “The Beagle Boys vs. the Money Bin,” (Uncle Scrooge, Gemstone #325), where the Beagle Boys find a map of the money bin; and my favorite, “A Matter of Some Gravity” (Walt Disney’s Comics, Gladstone, #610), where Magica de Spell buys a wand that turns gravity sideways for Scrooge and Donald.
In short, if Nolan ever saw “Dream of a Lifetime!” it could only have given him a few ideas out of the many that went into Inception.
DB coda:
For more discussion of the art of Christopher Nolan, see his category on the right-hand side of the page. We have an analysis of sound in The Prestige in the ninth edition of Film Art: An Introduction, and there we discuss the film’s narrative strategies as well.
Despite not caring for the movie, Jim Emerson has been assembling a wide-ranging and long-running dossier on Inception, with many comments. Scroll down the several entries here. Likewise visit David Cairns, who makes the necessary Anthony Mann comparison. The Wikipedia entry on the film is information-packed, and it includes several helpful links.
Our UW informants suggest that videogames having affinities with Inception include Assassin’s Creed II, Meigakure, and Shadow of Destiny. Thanks to Jason Mittell, Tim Palmer, Evan Davis, Leo Rubinkowski, Ethan de Seife, Edward Branigan, and Andrea Comisky for suggestions. See also Kirk Hamilton’s “Inception’s Usability Problem.”
On fourth-and fifth-level mindreading, see Robin Dunbar, The Human Story: A New History of Mankind’s Evolution (London: Faber, 2004), pp. 45-52. Dunbar’s study found evidence suggesting that women are better at tracking recursive mental states than men are.
Jan Simons offers an analytical survey of writing about New Artifice in an article here. For interpretations of particular films within the trend, see Allan Cameron, Modular Narratives in Contemporary Cinema (Palgrave Macmillan, 2008) and Warren Buckland, ed., Puzzle Films: Complex Storytelling in Contemporary Cinema (Wiley-Blackwell, 2009). I try to lay out some narrative principles governing such films, including Memento, in The Way Hollywood Tells It and in the essays “Film Futures” and “Mutual Friends and Chronologies of Chance” in Poetics of Cinema.
PS (17 December 2010): We have a rethink of Inception in this later entry.
David Bordwell
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comments about the state of this website go to Meg Hamel.
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The power of Heaven
Sky & Clouds
Creative Commons License photo credit: Beshroffline
Luke 5:12-16 Jesus was in one of the towns where there was also a man covered with a skin disease. When he saw Jesus, he fell on his face and begged, “Lord, if you want, you can make me clean.”
Notice the man asks hesitantly, he basically says, “if it’s not too much trouble, if it’s all right with you, if you aren’t doing anything else….” This man has spent his life alone. A person with a disease like leprosy was a social outcast. In fact, it was his job to let other people know not to come close. If he was worried someone might touch him, it was his job to shout out “unclean, unclean” to let the people nearby know not to come closer.
Jesus reached out his hand, touched him, and said, “I do want to. Be clean.” Instantly, the skin disease left him. Jesus ordered him not to tell anyone. “Instead,” Jesus said, “go and show yourself to the priest and make an offering for your cleansing, as Moses instructed. This will be a testimony to them.” News of him spread even more and huge crowds gathered to listen and to be healed from their illnesses.
Notice, Jesus just touched a leper. This is something nobody would ever do. It was unknown at the time how people got leprosy, so you were not allowed any contact with them, in fact if your clothes touched their clothes, the safe thing was to burn your clothes.
The world is in a broken state, the world thought touching a sick person made you sick. But in Heaven – human touch brings healing. Remember, in heaven there is no sickness, so Jesus is walking through creation and righting wrongs.
Next Jesus tells the man to show himself to the priests. Why? Well, they were the final say. Before he could re-enter society and be a part of the community again, the priests needed to sign off on him. And Jesus says, “this will be a testimony to them” a testimony of what?
The power of Heaven.
You see part of living in a broken world for so long, is that you begin to believe the lie that God is far away. We picture God as a bearded Jedi on a cloud somewhere off in the sky. High above us, far away, in some unknown location. And this lie is reinforced when we get sick or when loved ones die. In those moments we feel lost and alone, we feel like nobody is listening to our prayers or that God has forgotten us.
But Jesus came to earth to destroy the lie that God was far away, that God could not be known; and that God was distant. One of Jesus’ favorite sayings was, “the Kingdom of God is …. here.” Right now.
So when you and I are faced with sickness and death, we should remember that our God is the God who came near. He touches the sick and the outcast with his own healing hand. The author of Hebrews writes,
Hebrews 4:14-16 We have a great high priest who passed through the heavens, who is Jesus, God’s Son; because we don’t have a high priest who can’t sympathize with our weaknesses.
God is not far away – he gets it.
The bible says that when Jesus found out his friend Lazarus was dead – he cried. He cried knowing full well that he would “in minutes” raise him from the dead, but Jesus’ first reaction wasn’t to act like a pompous miracle worker, rather Jesus heart was broken for Mary and Martha and he cried.
We worship a God who isn’t far off and far away.
He “wants” to touch us.
Our God “wants” to heal us.
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First, allow me to apologize for misspelling Debussy at the end of my last article. I am blushing with mortification.
You cannot possibly chide me - "the grammar cop" - more vehemently than I have chided me. I let myself off with a warning this time, but next time, it's jail-time. I am not sure what that will entail, exactly; perhaps I shall stand in the corner, facing the wall, and read some badly written book, or this year's entries in the "It Was a Dark and Stormy Night" contest.
When I began to write for the paper on a free-lance basis, I promised myself that when I ran out of things to say, I would stop writing. I have not yet exhausted my store, but my output will always be erratic, and when I begin to have less to say, I shall write less often, and eventually - stop. I've always been more of a sprinter than a long-distance runner.
I say this only to prevent any of you from thinking, should you not see my name in the paper for a while, that I am not writing because a) I got "fired" (not yet); b) I'm sick (well, maybe my humor from time to time); c) I'm dead (again, not yet); d) I ticked off somebody (that probably wouldn't stop me); or e) I was bothered by some responses to one of my articles (au contraire, mon frère).
With regard to that last one, during my summer hiatus (which I decided to take because summer is usually too full of outdoor home-owning duties to spend time writing in addition to working a full-time job), some people thought I had stopped because of the deluge of pro-Stravinsky letters from Luther music students, who were valiantly defending their turf. Heavens, no. In fact, that couldn't be further from the truth.
The truth is, I was on summer break, and it is only the drought and 100-degree days which have enabled me to ignore my yard and my house altogether, and to spend some time being irritable and misspelling Debussy instead.
Gentler articles will be forthcoming in the fall. Thank you.
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Definitions for premonitionˌpri məˈnɪʃ ən, ˌprɛm ə-
This page provides all possible meanings and translations of the word premonition
Random House Webster's College Dictionary
pre•mo•ni•tionˌpri məˈnɪʃ ən, ˌprɛm ə-(n.)
1. a feeling of anticipation of or anxiety over a future event; presentiment:
a premonition of danger.
Origin of premonition:
1425–75; late ME premunicioun < LL praemonitiō forewarning
Princeton's WordNet
1. foreboding, premonition, presentiment, boding(noun)
a feeling of evil to come
"a steadily escalating sense of foreboding"; "the lawyer had a presentiment that the judge would dismiss the case"
2. forewarning, premonition(noun)
an early warning about a future event
1. premonition(Noun)
2. premonition(Noun)
Webster Dictionary
1. Premonition(noun)
previous warning, notice, or information; forewarning; as, a premonition of danger
1. Premonition
Premonition is a 2004 Japanese horror film directed by Tsuruta Norio. Yogen is based on the manga Kyoufu Shinbun by Jiro Tsunoda, published in "Shonen Champion" in 1973.
Translations for premonition
Kernerman English Multilingual Dictionary
a feeling that something (especially something unpleasant) is going to happen.
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European Science Foundation ranking A
Philosophische Zeitschrift der Kant-Gesellschaft
4 Issues per year
Kant on Capital Punishment and Suicide
Attila Ataner1
Citation Information: Kant Studien. Volume 97, Issue 4, Pages 452–482, ISSN (Online) 1613-1134, ISSN (Print) 0022-8877, DOI: 10.1515/KANT.2006.028, December 2006
Publication History
Published Online:
In the Metaphysics of Morals Kant clearly, and indeed ardently, upholds the state's right to impose the death penalty in accordance with the law of retribution (ius talionis). The “principle of equality” as between crime and punishment demands that those who wrongfully kill another should be put to death, for, in having inflicted such an evil upon another, the murderer has effectively killed himself. Kant is quite emphatic on this point: those who have committed murder “must die”. Here, he argues, “there is no substitute that will satisfy justice”, for there “is no similarity between life, however wretched it may be, and death, hence no likeness between the crime and the retribution unless death is judicially carried out upon the wrongdoer […]”. The ius talionis is, for Kant, the basic principle and measure in accordance with which criminal justice functions. Since the ius talionis entails a strict equality between crime and punishment, Kant's insistence that only the death penalty serves as the appropriate response to murder (or to any other equally egregious crime) is fairly straightforward.
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Seasonal Spice: 34 Recipes to Get Your Apple Cinnamon Fix
Pumpkin spice gets a lot of attention this time of year, but there's nothing more American than apple pie. The seasonal spice of apples and cinnamon is classic for a reason, and its cozy flavor is suited for dishes beyond basic pie. Apples and cinnamon shine in all these desserts, whether they're nestled in a buttery crust or topped with a comforting dollop of ice cream. Don't worry, we couldn't leave pie off the list entirely — you'll find some of those must-try recipes as well.
Cooking with apple cider is an easy way to pull in some seasonal spice.
Apple Cider Cream Pie
Recipe: Apple Cider Cream Pie
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Diets in Review Question
Where can I find recipes for Dr. Joel Furman program?
Lumoriel asked this question Jun 23rd, 2011 8:43 am
I won't get the package including the recipes for Dr. Joel Furman's 3 Steps to Incredible Health package, but would really like to see any recipes anyone else has. I'll share any I develop as I progress.
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• Price: £357 plus VAT
• Company: Adobe
• Pros: Prototypes mesh smoothly with Flash Builder. Portability from Photoshop and Illustrator. Designers can create Flash interfaces. Programmers can add coding via Flash Builder.
• Cons: Built-in actions are limited. Projects can't be moved to Flash Professional. No animation or scripting tools. Limited drawing tools.
Bringing graphic elements to life with Actions
When a new project is launched in Flash Catalyst, the opening dialog provides the option of opening a new project from a design file in Illustrator or Photoshop. Oddly, while you can have multiple design artboards open in a single file, you can have only one Catalyst project or file open at a time.
Support for Illustrator effects and Photoshop filters is extensive, limited only by features not supported in Flash Player 10. Flash projects are (mainly) based on scalable vector artwork. Unlike bitmap/raster artwork (best used to digitally represent photos), scalable vectors lose no resolution or quality when a viewer or an application zooms in.
Scalable vectors do not increase in file size as they change size on the screen. Both Illustrator and Flash (including Catalyst) are vector-based, and Catalyst’s ability to animate and activate Illustrator objects is a significant change in Illustrator CS5 as well.
Combined with finely synchronized support for Illustrator and Photoshop artwork, the essential magic of Catalyst is that it can convert that artwork to interactive components. For example, you can draw a form input field in Illustrator or Photoshop, but you can make that form field accept data in Catalyst (processing actual data requires handing the project off to a Flash Builder coder).
You can do the same with other form input fields: radio buttons, text input, or check boxes. And you can use Catalyst to convert other Illustrator or Photoshop artwork to sliders or scrollbars. You can also add immersive content or interactive video created with Flash Professional to your Flash Catalyst projects in order to provide a more compelling user experience.
Designing a customized scrollbar for a Flash application is as easy as copying and pasting a horizontal or vertical bar from Illustrator or Photoshop, along with artwork to use as a thumb, an up arrow, and a down arrow. A simple popup menu assigns a scrollbar part to any selected graphical element. The concept is exciting. The biggest shortcoming is that the set of available actions is quite limited. They are:
• Play, pause, or stop video
• Go to a URL
• Play, pause, and stop SWF files or go to a specific frame
• Change a component's state
• Change or fade opacity
• Add a sound effect
• Move, resize, and rotate objects
• Rotate an object in 3D space
Catalyst also generates a number of form elements, but I found gaps when I tried to design accessible forms. The set of form fields also does not include popup boxes.
Similarly, the video player controls were truncated in their ability to convert a graphic element to a Start, Stop, or Pause button. There’s no option to assign a mute button or volume control.
Wireframing and prototyping
Catalyst includes a set of symbols for wireframing (creating a sketch of what an interactive page should look like). Here too, I found the tool set limited to the basics. You can insert form fields and scrollbars, add formatted text, and draw shapes. On the other hand, this set of wireframe symbols and actions matches Catalyst’s set of actions (the list above)—thus allowing a designer to prototype an interactive page that is all set for the coder's handiwork.
If a wireframe layout for a Flash project is copied into Catalyst from Illustrator, some elements of that layout can be activated, meaning they can have actions applied to them.
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+1 Rank Up Rank Down
Mar 10, 2009
Plus carrying your phone on vacation is much cheaper; for roaming I mean
Mar 10, 2009
Oh man, this one's hilarious.
Mar 10, 2009
a perfect 10.0 but has !$%*!$ seen this one yet?
something tells me you're going to be playing out that scene from Cheers where Frasier did something to offend Lilith & Norm asks him "oow - rookie mistake... so what's your punishment?"
Frasier: "oh, I'm not getting any..."
Norm: "oh, you got off easy..."
Frasier: "no, you don't understand - I'm not GETTING any!"
Norm: "no, YOU don't understand - you're getting off EASY!"
Mar 10, 2009
"1.)Good gosh, that tie sticks out even Dilbert lies down!
2.)In Massachusetts and Ontario, Dilbert can marry his phone, if they both consent. flag this comment "
1.) Have you ever tried to eat while sitting in a cube? That tie is permanently starched from the coffee, doughnut filling, and/or catsup it catches every day.
2.)How do you get consent from a Blackberry/iPhone? Text message?
Mar 10, 2009
Dilbert must not have Verizon service...
Get the new Dilbert app!
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Weight Room Title Bar
Katy: A Fattening Story
by The Studio
Over the years, he dated some big women, unconcerned with the opinions of his peers or the ridicule they hurled at him because of his tastes. Each year, as he became more discriminating in his tastes for women of size, he found himself strangely frustrated. He wanted a woman who revelled in her fatness; who wanted to share every beautiful, rolling pound with an eager lover. What he found were either women who utterly let themselves go (becoming undesirable slobs in the process) or women who wore their fat as though it was a curse (becoming neurotically unattractive). He began to believe that his search for a fat woman to call his own was all in vain. In one last, desperate attempt to find his dream, he left his rural northern town and moved down south, where big women were supposed to abound.
He settled in a small town in southern Georgia. His initial reconnaissance had proved favorable, since the town was renowned for its pork barbecue and fried chicken. He got a job selling cars and began his hunt. At first, he found only women with the same uncaring attitude or insecurities that he'd been confronted with up north. Then, almost as if by magic, the yearly food fair took place. He went there to scout out the booths and to see if the woman of his dreams was there. He tried the wares at a few and then spied a fat, older couple working at a grill. Between them, they looked to be packing on about 800 pounds, with the lion's share of the weight belonging to the woman. She wore a tight fitting apron that barely served to cover the vast expanse of flesh that swelled up behind it. Her blouse was sticking to her sweaty torso, showing every rolling bulge as she turned a rack of ribs over and called out to the tent behind her. She waddled over, straining her jeans to capacity with every step, opened the flap and motioned for someone to come out.
The woman who emerged was so startlingly beautiful that he was dumbfounded. She had long, brunette hair, big round eyes, nice full lips, and was packing about 150 pounds into her skintight t-shirt and jeans. She bit into a piece of sausage as she walked over and began to help with the grill. She looked to be in her early twenties, had tits the size of grapefruits and an ass to match. As he stared toward the booth, the big woman laughingly scolded her for eating when she was supposed to be working. She answered, "Sorry, Mom. But you know I'm always hungry." He watched her working the grill for many long minutes. Every move she made was like poetry, every curve of her body was like a waking dream. He was startled out of his reverie, however, when he noticed that she was staring directly back at him. He diverted his gaze, trying to regain his composure and pretending that he hadn't been gawking. When his eyes eventually turned back in her direction, she was still staring at him, but with a slight grin on her face. He looked away again and walked over to the booth beside him, ordering a plate of ribs.
He sat there for some while, lost in his own dilemma. What was it about this woman that struck him so forcefully? True, she was beautiful, but by his standards she was next-door to anemic. Was he losing his love for fat? He decided not. Actually it was the entire scenario that struck him - she had potential. He was imagining what she would look like if she swelled up to her mother's girth, or even larger. The thought washed over him like a warm breeze. He had to talk to her. He had to see what she was really like. Stern and confident with his newfound resolution, he paid for his platter and turned toward the beauty's booth. Before he'd made a single step, he found himself frozen in place. She was standing right there in front of him.
"Johnny's ribs her are pretty good," she said, pointing to the table beside him, "but if you want the best, then you ought to follow me." She turned and walked away, switching her full hips slightly as she did. She looked back over her shoulder and he followed like a dog on a leash. When he arrived at the booth, she said, "Mom, Dad, I'd like you to meet Bill Franklin. He's new in town." Her voice was smooth and disarming.
He was so startled that he almost didn't take her father's chubby hand as it was offered. He shook and said, "It's a pleasure to meet you Mr. Henderson, Mrs. Henderson." Luckily, he'd noticed the name on the banner while he was walking over. The fat woman smiled, offered her sweaty hand and examined him with scrutiny.
"Katy hasn't mentioned you Bill, how long have you been in town?" she asked.
"Not long, ma'am," he answered. "But I'm here to stay. This is my kind of place."
After a few more sociable questions, her mother seemed to warm up to him and even offered him a sandwich. He said that he'd just eaten, but she seemingly ignored his comment and handed it to him. The woman he now knew as Katy grabbed her own sandwich and said that she was going to find a table and share some lunch with Bill. Her parents gave their nod of approval, told her to hurry back, and the were on their way.
"You handled that pretty good back there." she said. "I like a man who's quick on his feet."
He smiled and looked into her light brown eyes. "Well, I'm not so quick that I can't be caught at a disadvantage. It's a pleasure to meet you, Katy."
"The pleasure's mutual," she added. "As far as your disadvantage goes, news travels fast when a good-looking man moves into this town, and when I notice that he's looking at me, I act fast. Around here, if you snooze you loose."
He loved her candor and her blunt, sensual tone. He watched as she took a big bite out of her sandwich, closing her eyes to savor the flavor. When she opened her eyes, she stared into his.
"You like big women, don't you?"
He was struck mute.
"I noticed that you weren't just staring at me, you were giving my mother the eyeballs too, and if she isn't a big woman, I don't know who is."
His voice broke like some pubescent boy, but he finally answered "Yes, I do like a fat woman."
She coughed up a laugh and said, "Not many men are comfortable admitting it that way. They call the woman big-boned, large, even "roomy", but seldom just plain "fat". What makes you so bold?"
"Well," he answered, "I'm usually not. I think it's just you."
She smile broadly. "And what is it about me that you find so inspiring?"
"Ah, fishing for compliments?" he asked, feeling a bit more sure of himself. "Well you've got all the right bait. You're amazingly attractive, you have a luscious voice, you walk like a woman should, and you're definitely not shy."
"I'm also not that fat," she added.
He gave her a loaded smile and said, "You've got more than enough to keep things interesting, and I'm not so greedy."
"Hmmmm. You're not too shy when you get started, are you?." she said and paused. "But you do say almost all the right things. Actually, I don't know if I like you." She sat for a moment, took another bite of her sandwich and then reached into her bra. She pulled out a piece of butcher paper with a phone number written on it. It was moist with sweat. "There's only one way to make sure. Call me."
Without adding a word, she got up, took what was left of her sandwich and headed back to the booth. As he watched her shimmy away, he lifted the paper to his nose and took in a deep breath. She smelled like barbecue, he thought with a smile.
Later that week, she was in his bedroom, standing topless before him. He knelt before her, gazing upward at her face between two pillowy breasts. He grabbed her full hips, pulling down on them so that they separated from the soft flesh of her waist. He reached down and undid the zipper of her cut-off jeans, watching as her plump belly popped free. She leaned over, rubbing her pendulous mams against his head, breathing heavily as she rubbed his shoulders. He peeled off her shorts and panties, revealing a neatly trimmed tuft of pubic hair. He sunk his face into it and pushed her backwards onto the bed. Her legs spread wide as he tongued her clit. She let out a guttural moan and grabbed his head, pulling it firmly against her. After she'd come twice, he stood up and pulled down his pants, his bulging erection springing free and bobbing up and down with each beat of his heart. His dick slid past the sopping lips of her pussy and drove deep within her. He felt an orgasm coming, but fought it off. He was going to relish this woman, fondle her, lose himself in the softness of her flesh.
Hours later, she was sucking him into his fourth erection. He'd come so much that his balls were aching, but he couldn't resist the soft touch of her lips and the warm embrace of her tongue as it circled against the burning red head of his penis. She took his stiff rod and held it firmly between her sweaty tits. She raised up slowly and then pushed down, sucking on the head as it peeked out from between her breasts. As he lay there, lost in her sensual embrace, he knew that he must do whatever it took to keep this woman at his side.
The next day, he went to visit her at her parent's restaurant. She was sitting at the counter, hungrily plowing her way through a plate of ribs. When she noticed him, she motioned for him to come join her, licking sauce from her lips.
"Hey, Mom," she said, "Bill's here and he looks hungry. Would you make him a number seven?"
Her mother grinned, nodded at Bill, and disappeared through the kitchen door.
Katy leaned over toward me and whispered, "I don't know what the hell you did to me last night, but I've been starving all day. I just can't seem to get full!"
He looked down and could see that she was telling the truth. Her belly was so swollen from her attempts to satiate herself that she'd had to undo the button on her shorts to relieve some of the pressure.
"I love the fact that you can't get full." he whispered back. "It means that, soon, there'll be more of you to love."
"Oh, you have no shame!" she said, grinning at him. "Are you saying that I'm not enough woman for you?"
"Certainly," he answered. "But I'm just being realistic. If your parent's are any indication, then it's just a matter of time anyway. This is just my way of letting you know that I don't mind."
"Shit, you're not fooling me," she replied. "You go beyond 'not minding', you hope I'll get bigger. I can see it in your beady little beautiful eyes."
Bill laughed under his breath. "Is that so bad?" he asked.
"No." she said, turning her attention to the last rib on her plate. "It's just that, you'd better be careful what you ask for or you might get it. I come from a long line of big folks."
A voice spoke from the kitchen window. "If you two aren't careful, people might start thinking that you're a pair of lovebirds!" her mother said. She disappeared and then reappeared through the doorway. She handed me a plate of ribs and said, "Enjoy."
"Momma, where's mine?" Katy asked loudly.
"Jeezus Christ, girl!" her father's voiced boomed from the kitchen. "Have you got a tapeworm or somethin'? You ain't stopped eatin' since you got here!"
"I can't help it poppa, I take after you and ma!"
His laughter came from the kitchen as Katy looked at my plate and shrugged her shoulders. "I'm just hungry, that's all."
Bill's dick started swelling up in his pants, still sore from the night before. He thought of the woman Katy might become with such an appetite - and he liked the thought.
Her mother looked at him knowingly and then turned to the window. "Jed, stop being an old fool," she said. "Fix the girl something to eat!"
Jed's voice came back. "I'm already workin' on it!"
Over the next few weeks, Katy's appetite remained insatiable and her continual gluttony began manifesting itself. Her tits began bulging prominently from over her bra cups; her legs, belly and ass were ludicrously straining her shorts to capacity. Bill was ecstatic. Meanwhile, Katy was acting as if nothing was happening. She knew she was getting fatter, but wasn't worried about it. She had man who appreciated her and that was all that mattered.
"What are you going to do if I get as fat as my mother?" she asked him one day as they were lying together in bed.
"Well, I'd enjoy you...and I'd probably try to get you even fatter," he answered.
"Seriously?" she gasped.
"Count on it." he said gloatingly. "You could never get too fat for me."
"Oh, my!" she said pretentiously. "What if I get so fat that I can't even walk?"
"I'll drive you around so you don't have to worry about it." he answered quickly.
"Christ, What about clothes?" she said as she laughed.
"I'll find ones that fit." he said
"Jeez. You really mean it, don't you?"
"Yes, I do."
"Are you going to make me regret falling in love with you?"
"Only if you'll regret getting to eat whatever you want, as much as you want, whenever you want."
"Damn, Bill. Remember when you said you're not a greedy man?"
"Well, chalk that up as the only lie I'll ever tell you. When it comes to you, I can't help but be greedy."
"Good, that's how I like my man."
She showed her appreciation by continuing to grow. After they'd been dating for a few short months, an entirely new wardrobe had to be bought to accommodate her expansion. Her loose clothes got tight, and her tight clothes became unwearable. Bill loved the fact that she still wore shorts, even though her legs were beginning to show some 'thigh cheese'. Katy also continued to wear tight shirts, which merely served to accentuate her increasing girth. Meanwhile, her mother and father seemed almost proud of every pound she gained as she followed in their own, fat footsteps. After a while, though, her weight leveled off at about 200 pounds. She stayed at that weight, seemingly unaffected by all the food she consumed. Katy's father noticed Bill's frustration at the turn of events and talked about him in private one day.
"Bill, my boy. I know exactly how you're feeling." he said, as he lit his pipe.
"Mr. Henderson?" Bill asked.
The big man chuckled softly, "Oh, there's no use hiding it from me. I've been loving a fat woman for over twenty years now and I know when I see a man who likes 'em that way. I know that you want to be careful, since she's my daughter and all, but I'm only bringing it up so that I can give you some good advice. I like you Bill. You make my little girl happy and you treat her fine."
"Well, thank you sir, I just don't know what to say." he said, half embarrassed.
"Don't say nothin', just sit there and listen. When I was courtin' Katy's mother, many years ago, I ran into the same situation that you're in now. I wondered why the woman had stopped gaining weight all of the sudden. It seemed like, no matter what I did, she wouldn't gain an ounce. I bought her cakes an' any other thing I could think of that might have helped her grow, but she wouldn't budge an ounce. Want to know what I did? Sure you do. I made an honest woman out of her. We got hitched. Within a month, that woman was puttin' on the weight like it was her life's mission. After she got pregnant with Katy, she actually got a whole lot bigger that she is right now - that's another story. But a woman can only carry that much weight for so long y'know. Still, for a while there, I had the biggest woman in the state for my wife. Are you gettin' my point?"
"Yes sir, I'm getting it. Thanks."
"Good boy. You won't be sorry."
Three months later, Bill and Katy became man and wife. At their wedding reception, Katy ate so much wedding cake that she almost popped a stitch on her dress. For the honeymoon, the two drove out to Las Vegas to celebrate. All along the way, Katy insisted on stopping at every restaurant that looked interesting. At each one, she ate like there was no tomorrow, filling herself with platter after platter of fattening selections. Because of their constant stops, it took them over a week to reach Vegas. By the time they made it to their first casino, every outfit that Katy had brought was being strained to capacity. After two more weeks of vacationing, endless sex, and eating, she had to start buying new clothes. On the way back home, they stopped at many of the restaurants that they hadn't hit on the way out so that Katy could continue her gluttonous feast. Bill was elated as he watched his budding bride's unfettered appetite proclaim itself in newly swollen rolls of flesh. Her distended belly ballooned up to new, jiggling proportions. Her tits grew outward and downward, stretching her aureole as they did. Her legs and arms piled on new layers of delicious, fatty tissue. Bill drew even greater satisfaction in knowing that this was only the beginning of Katy's true potential.
They got back to their home in Georgia and Katy returned to work at the restaurant sporting almost twenty new pounds of 'honeymoon fat'. With her new poundage came newfound pride since she was getting to do what few, if any, of her friends would never be able to - eat all she wanted without losing her man's appreciation. In fact it was even better than that since, with every inch and pound she gained, he appreciated her that much more. As the days continued to pass, her appetite continued to grow and her restraint became a memory.
Her parents accommodated her vigorous appetite by feeding their "growing girl" like never before. They always ate lunch together and they would invariably load Katy's plate with piles of fat laden pork. As the weeks rolled by, they started giving Katy second servings. The servings got larger until, soon, they turned into second plates. Plates turned into platters and Katy's lunch break got longer and longer until it seemed that all she did at the restaurant was eat. At home, it was no different. Snacks had turned into meals and meals into great binges. She'd walk into the house with boxes of food and proceed to empty their contents into her eagerly awaiting belly. Bill usually added to the festivities by spoon-feeding her piles of ice cream and slices of cake for desert. He'd feed her until she said she couldn't take anymore and would then coax her into another serving or two by eating her pussy while she stuffed herself. By their third month of marriage, the 300 pound mark was fast approaching and Katy was showing no signs of slowing down.
The continuing demands of Katy's unrelenting appetite, coupled with the constant encouragement of Bill and her parents, resulted in substantial gains. After only eight months of marriage, she had crested the 400 pound mark and was nearly as large as her mother. It filled Bill with pleasure and pride to know that, in just a little over a year, his wife had added over an eighth of a ton of fat to her body. Because Katy had come from a fat family that had lived in the town for generations, she didn't receive the usual ridicule that might have been expected with such a dramatic change. In fact, it almost seemed as though her fattening had been expected, as though it were merely a natural outcome or some foregone conclusion. Some of the locals took to calling her "Madame Zepplin", but the nickname was usually used in jest. With her ever expanding body she certainly lived up to the name, so she simply took a measure of satisfaction and wore it like a title instead of a curse. For Bill, the whole scenario was like living in a fantasy.
That "fantasy" took a dramatic turn when Katy got pregnant. They had been trying for months and Bill was ecstatic when he got the news. Not only were they going to start a family, but he had the added incentive of wanting to see if childbearing would have the same effect on Katy as it had on her mother. It did. Katy began eating like it was her divine calling - claiming that she was eating for two. Actually, she was eating enough for herself, Bill, and three children, but they left her to her delusions. Being pregnant slowed down her metabolism and increased her appetite in one fell swoop, a combination that caused her to gain weight at unprecedented rates. As her belly swelled up with the child, new pounds of fat appeared on her already massive body. Her cheeks became increasingly rounder as her second chin swelled outward and downward toward her chest. Her arms expanded correspondingly, growing to the point that her bulging upper arms sagged over her elbows. Her breasts, filling up with milk and fat, expanded across the swelling mass of her belly. Besides holding their child, her belly was also garnering the bulk of her new poundage. By the middle of her pregnancy, it had swollen to the point that it pushed her pendulous breasts to either side, making her look even fatter in her maternity dresses. It was only a matter of detail to call them "dresses", actually they were more like tents with holes for her arms and head. Behind her there was a bulging precipice of flesh that was her ass. Genetics had lent her a hand by storing a fair share of her new fat in her behind to help her balance her incredible gut. A pair of legs that doubled as tree trunks held all of her womanhood upright. Her thighs so fat that they forced her feet to shoulder-width when she stood which made her appear shorter and fatter still.
After nine months of pregnancy and eight hours of delivery, Katy was wheeled from the delivery room weighing 610 pounds. During the latter months of her pregnancy she gained much of the weight where most pregnant women do - in her breasts. Her bloated milksacks were so huge that they hung down to past her navel and they produced more milk than their plump baby girl could have ever used. Bill did his part to help Katy out since her mams would get sore if she didn't get rid of the extra milk. He sucked her tits, milked her with a breast pump, and would even get her to bend over so her could squeeze her nipples and milk her like a cow. Katy loved all of the attention.
Bill was in continuing ecstasy. Because of the child, Katy stayed at home all day and spent most of her time sitting around. While she sat, she ate. Her mom would stop by almost every day with pots full of fattening food for her daughter to satiate herself with. Instead of eating for two, the rationale was that she needed to keep up her strength. As such, she was also keeping up her weight gain, though not at so impressive a rate. Her belly continued to stretch out in front of her and downward onto her increasingly massive thighs. Her ass became so loaded with watery flesh that it rocked back and forth like tidal waves as she waddled around their house. The undulating mass of her belly and ass, combined with the rolling flesh of her thighs, threatened to split the seams of her mammoth shorts with every move she made. The incredible, bloated sacks of soft flesh that were her breasts had grown to the point that her bra gave only psychological support. Bill loved to lift the huge cups until her juggs spilled out in avalanche of fat, yanked to a stop by the skin that fought to contain their poundage in striated splendor. To repay her for the visual treat and the strain on her back, he would tongue her nipples to full erection, and then nibble on them gently as he fingered her chubby pussy into the throes of a wrenching orgasm. After she'd come once, he could make her come again and again, merely by sucking and licking on her sensitized nubs.
After a while longer, they put their daughter in daycare so Katy could return to work with her parents. Bill drove her there on her first day back since she was so fat that she could barely squeeze in behind the wheel of their car. After she put her apron on, she waddled to the back and plopped down onto the meat scale. The needle jumped to 652 pounds. She hadn't checked her weight since she'd given birth to their daughter, so she was more than a little surprised.
"Is this thing right?" she asked.
"Just checked the calibration last week," her father said with a smile. "It's dead on the money."
"Whew!" Katy exclaimed. "I guess after you get so fat, it's hard to tell if you're getting any bigger. I didn't know I weighed so much!"
"Well, from the look on Bill's face," her mother commented, "it's not much of a problem."
Bill hadn't realized, but he'd been staring at the weight on the scale with his eyes wide open and a broad grin on his face.
"Please!" Katy blurted out before Bill could say a word. "That man wouldn't mind it if I got as big as a house!"
Bill raised his eyebrows and shrugged his shoulders. "Well, I do like my woman with a few extra pounds," he said.
Katy smirked in joking disbelief and her parents laughed loudly. "You're so full of it," she said. "You like your woman three ways: fat, fatter, and preferably fatter than that!"
"Come over her and help me up you adorable, greedy bastard," Katy added as she held out her fat, wiggling arms. She asked for help, half out of jest, half out of necessity. The scale was so low to the ground that, with her incredible magnitude, it would have been nearly impossible to get up without help. As it was, Bill had to strain while helping her get up. When she got to her feet, Katy had to steady herself for a moment, getting her quavering poundage under control.
"That was a lot of effort," she said, wiping her brow. "I think I worked up an appetite."
She waddled over to steaming pot, grabbed a spoon and scooped out a mound of barbecue. She plopped it onto a hoagie roll and took a hearty bite. A minute later, she was making herself another one. Her mother wobbled over beside her and began working on a customer's order. Bill's cock stiffened as he compared the two from behind, lustfully noting how his wife had swollen to far beyond her mother's copious dimensions. Mr. Henderson tugged at Bill's sleeve and motioned for him to follow.
"Me and Bill are goin' out back for a smoke," he said. "We'll be back in a few."
When the back door closed behind them, Jed lit his pipe while Bill lit a cigarette.
"You've been good to Katy," Jed said, "so, I'm willin' to tell you something that you'll find interestin'."
He took a puff and looked at Bill earnestly. "But you have to give me your word that you won't abuse it," he added.
"What do you mean?" Bill asked.
Jed checked the door and then spoke. "Remember when I told you that Emma was once the biggest woman in the state? I didn't tell you the whole story. I was the one who got her that fat. Right after we got hitched, I found a secret that made her blow up like a blimp. To this day, Emma don't know that I did it, an' I aim to keep it that way. I know you like you're women like I like 'em, an' Katy seems to get happier the fatter she gets. So I'm willin' to tell you my secret if you promise ta' use it responsibly. But you have to be careful, 'cause I don't want her to get so fat that she ain't happy no more."
Jed reached into the chest pocket of his overalls, pulled out a photograph and handed it to Bill. As he looked at it, his heart started pounding, his mouth started watering and he felt blood coursing into his cock. The photo was cracked and faded - a picture of a younger Jed and Emma standing in front of their restaurant. It was the image of Emma that had gotten his reaction. She was dressed in a blouse and a skintight pair of overalls. She looked like she would have exploded if someone stuck her with a pin. She was so fat that it was hard to tell where her tits stopped and her huge gut began and was so round and bloated that she almost looked like a float for a parade.
"That was Emma at her fattest, every ounce of 900 pounds. I actually had to get her on a cattle scale to find out how much she weighed."
Bill gulped and tried to keep his composure. The thought of his wife weighing that much boggled his imagination. "I wouldn't do anything to hurt Katy," he said in a crackling voice.
Jed reached out, took the photo from Bill, and returned it to his pocket. He had a devilish grin on his fat, wrinkling face. "I thought you'd like that," he said. "Now, promise me that, If Katy so fat that she ain't happy, you'll stop using my secret."
"You have my word, " Bill said stoically.
Jed eyed him and then offered his hand. Bill took it and they shook. "You know Jim Foley's store?" Jed asked.
"The general store in the valley?" Bill replied.
"That's the one. Been there as long as I can remember. One summer, way back when, I had a case of the trots that felt like it was tryin' t'kill me. I went to ol' Jim's store an' asked him what could get rid of em'. He gives me a bottle of this snakeoil called Dr. Alzer's Cureall. I get home an' take some an' it was like someone had taken a giant shit in my mouth. I darn near puked it up. T'kill that vile taste, I drank some milk an' it did the job. It didn't stop my runs but it sure as hell made me hungry. I ate more that day that I have any other in my life, and for me, that's sayin' a mouthful. I took some the next mornin' but I chased it with juice. That time, it got rid a' ma' runs, but it didn't make me hungry a'tall. I knew I was on t'somethin' so I slipped some into Emma's milk the next day. Somethin' about the milk covered the taste to where she didn't notice it, plus I only used a touch. I swear to the almighty that on that very day, Emma damn near ate us out of business. From then on, I gave it to her almost every mornin'. It's the stuff and the milk that does it. It ain't good for much else but, every mornin', slip a teaspoon or so into Katy's milk an' it'll make her as hungry as the dickens."
Bill took a final drag off of his cigarette, crushed it on the ground, and spoke. "Thanks a lot Mr. Henderson, I really appreciate the tip. But - and I hope you won't take this question the wrong way - why are you telling me this?"
Jed re-lit his pipe and let the smoke drift out between his smiling teeth. "Well boy, it's like I said. You like your women the same way I do. That sort of makes us like two peas in a pod. Besides, I hate to such a great secret goin' unused...and I think it'd make Emma kinda proud to see Katy followin' in her footsteps, such as it is."
And so it began. Two days later, Katy unknowingly drank her morning milk with a little twist. A few hours later, a yawning chasm opened up in her stomach. She tried her best to fill it, but nothing seemed to satisfy her longing for food. Her mother noticed her daughter's ravenous appetite at work and commented to Bill when he came in for lunch.
"Hey, Bill," she whispered as she sat his plate down in front of him, "I hope you don't think I'm sticking my nose in where it doesn't belong but...is there something going on between you and Katy?"
"No maam," he answered with a puzzled look on his face. "Never been better. Is there something wrong?"
"Well, not really. She ain't pregnant again, is she?"
"No ma'am, we're going to wait a few years for the next one.
Mrs. Henderson scratched her brow and said, "It's just that the girl hasn't stopped eating since she walked in the door. I mean, she eats, but I never seen her eat this much. Well, it's probably nothing, " she added and then turned toward her daughter. "Might have a case of something I had when I was her age," she muttered so low that Bill barely heard her
"Pardon me?" Bill asked with hidden anticipation.
Emma laughed softly. "Oh, well, you might not believe this, its kind of embarrassing...but I used to be a whole lot bigger than I am now. One day, I just woke up with this appetite that I couldn't satisfy and it didn't go away for two years. I ended up weighing...well, I was bigger than you might imagine."
She looked over her shoulder, into the kitchen, seeing her daughter's back and then turned back around to face Bill. She was suppressing a smile and her cheeks were blushing to a sharp pink. "It's probably nothing," she said as she wiped off the counter.
At the restaurant, Emma fostered that "nothing" to such an extent that Katy began to grow at an awe-inspiring rate. She even took care of most of her daughter's responsibilities so she could spend most of her time trying to satisfy her seemingly insatiable appetite. Occasionally, Jed would give Bill a knowing wink as he watched Katy reeling under the power of their shared secret. With Emma's motherly support, Bill didn't have to do anything but sit back and watch as his wife piled on the pounds.
At home, Katy ate with the same unrelenting passion. She got so fat that, in the comfort of her own home, she went around braless most of the time. When she was standing, it took a great deal of pressure off of her distending belly because her hanging udders could be pushed to either side. When she was sitting down, she could sit her great mams on the table in front of her, taking the pressure off altogether. She even ate while she and Bill were having sex. He would fill her with cock while she filled herself with food, a sight which kept him hard for hours without end.
As the 'Dr. Alzer's' treatment continued, Katy's body became more and more efficient at packing on the pounds. On a good day, she could gain over five pounds, and her "good days" were quickly growing into "great" days. She actually began wearing floral muumuus because they were the only garments that she didn't outgrow in a few weeks. Clad in her parachute-sized dresses, she continually glutted herself on the most fattening treats available; an entire cheesecake was but a snack; a gallon of homemade ice-cream became a small appetizer.
Bill made sure to keep an array of fattening selections continually within arms reach so that she wouldn't have to get up any more than necessary, even when she was at work. The gesture was simultaneously considerate and devious. It took a lot of work for her to get her bulk upright and moving so it made things easier on her, and it kept her sedentary enough so that what she ate turned into as much fat as possible. He delighted as he watched her shove countless morsels into her mouth, scrutinized as she quickly chewed and swallowed, and eagerly anticipated the inevitable poundage that would follow.
Those anticipations were always fulfilled beyond his expectations. Katy was eating so much that it actually seemed to confuse her body. For days, she would eat and eat but it didn't appear as though she was gaining an ounce (even though the scale said differently), and then within the next few days, her body would expand so quickly that it seemed as if she was growing before his eyes. Smooth flesh would become stretchmarked and stretchmarked flesh would become striated, seemingly overnight. Rolls of flesh would become creased and then those creases would become new rolls themselves. Al the while, Katy continued unabated and seemingly unaware of her incredible expansion and continuing metamorphosis.
Three months after beginning the "treatment" Bill sat across the living room from his immense wife surveying the woman she'd become. She had grown so wide that her ass and hips took up most of the couch as she sat there, naked, stuffing her face, watching television, and oblivious to him. Her cheeks had swollen to the point that they forced her lips into a pucker. Her fingers were so fat that, as she fed herself, they looked like stacks of marshmallows spreading outward from her bloated palms. She wouldn't keep those fingers at her mouth for long because the weight of her arms made it quite a strain. He watched intently as she repeatedly took food from a tray and guided it to her eagerly awaiting mouth, observing how her upper arms bulged and rolled outward as her quivering forearm strained to lift the rolling masses of flesh. He took in the expanse of her great belly as it hung there before him - so vast that it spread her legs as wide as they would go - so massive that it teasingly undulated but a few inches above the carpeted floor in front of her. He studied her breasts as they rode on either side of her gargantuan gut, waves of rippling motion passing through them each time she lifted her arm. They stretched all the way out to her knees, forming a delightful intersection between tit, leg and belly. When she was seated, it was as if all her body parts merged into one, complete, womanly mound of fat, a thought which almost made him dizzy.
He was completely satisfied. All the time she'd been getting fatter, he always wondered what it might be like if she'd just gain a "little" more weight. Now he knew what he'd been wanting all along...in every way, every proportion, every roll, every pebbled inch of her fat glutted body, she was perfect. She was woman personified. Katy had finished off the last of the Dr. Alzer's a week ago and he had finished with it too. She hadn't gained a pound in that week but, at her size, it took a fair amount of food just to maintain her weight. He started to speak but couldn't find the words. Katy turned to face him hearing his unspoken words - that was the way it was between them. She reached for the remote, turned of the T.V., and stared at him.
"The baby's at your mother's, " he said.
"I know", she answered. "And you should be over here."
He shook his head.
She giggled. "Greedy as always, aren't you?"
He nodded.
She sighed and then forced herself forward on the couch. Her entire body seemed to quake with the effort as waves of flesh undulated beneath her sweating skin. With one arm, she steadied herself against the back of the couch; with the other she reached for the support that hung from the ceiling. It was a simple device, a heavy chain mounted from one of the crossbeams with a padded handle dangling at it's end. It was the only way she could get up without help. Handle in hand she braced herself and took a few deep breaths...then it began. She pulled herself forward until her belly was spread out onto the floor in front of her. As she did, her tits pitched forward from atop her knees and flowed outward onto her belly, stretching forward until her nipples were tickling the carpet. She waited until her fat had settled, then shifted her back hand forward until it was planted firmly on the arm of the couch. After a few more deep breaths she began to lift herself. Bill sat stupefied as her body underwent a startling metamorphosis. Katy pulled herself upward as gravity pulled her body downward - a beautiful battle between flesh and force. Her upper body moved but her lower body stayed in place as her skin began to stretch. Then, the skin on her chest turned a reddish hue as the weight of her breasts was brought to bear. First one nipple, then the other began to slowly raise from the floor as the flesh above them swayed from side to side.
When she reached a position between crouching and standing, her belly began to elongate while, simultaneously, her ass lifted from the couch. Bill knew that this was the critical moment. Like a powerlifter doing a deadlift, her knees began to shake and her entire body began to quiver. She paused for a moment, then began to force herself further upward. He almost gasped as the top roll of her belly began to extend and the bottom roll began to follow. In one last, heroic effort, she lurched upward, pulling on the chain and lifting her belly completely from the floor. It swung between her legs like a bloated apron.
Wiping the sweat from her brow, she shuffled her feet closer together, got steadied, and presented herself to him with outstretched arms. There she stood before him: face so fat that her second chin spread generously onto her chest, arms so fat that even outstretched, her upper arms rested atop her hips, breasts so fat that they hung down past those hips yet spread themselves thick and wide across her belly - a belly so fat that it hung down to her calves leaving just enough room to see that her feet were almost completely covered by the rolls of fat on her lower legs. There she stood before him, a stunning, 5' 5" tall brunette who weighed in at 1022 pounds. She'd put on much of her newly mounted 370 pounds during the last month of her "Alzer" driven glut with a peak gain of almost ten pounds a day.
She dropped her arms and motioned with her head for him to follow. She shuffled to turn herself and headed for the hall. As he followed her, he savored the sight of her hips brushing the walls of the hallway, even though it was all of five feet wide. In the bedroom, she shuffled around again and fell backwards onto their bed. The reinforced steel frame and the heavy duty boxsprings squeaked their protest as her half-ton-plus body came to rest and spread itself out across the mattress. He slowly slid in beside her, caressed her hair and firmly pressed his lips to hers.
As their tongues danced together, he heard the phone ring. Neither of them had any intentions of answering, but something made Bill listen as the machine picked up the call. The voice belonged to a young man named Patrick who worked at Jim Foley's store.
"Mr. Franklin," he said, "I know you said you weren't interested, but we just got in a new case of that medicine you've been using. You're about the only one who buys the stuff so Mr. Foley told me I could give you a deal if you want. Give us a call if your interested."
As the line went dead, Bill broke their embrace.
He stared deeply into her eyes and thought, "What the hell. Who knows what perfection really is anyway?" With that, he dove back toward his beauty, immersing himself in her splendor.
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global_05_local_4_shard_00000656_processed.jsonl/109965
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Online since 1998
msxml4.dll free download
File specifications-
File description
MSXML 4.0 SP 1
• Version: 4.10.9404.0 32bit
• Filesize: 0.59 Mb
• File language: N/A
Rating: 4.09 191 votes
Alternative versions (1)=
File versionFile languageFilesize
4.10.9404.0 32bit N/A 0.59 Mb
How to install msxml4.dll=
Using the msxml4.dll Fixer
1. Download the msxml4.dll Fixer
2. Run the dffsetup-msxml4.exe file that was downloaded.
3. Wait for the installation to finish.
5. When the Fixer has installed msxml4.dll on your computer, hopefully, your errors relating to msxml4.dll will be gone! You will be given the option to scan your computer for more errros. We encourage you to do so. The trial version of the Fixer will fix up to 15 additional errors it encounters. You can later upgrade to the full version for only $29.95 to get unlimited error fixing and DLL-file downloads.
Using the zip file (for advanced users)
Extract msxml4.dll from We recommend that you extract msxml4.dll to the installation directory of the program that is requesting msxml4.dll.
If that doesn't work, you will have to extract msxml4.dll to your system directory. By default, this is:
If you use a 64-bit version of Windows, you should also place msxml4.dll in C:\Windows\SysWOW64\
Reboot your computer.
If the problem still occurs, try the following:
3. Type regsvr32 msxml4.dll and press Enter. Wiki content=
Edit this wiki page
msxml4.dll This page is the wiki page for the file Msxml4.dll.
To have a better community on, we would be happy if you could contribute in giving better instructions on how to solve errors/problems related to Msxml4.dll. By clicking on Edit link, you can change the content of this wiki page by following the given guidelines.
Msxml4.dll - description for the file goes here.
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global_05_local_4_shard_00000656_processed.jsonl/109968
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Concise definitions of legal terms used on the Digital Media Law Project site. (The glossary is currently a work-in-progress. Please use our contact form to suggest additional terms for this glossary.)
Grand jury search for term
A group of people selected to sit on a jury that decides whether to return criminal indictments. Grand juries usually consist of 23 people and convene for a minimum of one month but can last up to a year.
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global_05_local_4_shard_00000656_processed.jsonl/109990
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Title: Ken's Level
Filename: levels/doom/j-l/kenlevel.zip
Size: 62 KB
Date: 02/10/05
Author: Ken
E-mail: [email protected]
Description: this doom miniwad file is to be used with the registered version of doom only it can be used with the shareware program DOOM MASTER.
the level was created totally from scratch and has many surprises.
Base: New from scratch
Build time:
Editor(s) used:
Rating: (1 vote)
Spambot check: 3 + 9 =
Commenting as: Anonymous
Download here
Supported mirrors: Unsupported mirrors: /idgames protocol:
Rather big, violent nukage base map. You're given plenty of ammo and health throughout, so the challenge is low, but there are some nice setups and sequences (e.g. the cyberdemon cage). The lesser ideas, such as the crusher corridor, usually aren't annoying, which is good. All three keys are present, but it seems the red key is redundant (if you can find an unmarked door). Progression is pretty good, apart from a few stupid moments. Detail is typical '94. Some visual glitches. No secrets. Meh. --2/5x
View kenlevel.txt
This page was created in 0.01024 seconds
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global_05_local_4_shard_00000656_processed.jsonl/109992
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Aberlour - A'bunadh 59.8 Batch No.39
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Brand: Aberlour / Type: Single Malt Whisky
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Matured exclusively in sherry butts, Aberlour a'bunadh is bottled at cask strength and without the use of modern chill-filtering methods ensuring a dark, luxurious and rich whisky.
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global_05_local_4_shard_00000656_processed.jsonl/110013
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Pill Id Questions
Questions & Answers (30,106)
Group Members (1,084) RSS
We found 30106 questions associated with the 'Pill Id' topic.
pink oblong tablet imprint 86/67 other side and S
just wondering what it is
Posted 1 Apr 2007 1 answer
white pill with 98 and 53 imprinted - help
What is this white small pill?
Posted 31 Jan 2007 1 answer
Red Pill 411
Red "shiny" coated Pill with 411 in black writing. I have part of the packaging that I can make out "ethorphan" - that might not be the full word though. Maybe it says methorphan. ...
Posted 29 Jun 2005 4 answers
Round Orange pill w/011 on one side and a v or upside down v
I have a pill that I need help identifying. Round Orange-bright orange either a V or upside down v looks like a p in between the v Thank you, kbleg0125
Posted 19 Mar 2007 1 answer
ETHEX 301 round white pill
ethex 301 white w/ red lettering round 86
Posted 28 Jan 2006 1 answer
Yellow round pills, 50 marking
50 carved on one side, no marking on the other.
Posted 16 Mar 2007 4 answers
Pill Identification 0 white-oblong and is plain on one side and the other side has an H 2?
Can anyone tell me what this pill is?
Posted 24 Mar 2007 1 answer
white pill, 10 300 TP
I need to know what my girl is taking... like the subject says, it's a white oblong pill with TP imprinted on one side, and 10 300 on the other. Can anyone help me?
Posted 9 Feb 2007 1 answer
white oblong E 797
I have found a white oblong pill with E 797 on one side and a 10 on the other. It's a fairly large pill. Any help in identification would be greatly appreciated.
Posted 17 Feb 2007 3 answers
Found white round pill with 832 on top and BC20 on bottom can any one till me what it is?
Posted 12 Apr 2007 1 answer
Stumped again! race track shape, pink tablet
Drug experts, help with this one: One side in caps says MOVA; the other says 500 then MS0 0r M50, is race track shape with three sides speckled pink color. Thank you, LOUISXIV
Posted 4 Apr 2007 1 answer
Round pink pill with 7115 and 93
Can anyone identify a round pink pill with 7115 on one side and 93 separated by a line ( 9 | 3 ) on the other side ?
Posted 6 Dec 2006 1 answer
small blie round pill
It has an X likle ofn the back& an the numbers5835 on the other side. A small round piol could you help me with this one? Thanks, Kem
Posted 3 Apr 2007 1 answer
Round green pill ALVA scored on one side
What is this pill?
Posted 28 Nov 2006 1 answer
need to identify pill
I found a small round peach colored pill. Blank on one side and an imprint of a bat (as in batman type of bat) on the other side. Please help identify.
Posted 22 Mar 2007 1 answer
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global_05_local_4_shard_00000656_processed.jsonl/110017
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Thread: Random Thoughts
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Old 08-05-2013, 11:18 AM
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Magenta Magenta is offline
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Join Date: Apr 2013
Location: Gwlad Cymru
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Default Re: Random Thoughts
Originally Posted by keep it simple View Post
No, they're both within 3 - 4 hours drive, so not totally detached. We'll still see them every so often, but it's the feel of the home that changes so utterly, & not in a good way IMO.
Vacancy for another terrier? I doubt I can wheedle another feline out of Mr Madge, but softly softly catchee cattee.
Thinly veiled stiletto
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global_05_local_4_shard_00000656_processed.jsonl/110041
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Case Number 19432: Small Claims Court
Funimation // 2010 // 90 Minutes // Not Rated
Reviewed by Judge Daniel Carlton (Retired) // August 6th, 2010
The Charge
Opening Statement
Mutant Girls Squad is one of the craziest, bloodiest films I've ever seen. This is non-stop, over-the-top lunacy and I enjoyed every minute of it.
Facts of the Case
On her sixteenth birthday, Rin's right hand mutates into an alien claw with the extreme power to slice and dice. Her parents inform her that she is part of the ancient Hilko clan, a breed of mutants of whom her own father was a member. Rin is soon discovered by Rei, another mutant who is part of a larger band of mutants led by Kisaragi, the gender-bending Hilko. Together, the Mutant Girls Squad must fight to survive against the anti-mutant government agency, but Kisaragi himself may pose a bigger problem to the girls.
The Evidence
Every so often a movie comes along that is so outlandish, it sticks in your head for ages. Mutant Girls Squad is one such film and within the first five minutes, we are treated to a head being sliced in half down the center, soldiers wearing helmets with machine guns on their noses, and flying brains. The scene ends with a glorious fountain of blood before cutting to the next scene. Mutant Girls Squad is an unashamed comedy and moviegoers who find films such as Hostel or Saw too graphic to stomach needn't worry. This film is a ride in total absurdity and although we have violent fight scenes with body parts frequently flying through the air, the film is impossible to take seriously and isn't meant to be.
Mutant Girls Squad can be accurately compared to films such as Kung Fu Hustle or Peter Jackson's classic Dead Alive. Like Hustle, most of the action is digitally animated with the absurdity resembling that of a Warner Brothers cartoon. Nothing is realistic in the least. Similarly to Dead Alive, we have an overabundance of gore, but it is the kind of gore which is meant to amuse, not disgust. We get blood splattering on the camera, we get a head quickly cut into thirds while the person keeps talking, and we even get a person being cut up until they look like a giant piece of deli meat. If either of the films mentioned above was to your liking, Mutant Girls Squad will undoubtedly satisfy your highly astute cinema craving.
As for the mutants, the powers (if you can call them that) are extremely goofy whereas the powers of the X-Men are surprisingly more down to earth. Yoshie, the Hilko who dresses like a nurse, can mutate her arms into large tentacles in an instant, picking up hostiles and throwing them about. Rei, Rin's trainer, can mutate her appendages into sharp, rigid scales that can be used to strike a foe with intense power. Those are the most normal of the bunch and other mutant powers by the girls include sword-spouting breasts and even a chainsaw protruding from one girl's...caboose. Is it dumb? Sure, but it made for some hilarious fight scenes that are one of a kind.
Mutant Girls Squad was directed in three parts by three of Japan's premier directors: Yoshihiro Nishimura (Vampire Girl vs. Frankenstein Girl, Tokyo Gore Police), Noboru Iguchi (The Machine Girl), and Tak Sakaguchi (Samurai Zombie). I'm embarrassed to say that I have not seen any of their other works, but rest assured, they have been added into my Netflix queue. Although the film is presented in three chapters by three directors, the chapters blend extremely well together and it wasn't until writing this review that I realized this was a joint project. Knowing this info, a second viewing may make the style differences more noticeable. It is evident however that the filmmaker's had a blast creating this spectacle and while the budget may have been fairly small, the level of creativity was extensive.
My DVD was a VCD screener copy, so there were no extras to comment on. Nor can I accurately comment on the picture and sound since this isn't a final version of the disc.
Closing Statement
I have little doubt that Dead Alive still holds the record for bloodiest film, but Mutant Girls Squad is certainly in the running. It undoubtedly holds the title for the most unique film of the decade and if you are looking for a truly different action movie, this won't let you down.
The Verdict
Unequivocally not guilty.
Scales of Justice
Judgment: 90
Perp Profile
Studio: Funimation
Video Formats:
* 1.85:1 Anamorphic
Audio Formats:
* Dolby Digital 2.0 Stereo (Japanese)
* English
Running Time: 90 Minutes
Release Year: 2010
MPAA Rating: Not Rated
Distinguishing Marks
* None
* IMDb
* Video: Theatrical Trailer
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global_05_local_4_shard_00000656_processed.jsonl/110042
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Case Number 25184: Small Claims Court
Acorn Media // 1988 // 344 Minutes // Not Rated
Reviewed by Judge Michael Rubino (Retired) // January 25th, 2013
The Charge
All stories are humanity's story.
The Case
There's a general formula for a good adventure story: a plot structure that pits our hero against great challenges, plunges him into darkness, and holds a mirror up to his own personal failings before he overcomes all of that and saves the day/rescues the princess/wins the championship -- you get where I'm going. There are the same archetypes, plot twists, and tropes found in just about every hero's tale, from Rambo and Luke Skywalker to Jesus and Buddha. There's a reason for this, and only a scholar like Joseph Campbell can explain it.
In the late '80s, Campbell, a longtime writer and scholar in the fields of mythology and religion, sat down with PBS journalist Bill Moyers for a mini-series about myths. The Power of Myth encapsulates much of Campbell's teachings into six fascinating episodes. The gist of it: myths are universal. The hero's tale, the symbolism of animals, the creation of gods and deities are in every civilization...and in a way, they're all correct and appropriate for the society that creates them. It can get pretty heady, but Campbell's teacherly style and Moyer's journalistic skepticism keeps things accessible.
The most engaging aspect, from a cinema fan's perspective, comes in the first episode with Campbell's presentation of The Hero with a Thousand Faces (a book he originally published in 1949). It's the singular myth, Campbell argues, that recurs in almost every heroic tale -- most famously in George Lucas' Star Wars. The more you hear him talk about the story structure, the more it fits in to just about every decent action/adventure film you've seen. The whole philosophy is carried over to the set's third disc, which features a lengthy interview with George Lucas about Campbell's hero myth.
As the series progresses, Campbell and Moyers dive in to different cultures and religions. They examine various myths in-depth and soon the dots between various times and places begin to connect. For anyone interested in classic story structure, this is a must see.
The Power of Myth: 25th Anniversary Edition comes with two discs of episodes and a third packed with supplements. Filmed on video, the series isn't much to look at in full frame. The audio is generally pretty good -- as it should be, since the bulk of the episodes involve two guys sitting down in a studio.
The third disc's supplements include a hefty 105 minutes of extra Campbell interviews from Bill Moyer's Journal as well as that half-hour interview with Lucas. There's also a nice viewer's guide booklet that let's readers dive deeper into the subject matter. Overall, a very educational, well-rounded set.
The Power of Myth may, on the surface, look like a dry PBS talk show, but the charisma and passion found in Joseph Campbell grabs you right away. His ideas, his explanations of the hero myth, and his keen storytelling abilities turn this into a classic series worth seeing.
The Verdict
Not guilty.
Scales of Justice
Judgment: 87
Perp Profile
Studio: Acorn Media
Video Formats:
* Full Frame
Audio Formats:
* Dolby Digital 2.0 Stereo (English)
* English (SDH)
Running Time: 344 Minutes
Release Year: 1988
MPAA Rating: Not Rated
Distinguishing Marks
* Interviews
* Viewer's Guide
* Photo Gallery
* Biographies
* IMDb
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global_05_local_4_shard_00000656_processed.jsonl/110043
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DVD Verdict
Case Number 26678: Small Claims Court
Buy You Ain't Seen Nothin' Yet at Amazon
You Ain't Seen Nothin' Yet
Kino Lorber // 2012 // 114 Minutes // Not Rated
Reviewed by Appellate Judge James A. Stewart (Retired) // December 12th, 2013
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All Rise...
Appellate Judge James A. Stewart has seen it all.
The Charge
"We already have lots of characters in our story."
The Case
Since we start off with three different pairs of Orpheus and Eurydice, that's an understatement in You Ain't Seen Nothin' Yet (Vous N'avez Encore Rien Vu).
Word of a playwright's death has brought a group of actors—real-life French actors, playing themselves—to one of his many homes for the reading of his will. First, though, there's a video; the writer (Denis Podalydès, Park Benches) wants the actors—who have been in his play, Eurydice—to see the rehearsals of a relaunch done by a young company.
The new production looks interesting enough. The young company is using one of those non-traditional spaces, a warehouse full of trash barrels and graffiti. What starts happening among the assembled actors is what you're supposed to be watching, though. It's small at first, but you see the older actors who've played in Eurydice before speaking their lines again as they watch.
Soon, two pairs of Orpheus and Eurydice (Pierre Arditi and Sabina Azéma, Lambert Wilson and Anne Consigny) are acting out the role, traveling—at least in their imaginations—into a hotel room and a train station. Sometimes, there's even a 24-style split screen as two or three casts perform the same scenes. Add title cards here and there (in French with English subtitles, like the film) for another reminder of the film's, well, filmness. Want more strange? Composer Mark Snow did music for The X-Files.
This is the surreal, artificial, talky, ambiguous foreign film you've heard about—probably in jokes and parodies. Are the actors recalling their own parts—or their own affairs? What is the ultimate meaning of it all? I can't say, because it would give away too much, but there does appear to be a meaning to all the metaphor that Director Alain Resnais (Wild Grass) puts out there. He's working with plays from Tony Award-winner Jean Anouilh.
The actors play their parts with both a theatrical exaggeration and a sense of realism that'll make you wonder what they're thinking. It carries you along, even if you don't know quite what you're seeing until the end (and even then, won't be absolutely sure).
The quality of the 2.35:1 anamorphic widescreen image is solid, both in the movie we're watching and the one the actors are watching. The Dolby 2.0 Stereo track suffices. The only extra is a trailer, which sets up the premise in a monologue from the film.
You Ain't Seen Nothin' Yet isn't likely to change your mind if you're not a fan of foreign films. With some interest in French films, I found it held my interest throughout. I suspect that the more familiar you are with the actors, it gets to be more and more of a treat, so anyone who's been haunting the art houses should at least rent it.
The Verdict
Not guilty.
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Scales of Justice
Judgment: 90
Perp Profile
Studio: Kino Lorber
Video Formats:
• 2.35:1 Anamorphic
Audio Formats:
• Dolby Digital 2.0 Stereo (French)
• English
Running Time: 114 Minutes
Release Year: 2012
MPAA Rating: Not Rated
• Drama
• Foreign
Distinguishing Marks
• Trailer
• IMDb
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global_05_local_4_shard_00000656_processed.jsonl/110044
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DVD Verdict
Case Number 02775
Buy Star Trek: Deep Space Nine, Season One at Amazon
Star Trek: Deep Space Nine, Season One
Paramount // 1993 // 908 Minutes // Not Rated
Reviewed by Judge Nicholas Sylvain (Retired) // April 8th, 2003
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All Rise...
Editor's Note
Our reviews of Star Trek: Deep Space Nine, Season Two (published May 23rd, 2003), Star Trek: Deep Space Nine, Season Three (published September 6th, 2003), Star Trek: Deep Space Nine, Season Four (published November 3rd, 2003), Star Trek: Deep Space Nine, Season Five (published November 11th, 2003), Star Trek: Deep Space Nine, Season Six (published December 8th, 2003), and Star Trek: Deep Space Nine, Season Seven (published January 13th, 2004) are also available.
The Charge
Life in the Star Trek future isn't always so warm and cuddly…
Opening Statement
Born in the shadow of Star Trek: The Next Generation and with a controversial relationship to the similar sci-fi television show Babylon 5, Star Trek: Deep Space Nine took risks with the shift in locale and tone of the much venerated Star Trek franchise. While Season 1 suffers from some expected growing pains, along the way you can begin to appreciate the unique potential for Star Trek: Deep Space Nine to explore new facets of the familiar Trek universe, though the payoff is yet to come. As a DVD box set, compared to its older sibling, Star Trek: Deep Space Nine is both an improvement and an annoyance.
Facts of the Case
Presented across six discs in airdate order, the episodes of Season One are listed below with brief comments and a quick letter grade. If you desire more extensive summaries (beware of spoilers!), as well as trailers and clips from each episode, look in the Library at the official Star Trek site (linked at right).
The Emissary (Parts I and II)
Scarred by his tragic past fighting the Borg at Wolf 359, Commander Benjamin Sisko grudgingly accepts an unwelcome posting: command of Deep Space 9, a station abandoned by Cardassia as it abandoned its harsh occupation and exploitation of Bajor. Sisko has his hands full fixing the station and struggling to hold his mixed Starfleet/Bajoran crew together. Suddenly, a mystery involving ancient Bajoran artifacts puts Sisko in touch with an even deeper puzzle and a priceless opportunity for Bajor. Grade: B+
Past Prologue
When Tahna (Jeffrey Nordling), a former Bajoran underground fighter (and terrorist?), unexpectedly shows up on Deep Space 9 and claims asylum, the Cardassians want to execute him and Major Kira wants to protect him. Yet when the Klingon sisters Lursa (Barbara March) and B'Etor (Gwynyth Walsh) come sniffing for Tahna, Commander Sisko is sure that there is a dangerous game afoot, where neither Tahna nor the local Cardassian tailor, Garak (Andrew Robinson), is what he appears to be. Grade: A
A Man Alone
A typical lukewarm "plot A/plot B" episode. The better plot thread is a standard "dedicated cop framed for murder" story with Security Chief Odo implicated in the murder of Ibudan, a known criminal and killer. Never fear, Odo, Dr. Quincy, err, I mean Dr. Bashir is on the case! Meanwhile, Keiko (Rosalind Chao) (AKA Mrs. Chief O'Brien, AKA The Annoying One) struggles to run a school for local children in the face of indifference or outright hostility from the parents. Yawn. Verdict? Less Keiko, more Odo. Grade: B
A plague rapidly sweeps throughout Deep Space Nine, leaving its victims spouting articulate gibberish as it pulls them to a fatal conclusion. In the race to find the cure, the secret lies in a dark tale of the Bajoran underground. Only Major Kira can persuade a reluctant scientist to reveal the truth while it is left to the oddball team of Odo and Quark to keep the station intact. A couple of intriguing twists on an otherwise familiar disaster tale. Grade: B+
Captive Pursuit
Deep Space Nine becomes the center of an intergalactic fox hunt when a reptilian named Tosk (Scott MacDonald) shows up, followed soon thereafter by his hunters. Chief O'Brien befriends the strangely endearing fellow, and does not take kindly to Sisko's intention to turn Tosk over to the Hunter (Gerritt Graham). Grade: A
After Vash (Jennifer Hetrick), once Captain Jean-Luc Picard's frustrating paramour, is rescued by Lt. Dax during a mission to the Delta quadrant, her "partner," the impish, omnipotent Q (John de Lancie), soon follows. Deep Space Nine is rapidly stricken by an unexplained power drain that threatens to destroy the station. Is there a connection between the two events? We report, you decide. Grade: B+
The entire station is shocked when Tandro requests the extradition of Lt. Jadzia Dax to the planet Klaestron IV on charges of murder and treason. The matter is far from simple, since the accusation involves possible crimes of Curzon Dax, the being formed by the previous host being Curzon and the Dax symbiont, not the young science officer of Deep Space Nine, the present combination of host being Jadzia and the Dax symbiont. While Odo sleuths the facts on Klaestron IV, Sisko valiantly advocates for his old friend in an extradition hearing before Bajoran arbiter Renora (Anne Haney), though Dax's refusal to assist him is a wee bit of a handicap. Grade: B+
The Passenger
After a timely rescue, Kobliad security officer Ty Kajada (Caitlin Brown) warns Sisko of her deceased prisoner, murderer Rao Vantika (James Harper). Since he's dead, he shouldn't be much of a threat, right? Well, this is Star Trek, so after a spot of hand waving, Vantika is up and around, trying to steal a valuable shipment of plot device. Our good crew of Deep Space Nine has merely to discover the secret of the anti-handwave to get their possessed colleague to stop overacting. Grade: B
Move Along Home
Fresh from the other side of the Gamma Quadrant, the Wadi is a race enamored with large facial tattoos and games of all sorts. Quark's cheating is not so well received, so Wadi revenge forces the Ferengi to play a game of their choosing. Glee becomes horror when the game pieces turn out to be Sisko, Dax, Bashir and Kira and the game may be more real than anyone likes. Grade: A-
The Nagus
Watch the leader of all Ferengi, Grand Master Zek (Wallace Shawn), arrive on Deep Space Nine! See him unexpectedly name Quark as his successor! Thrill when Zek takes his eternal celestial dirt nap! Chortle as Rom and Zek's son, Krax (Lou Wagner) plot homicidal treachery! Feel the crescendo of Quark's panic! Grade: B
Odo faces a strong conflict between duty and personal desires when a mysterious prisoner, Croden (Cliff De Young) offers him tantalizing clues about the shapeshifters. Add some artificial threat, garnish with a touch of mawkish sentiment, and serve piping hot! Grade: B+
Battle Lines
An alien force locks two sides together in perpetual battle, yet also ensures that death is no worse than a temporary time-out. Not only is this general story a limply reheated story we've seen before on Star Trek and a waste of Jonathan Banks' talents, but dragging the Bajoran spiritual leader, Kai Opaka (Camille Saviola) into the middle of this overly convenient peril strikes a false note. What was the problem? Pregnancy? Contract negotiations? Offending the great gods of Trekdom? Grade: D-
The Storyteller
Chief O'Brien is press-ganged into service as the Storyteller of a Bajoran village, who is the only person capable of defeating a dangerous phenomenon, much to Dr. Bashir's amusement and O'Brien's chagrin. Less amusing is the disgruntled Storyteller apprentice, Hovath (Lawrence Monoson), who dreams of becoming Storyteller via a sharp knife. Meanwhile, up on Deep Space Nine, a tense negotiation between Bajoran factions is solved not by a Federation officer with years of diplomatic experience, but a shy young boy (Jake Sisko) and his goofy Ferengi walking hormone pal (Nog). Yeccch! Grade: B
A quite touching story about a stubborn farmer, Mullibok (Brian Keith), who refuses to make way for Bajoran progress, and Kira, who must see to his removal. Her head tells her to obey orders, but her heart bleeds for his unwavering dedication to his cause, not unlike her own desperate war against the Cardassian occupation. For the second episode in a row, the secondary plot is another fingernails-across-the-blackboard Jake/Nog contraption. Please, God, make it stop! Grade: A-
If Wishes Were Horses
From holosuite programs, fairy tales, and sheer imagination, fantasy people suddenly appear in tangible form, even as a mysterious phenomena (aren't they all?) threatens Deep Space Nine (big surprise). A few moments of amusing novelty are lost in a story badly in need of an editor. Note to writers: if you don't write a two-plot episode, make sure the sole plot is actually good. Grade: C-
The Forsaken
While a sentient A.I. program bollixes up Deep Space Nine's main computer, it puts a haughty delegation of Federation ambassadors in harm's way. Chief O'Brien has the easy task of solving the problem, but Odo must brave a fate worse than death: the amorous intentions of Lwaxana Troi (Majel Barrett)! Grade: B-
Dramatis Personae
The main cast gets an excuse to jump outside their normal characters and chew scenery when the main station crewmembers are sprinkled with alien pixie dust. Okay, okay, it's really an unexplained energy matrix transmitted by a dead Klingon. Clears that point up, doesn't it? Grade: D
No joking here, just deadly serious and heart-stopping drama. Kira becomes obsessed with a question of vengeance for the evil done to the Bajoran people at the hands of the Cardassian occupation. Namely, is the Cardassian standing before her (Harris Yulin) Marritza, a guilt-ridden file clerk from the Gallitepp labor camp (think Auschwitz, Bergen-Belsen, and Dachau), or the deliriously proud commander, the "Butcher of Gallitepp" himself, Gul Darhe'el? Grade: A+
In The Hands of the Prophets
Vedek Winn (Louise Fletcher) provokes a fight over the lack of respect shown for Bajoran religious belief in the teachings of Keiko O'Brien at the station's school as a means to gain political advantage over her chief rival, Vedek Bareil (Philip Anglim), in the struggle to succeed Kai Opaka as leader of Bajor. Grade: A-
Overall Grade for Season One: B
The Evidence
When Star Trek: Deep Space Nine premiered in 1993, for the first time in the history of the Trek franchise two Star Trek television series were in production at the same time. Just as when in later years when Star Trek: Voyager was put on the air while Star Trek: Deep Space Nine, this is not as strange as it might seem at first blush. Star Trek: The Next Generation was a "traditional" starship-based showcase for creator Gene Rodenberry's vision: a heavily utopian-flavored Federation grown beyond money that in theory worships at the altar of the Prime Directive.
On the other hand, Star Trek: Deep Space Nine reflected a significant paradigm shift away from such a "traditional" Trek series, although this was not as clearly apparent at the dawn of the series as later seasons revealed. In choosing to anchor the series not just on a Bajoran space station, but one in the middle of the Bajoran recovery from brutal Cardassian rule and at the dangerous frontier, as never quite before in the Star Trek universe we discover that all is not sweetness and light in the day to day life of the universe. Sometimes life is downright grim! What's more, you realize that commerce is a key fact of life for the universe and gain a greater understanding of the practical aspects of life outside of the rarefied air of an elite Federation starship (like the Enterprise!) Adding to the distinctiveness of this series, the heavy Bajoran flavor of Star Trek: Deep Space Nine comes with a healthy dose of genuine respect for their deeply held religious belief and a casual view of Federation pieties and bureaucratic procedures.
Though I was only dimly aware of the controversy at the time, crossfire between partisans of Star Trek: Deep Space Nine and Babylon 5 has raged hot and heavy ever since these similar shows first competed in the television marketplace. J. Michael Straczynski had "pitched" the full Babylon 5 concept in 1989 to many places, including Paramount, and soon began production of that series pilot, and a mere two months later the Star Trek: Deep Space Nine concept was in turn presented to Paramount brass. Though Babylon 5 had the early start, Paramount brought the Star Trek: Deep Space Nine pilot to air January 3, 1993, just weeks before the bow of Babylon 5 on February 22, 1993.
Ever since, the debate has raged as to whether one show "poached" off of the other. Aside from the most fanatical Trek partisans, no one seems to accuse Babylon 5 of that crime, but some credibly make the point in the other direction. However, to be absolutely clear, at no point has J. Michael Straczynski claimed that the Star Trek: Deep Space Nine creators (Rick Berman and Michael Piller) knew of the detailed Babylon 5 "pitch." Quite to the contrary, he describes both men in highly positive, ethical terms, though he fails to describe Paramount executives in such a manner. Of course, anyone in Hollywood is familiar with concurrent development patterns, though in such a gossip-riddled town, one can easily imagine how word of a hot project can soon spawn imitative fruit (and hence create the appearance of purely coincidental concurrent development). Though a truthful accounting is unlikely, Straczynski has his own measured but firmly stated view:
There's little question in my mind that the suits at Paramount wanted to co-opt what we were doing with B5. I know that they *resented* the show because it was, at that time, their belief that they pretty much owned the space SF genre.
I feel that they guided the development process in order to co-opt what we were doing. And nothing I've heard from my sources inside the studio has given me cause to think otherwise.
J. Michael Straczynski (posted on Usenet 2/19/01)
(If you wish to browse through a searchable archive of Straczynski's public statements in various Internet forums, look at the link at right.)
Along with introducing a new series, Star Trek: Deep Space Nine introduced a new Federation leader and cast of characters. Though not yet a captain by rank in Season One, Benjamin Sisko is given a life and breadth by Avery Brooks (Spenser For Hire, American History X) that compares quite favorably to his predecessors (and successors), including James T. Kirk, Jean Luc-Picard, Kathryn Janeway, and presently Jeffrey Archer. Unique among those compatriots, Benjamin Sisko carries particular emotional burdens (at times affecting his judgment) and must deal with the joys and pains of raising his son Jake on his own, and unwillingly finds himself a significant religious figure in the Bajoran tradition as the Emissary of the Prophets. Though this short-haired Sisko has not yet developed the charisma and confidence that the bald Sisko of future seasons possessed, here in Season One you can see the beginning of Avery Brooks' development along with his refreshingly blunt and honestly emotional nature.
The other members of the typically ensemble cast are generally solid. Terry Farrell (Back to School) is a bit too bland, though to her credit she gives Dax a credible intelligence beyond the thin "Trek babe" writing she often gets in Season One. Nana Visitor (Dark Angel) takes full advantage of the excellent writing for Kira in Season One, with a strong, energetic performance that shines at moments of touching drama (as seen in "Duet" and "Progress") without sacrificing her feminine charms. Colm Meany (The Commitments, Mystery, Alaska) carries on with his endearing blue-collar engineer and family man from Star Trek: The Next Generation and Alexander Siddig (Reign of Fire) seems to have a lot of fun (to our benefit!) as the overly enthusiastic genius and James Bond wannabe Dr. Bashir. Rounding out the main cast, Cirroc Lofton is a tolerable Jake Sisko (improving as the seasons progress) and two fine actors, Armin Shimerman (Buffy the Vampire Slayer) as Quark and Rene Auberjonois (M*A*S*H, Benson, The Patriot) as Odo, rise above their sketchy writing and latex prosthetics.
Compared with the box set of Star Trek: The Next Generation Season Three that I previously reviewed, Star Trek: Deep Space Nine Season One marks an improvement. As before, the colors are richly saturated and the picture is remarkable for its pristine clarity. Though edge enhancement is still a problem primarily with external shots of Deep Space Nine and starships of all sorts, Paramount seems to have the problem under better control.
The advertising copy for Star Trek: Deep Space Nine uses the Dolby Digital 5.1 remix as a selling point. That Paramount went to the effort is an undeniable fact, but Star Trek: Deep Space Nine does little to prove this fact to your ears. The front soundstage has proper depth and clarity, but while the subwoofer chimes in occasionally I never noticed the surround speakers announcing their presence. I am sure that they contribute their share of ambient fill, but no more.
On the last disc of the set is the collection of featurettes that constitute practically all of the bonus content. Deep Space Nine: A Bold Beginning (18 minutes) is a sunny-side up PR featurette about the creation and rush to initial production for the series. Crew Dossier: Kira Nerys (14 minutes) is a look at Deep Space Nine's second in command, primarily through clips of episodes and snips of interviews with Nana Visitor (in 1992 and 1999) and executive producer Ira Steven Behr. For good or for ill, this featurette spoils some of the developments of the series, so be warned. Also, what's with Behr's bordering-on-the-rude mirrored glasses look during his interview? Too much partying the night before?
Michael Westmore's Aliens: Season One (10 minutes) is a brief but fascinating look at the development and details of the make-up effects for the Bajorans, Cardassians, and the various background and "guest star" alien races for this season, heavily featuring an interview with Michael Westmore (from 2002). I can never get enough of this sort of content, and wished this were longer (and the more fluffy featurettes trimmed). Secrets of Quark's Bar (5 minutes) is a look at the mundane origins of various props used to dress Quark's establishment via a presentation by Star Trek archivist Penny Juday.
Alien Artifacts: Season One (3 minutes) is an even briefer tour by property master Joe Longo of various props used in the series (phasers, alien weapons, Bajoran orbs, tricorders, and more). This is so brief as to be forgettable, with none of the design details or depth to make a notable contribution. Deep Space Nine Sketchbook (5 minutes), with senior illustrator Rick Sternbach, discusses some design considerations for the art department and shows the sketch work and the resulting product for a handful of props, weapons, and gizmos. The photo gallery is a collection of 40 production, art department, and sketch still photos.
These items are spread out over two menu screens, each of which has a set of five Easter eggs. These ten Easter eggs are short (1.5 to 3 minute) clips of the main actors talking about their characters, a couple of the actors talking about their casting process, and one with Jennifer Hetrick discussing her guest appearance as Vash. Pity there's not an Easter egg menu with a "play all" feature!
The Rebuttal Witnesses
Just when you might think that studios have figured out the problem of finding packaging that is aesthetically pleasing and durable, along comes Paramount with Star Trek: Deep Space Nine Season One. In a word, the packaging is hideous. The flexible plastic sleeve (similar to the one used by Toy Story: The Ultimate Toybox) is fine. The inner box is where the problem lies.
Other box sets use a fold out paper accordion for the discs (Band of Brothers), while others use a dual paper accordion style (X-Files), and still others use a book-like collection of hard plastic "pages" (Babylon 5). Star Trek: Deep Space Nine uses the latter system, but with an annoying twist. Covering over the inner stack of plastic "pages" on the right and left are stiff plastic foldouts. The aggravating problem here is that when you move the foldouts in order to access the central disc storage, the foldouts don't stayout of the way. This makes handling the discs less than ideal. At the same time, the plastic used feels flimsy and makes me wonder about its long-term durability.
One more aggravation related to the packaging and the bonus content for Star Trek: Deep Space Nine Season One is the lack of an episode guide booklet. Sometimes you will plow through a season box set in order, and sometimes you want to watch specific episodes (or want to figure out which one to watch, based on a synopsis, a guest star, or whatever). In that case, having a booklet is a nice convenience and far handier than any on-disc supplement.
Closing Statement
For the average Trek fan, whether you think Star Trek: Deep Space Nine Season One is worthy of your money ($130 list) and time is likely to depend on whether you prefer the typical Federation/starship paradigm, or are looking for a fresh angle on different aspects of the Trek universe. My personal tastes favor Star Trek: Deep Space Nine (and Babylon 5!), but your mileage may vary. If you are new to Trek, or sci-fi in general, by all means try and find a store that allows you to rent, as the time investment (nearly 16 hours!) is quite daunting, but helpful to understand the series as it progresses.
The Verdict
No first season is perfect, but Star Trek: Deep Space Nine Season One is a good start for a SF series, and may depart this court in peace. Paramount, on the other hand, is sentenced to sit in the corner and wear a dunce cap until they remedy the aggravating packaging (which I fear is a permanent feature).
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Scales of Justice
Video: 92
Audio: 83
Extras: 70
Acting: 90
Story: 80
Judgment: 86
Perp Profile
Studio: Paramount
Video Formats:
• Full Frame
Audio Formats:
• Dolby Digital 5.1 Surround (English)
• Dolby Digital 2.0 Surround (English)
• English
Running Time: 908 Minutes
Release Year: 1993
MPAA Rating: Not Rated
• Science Fiction
• Star Trek
• Television
Distinguishing Marks
• DS9: A Bold Beginning
• Crew Dossier: Kira Nerys
• Aliens: Season One
• Secrets of Quark's Bar
• DS9 Sketchbook
• Alien Artifacts: Season One
• Production Photos
• IMDb
• Official Site
• Sci-Fi Series Comparison
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Will Hulu ditch Flash for the iPad?
One of the first complaints when the Apple iPad was announced was the lack of Flash support. Unfortunately for the iPad, Hulu, the second-biggest video website on the web, uses a Flash player to deliver its content. The iPad could be the perfect viewing platform for Hulu, except for the pesky lack of Flash support.
Rumors floating from industry folks state that Hulu is developing a work-around for this problem. Currently, the website is based on a custom Flash player. But, its main content is in a format, H.264, that is already supported by the iPad. It's only the ads inserted between tv show segments that are Flash-essential. Inserting and changing those ads in Flash has been relatively easy, and it will be harder to update them in a new format, but who knows? Maybe they'll decide the ads are too costly to convert and Hulu will go commercial-free.
Yeah, in your dreams.
TechCrunch via Electronista
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New Revised CSS Library Forums Web Tools
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FF1+ IE6+ Opera 9+
Stay on Top content script
Author: Dynamic Drive
Description: "Emphasize" and make particular content on your page stand out by keeping them always visible on the visitor's browser screen, using this script. The script uses CSS's "fixed" positioning to accomplish this in modern browsers, while for older browsers that don't support "fixed" (such as IE6), switches to "absolute" positioning to simulate the effect. But the script doesn't just keep an element fixated on the screen, it lets you manage their display frequency to make the whole affair sensible and user friendly. Here's what you can do with the script:
1. Keep an element always visible on the page relative to one of the four corners of the user's browser window.
2. The element can either be one that's physically defined on the page, or inside an external file and dynamically added to the page using Ajax.
3. The floating element can be set to disappear after x seconds.
4. Control how often (frequency) the floating element is shown at all each time the page loads. The current options are: randomly based on x percentage (1-100%), once per browser session, or once every x days.
5. Control the fade effect that's added when the element is shown and hidden, respectively.
Directions: Developer's View
Select All
Notice the code at the very top- a doctype declaration. Your page must contain one of the valid doctypes in order for this script to work properly. The code above references an external .js file and sample HTML file, which you can download below (right click/ select "Save As"):
Select All
And there you have it. Read on for more detailed instructions.
Setup Information
A floating element can be defined in two ways, either inline on the page and given a unique ID attribute, ie:
<div id="examplediv" style="width:140px; border:1px solid gray; padding: 10px; background: lightyellow">
This DIV is static and shown 95% of the time the page loads. It's positioned relative to the lower left corner of the window. It disappears after 15 seconds.
Or inside an external htm file on the server (including the DIV container itself), such as: bc.htm
With the floating element defined, call alwaysOnTop.init() to make them static and appearing always on top. The below lists the available options that can be passed into alwaysOnTop.init().
Available Options for alwaysOnTop.init()
Attribute Description
The ID of the element (ie: DIV) on the page you wish to keep stationary on the page. This setting must be defined.
If the element is defined inside an external HTML file (to be fetched via Ajax), targetid should be set to the ID of that element then.
Defaults to 2
Sets the starting position of the element relative to one of the 4 corners of the browser window. Possible Integer values are 1 (upper left), 2 (upper right), 3 (lower left), or 4 (lower right).
Defaults to [10, 30]
Sets the position of the element offset from its orientation. The syntax is [x, y], or the horizontal and vertical coordinates of the element.
Defaults to 0
Sets the duration the element stays visible before it automatically disappears (in milliseconds), such as 5000 for 5 seconds. A value of 0 disables the timer.
Defaults to 1
Sets how often the floating element should appear each time the page loads. There are two possible values:
• Decimal between 0 and 1: Such a value causes the element to appear randomly based on a percentage frequency, where 1=100%, 0.5=50%, 0.33=33%, and so on.
• The keyword "session": This causes the element to be shown once per browser session.
• The string "x days", where x is an integer that limits the display of the floating element to once every x days. For example: "2 days".
Defaults to ''
If set, causes the script to load the contents contained inside the specified external file and use that as the floating element. "externalsource" should be a valid path to the file relative to the page showing the element on your server (ie: "external.htm", "subdir/external.htm" etc).
The contents of the external file should be that of the floating element in its entirety, including the outermost container DIV. Make sure this DIV is given a unique ID attribute, with "targetid" above set to point to that ID.
Defaults [500, 500]
Sets the fade in and out duration of the floating element, in milliseconds. A value of 0 for either two completely disables the fade effect.
As you can see, only the very first setting (targetid) is required, with the others falling back to their default values if not defined.
If the floating element is defined inside an external file (ie: bc.htm), the "externalsource" setting must be defined. Inside the file, you should ensure the element carries an unique ID attribute, with the "targetid" setting set to point to that ID. Here's a sample alwaysOnTop.init() call for a floating element instance where the element is defined inside bc.htm:
targetid: 'ajaxdiv',
orientation: 2,
position: [20, 100],
hideafter: 10000,
externalsource: 'bc.htm'
Due to limitations with Ajax, the external file must reside on the same server as the page displaying it.
Closing a floating element manually
You can define links on your page that close a particular floating element. The code to call is:
Where "elementid" is the ID of the floating element. For example:
<a href="javascript:alwaysOnTop.hidediv('ajaxt')">Hide Content</a>
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STRENGTH And Weakness
--By Foy E. Wallace, Jr.
The eleventh chapter of Hebrews is the honor roll of Old Testament heroes. From Abel, the first man of faith, to Joshua, whose loyalty to God stood the test of weary wilderness wanderings, Paul chronicles the achievements of faith, and, appending a cluster of names made immortal by valorous deeds, declares that "the time would fail me" to tell it all.
Weakness Turned Into Strength
In the drama of ancient wonders which the faith of these valiants had wroght was the secret phenomena that they "out of weakness were made strong." Kingdoms were subdued, the mouths of lions were stopped, the power of fire was quenched, weak armies "waxed valiant in fight" and "turned to flight" powerful armies, and ad infinitum the story of conquering faith could be told.
What is the lesson? It is strength in weakness. If God used a weak, feeble nation of slaves, and, turning their weakness into strength, conquered the most powerful nations of antiquity, may he not today turn weakness into strength?
Taking the country as a whole, the churches of Christ are, in comparison with denominationalism, numerically weak. It has ever been so with God's cause, but it has ever been true that God turns weakness into strength.
Elements of Strength in Weakness
First, the undenominational plea of churches of Christ has been felt, and is being felt, all over the world. The church of Christ is undenominational, nondenominational and antidenominational; it is not a denomination nor or denominations, and is aggressively against denominationalism. The aim of Christians is not party conquest and victory, but truth and salvation. A complete return to the original, to restor the doctrine, worship, and work of the New Testament church, is our aim, and this has been our strength everywhere the plea is known.
Another element of our strength lies in the fact that to us all error has looked alike. Consistently opposed to denominational error, the religious world has looked to the churches of Christ to produce men to stand against infidelity and champion the cause of the Bible in the field of polemics. It took the Campbells and the McGarveys to consistently and successfully oppose infidelity in the past century. Denominational affiliants could not do it. This has become a recognized fact, and may be cited as an example of weakness turned into strength.
A Converse Truth
If weakness may be turned into strength, the converse is true. Strength may be, and often has been, turned into weakness--and among ourselves.
First, if that distinctive, undenominational gospel plea has strength, the tendency of the churches to lose sight of it and become a church among churches, denominationally, will turn strength into weakness. To flirt or affiliate with denominationalism is but to compromise the plea and weaken its power.
As the reforms of Ezra and Nehemiah required complete severance from foreign affiliations, marriages, and in speech to abandon the language of Ashdod, so today nothing short of the complete separation of the church from denominationalism can fulfill the demands of the gospel.
Second, the lact of consecration, as well as doctrinal compromise, will turn strength into weakness. It has been charged that we are a people "all doctrine and no heart," and have we not almost justified the charge in the apparent lack of consecration? But it is not too much doctrine; it is too little spirituality in worship, sacrifice in service, connsecration in life, piety in heart, and devotion to the church. Loyalty and devotion to the church--not so much to men, is the great need. When we hear it said that a certain man is devoted to his family, we know what that means. If he is devoted to his business, he does not neglect it. And a Christian's devotion to the church means that it is an all-absorbing interest in his life. He will not be "moved away from the hope of the gospel," not in any way sidetracked. He is loyal to Christ and the church, not to men and their little movements.
Third, the lack of unity is always a blight to the cause of Christ. The spectacle of division, schism, contention, bitterness and strife, turns strength into weakness. Such things in an army are called "mutiny." Internal factions, division, and discord among brethren is nothing short of treason and mutiny in the Lord's army, and our strength is reduced to pitiful weakness before the world.
We need discipline in the church, respect for God's law and order, else anarchy and chaos reign. Let us be one; for in unity there is strength, even in weakness.
-Gospel Advocate
October 9, 1930
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Using Classroom Assessment to Improve Teaching (page 3)
— The Center for Comprehensive School Reform and Improvement
Updated on Apr 30, 2014
Compile and Analyze Assessment Results
Data that result from a regularly administered variety of formative assessments can provide teachers with reams of information about their instruction, what worked, what did not, and what to do next. Neither the formative assessment nor the data need to be elaborate. Teachers can compile student responses to find out which students are missing achievement targets and how. Often patterns or trends will emerge when teachers ask and answer questions, such as “Are all of my students making the same kind of error?”; “Do their mistakes show that they don’t have the background knowledge they need to understand this new content?”; or “Could my students demonstrate understanding if the question format were changed?” Constructing formative assessments so that “in a given set of items, the wrong-answer options reveal specific student misunderstandings” (Popham, 2006, p. 86) can yield precise indicators to guide teacher follow-up instruction.
Differentiate Corrective Instruction
Perhaps the most challenging aspect of using formative assessments is knowing what to do with the results. Results that indicate a student has not learned an important concept or skill call for corrective instruction and additional opportunities for the student to demonstrate learning. “To be optimally effective, correctives must be qualitatively different from the initial teaching,” says Thomas Guskey (2005, p.6). “Little variation in the teaching result[s] in great variation in student learning” (p. 2). If direct instruction was used for the initial lesson, a corrective lesson that makes use of manipulatives or a kinesthetic activity might be appropriate. Students can be grouped so that those who demonstrated understanding are provided with enrichment activities while those who need additional time are provided with follow-up instruction. Alternatively, pairing high- and low-achieving students for a cooperative activity can benefit both learners as well. The aim is to reach all students by using a variety of teaching strategies.
With the spotlight of accountability focused so intensely on summative exams, it is easy to be distracted from the importance of regular, formative classroom assessments. Each has a place in the educational system, but each serves a different purpose. Using effective formative assessment strategies can empower both teachers and learners. For teachers, making an investment in formative assessment similar to the investment that states and districts have made in summative assessment can yield dividends in student achievement.
Black, P., & Wiliam, D. (1998). Inside the black box: Raising standards through classroom assessment. Phi Delta Kappan, 80(2), 139–144, 146–148. Retrieved November 29, 2006, from Burns, M. (2005). Looking at how students reason. Educational Leadership, 63(3), 26–31. Retrieved November 29, 2006, from Guskey, T. R. (2005). Formative classroom assessment and Benjamin S. Bloom: Theory, research, and implications. Paper presented at the annual meeting of the American Educational Research Association, Montréal, Québec, Canada. Retrieved November 29, 2006, from Popham, W. J. (2006). All about accountability / Those [fill-in-the-blank] tests! Educational Leadership, 63(8), 85–86. Stiggins, R. (2004). New assessment beliefs for a new school mission. Phi Delta Kappan, 86(1), 22–27. Retrieved November 29, 2006, from
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Washington Virtual Academies
Tuition-free online school for Washington students.
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Tip-Edge Orthodontics and the Plus Bracket book cover
Tip-Edge Orthodontics and the Plus Bracket
This comprehensive guide on the innovative Tip-Edge appliance introduces the concept of differential tooth movement into what is essentially a straight-wire bracket system. Prepared by a world-renowned expert, the second edition of this highly illustrated atlas explains the Tip-Edge technique from first principles and now includes important advances in the field, in particular the Plus bracket, an innovation which will greatly enhance the use of this rapidly emerging technique. Clearly written with liberal use of case studies, high quality photographs and line artwork, this atlas is ideal for all orthodontists who are interested in expanding their skills to include the Tip-Edge Plus technique.
Practising and trainee orthodontists
Hardbound, 216 Pages
Published: November 2008
Imprint: Mosby
ISBN: 978-0-7234-3481-8
• Introduction. Differential tooth movement. Dynamics of Tip-Edge. Auxiliaries. Treatment stages. Bonding and setting up. Stage 1. Setting up Stage 1. Stage 1 checks. "Power tipping" and the Protraction Arch. Stage 2. Setting up Stage 2. Stage 2 checks. Stage 3: how it works. Stage 3 archwires. Stage 3: setting the torque. Stage 3: threading the deep tunnels. Stage 3: fitting the archwires (and Side-Winders). Stage 3: checks. Precision finishing. The non-compliant patient. In conclusion. Tip-Edge Treatment sequence. Further reading.
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Definition of Rossi counter
Rossi counter: An instrument used to measure the energy deposited by radiation in microscopic sites such as cells. Named for its creator Harald H. Rossi (1917-2000), a radiobiophysicist who contributed much to our ability to measure minute amounts of ionizing radiation and their effects on living things.
Source: MedTerms™ Medical Dictionary
Last Editorial Review: 6/14/2012
Medical Dictionary Definitions A - Z
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Welcome to Auto Reply QXU site.
Auto Reply QXU is an application for Android, which automatically reply to a missed call with an email, a text message, or both, in the email message indicates the location of where you are and tells if you are driving or walking or if you're in a meeting, Auto Reply QXU only respond in case of missed call to people who you want to be sent to the answer by selecting from your contacts.
If a person of your family does not answer calls, with Auto Reply QXU you know where you can find at the time, and if is traveling.
If your boss does not answer the phone, you can know where it is at that moment, if is still traveling, or attending a meeting.
If you're driving your car, you can advise callers with auto-answer and call as soon as you will be stopped.
Simply do not want to answer? Auto Reply QXU does it for you.
You could also use application to find position of your device in case of lost.
On this website you will find the instructions and the user license.
You can download the application from the Google Market or by this QR code:
Enjoy QXU.
Auto Reply Missed Call QXU / Android
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Jonathan Swift Essay - Critical Essays
Jonathan Swift Long Fiction Analysis
It must be noted that Jonathan Swift’s “fictions” are nothing like conventional novels. They seldom detail the “adventures” of a hero or even a protagonist and never conclude with a character’s romantic achievement of goals or fulfillment of desires. Indeed, Swift is the great master of fictionalizing nonfiction. His satires always purport to be something factual, humdrum, diurnal, unimaginative: a treatise, a travel diary, an annotated edition, a laborious oration, a tendentious allegory, a puffed-out “letter to a friend.” Extremist Protestant sects condemned fiction, and “projectors” and would-be investigators in the dawning age of science extolled the prosaic, the plodding, the scholarly, the methodical, and the factual. At the same time, urban population growth and the rise of the middle class created a growing new audience, and printing presses multiplied in accordance with demand. Many “popular” and best-seller art forms flourished: sermons, true confessions, retellings (and second parts) of hot-selling tales and political harangues, news items, hearsay gossip, and science all became jumbled together for public consumption, much of which led to spates of yellow journalism. Throughout his life Swift rebelled against such indelicacies and depravities, and his satiric procedure included the extremist parody of tasteless forms—reductio ad absurdum. It was by such means that Swift secured his fame as an author.
A Tale of a Tub
Doubtless his most dazzling prose performance of this kind was his earliest, A Tale of a Tub, which appeared anonymously in 1704. (Swift, in fact, published most of his satires anonymously, although his work was usually instantly recognized and acclaimed.) A Tale of a Tub is actually a “medley” of pieces imitating the penchant for an author’s combining fiction, essays, letters, verse, fragments, or anything else to enable him to amass a book-length manuscript. It contains “The Battle of the Books,” a wooden allegorical piece in the manner of Aesop’s Fables, detailing the “quarrel of ancients versus moderns,” and a fragmentary treatise titled “The Mechanical Operation of the Spirit,” trussed up in the inept form of a casual letter to a friend.
The treatise mocks the new “scientific” trend of reducing all things to some species of Cartesian (or Newtonian) materialism. Rather comically, it deploys in a blasé manner the language of ancient Greek and Roman atomists—Democritus and Epicurus—as if they were contemporary modernists. Indeed, one pervasive theme throughout this volume is the ridiculousness of the modernist position of “independence”—although the moderns might be ignorant of the past, the ideas and genres of classical antiquity keep recurring in their works, a fact that belies their supposed originality (even while demonstrating that, as a result of solipsism, their form and control disintegrate into chaos).
Clearly, the titular piece, “A Tale of a Tub,” is Swift’s early masterpiece and one of the great (and most difficult) satires in any language. In its pages, an avowed fanatic “modern” aspires to “get off” an edition, to tout and sell himself, to make money, to demonstrate his uniqueness and, however evanescently, tyrannically to be “the latest modern.” He seeks to reedit an old tale of three brothers and their adventures. Naturally, he decorates and updates such a version to give it the latest cut and fashion, the style and wit and jargon of the moment. (It is perhaps an accident that this tale of the dissensions of Peter, Martin, and Jack parallels the vicissitudes of the history of Christianity, as it splinters into differing and quarreling religious sects. The modern appears ignorant of historical sense.)
The new version of the old story, however, is fragmented: Every time the modern’s imagination or his fancy supplies him with a spark, he promptly follows his rather meandering muse and travels into an elaboration, an annotation, or a digression. In fact, the opening fifty pages of the work are cluttered with the paraphernalia of “modern” publishing: dedications, publisher’s comments, introductions, apologies, notes to the second edition, acknowledgments, prefaces, and forewords. Thereafter, when such a cloud of ephemeral formalities would seem to have been dispensed with, the author still manages to interject a plethora of digressions—afterthoughts, asides, cute remarks apropos of nothing, commentary, snipings at critics, obsequious snivelings for the reader, canting pseudophilosophy for the learned, and pity and adoration for himself. In no time at all, the entire tale is awash in detours, perambulations, and divagations.
This modern storyteller is nothing if not effervescent, boorish, and chronically self-indulgent. He claims that his pipe dreams and diversions are in essence planned excursions and in fact deliberately philosophical meditations, rich with allegorical meanings. The opposite is also true, and the modern’s tub is like an empty cart—rattling around most furiously in its vacuity, making the most noise. Furthermore, the digressions become unwieldy. The tale is disrupted more and more frequently, and the digressions become longer and longer. The modern is his most penetrating in the trenchant section IX—a digression in praise of madness—as he coyly confesses that his reason has been overturned, his intellect rattled, and that he has been but recently confined. The continued multiplication of digressions (until they subvert sections of the tale) and the finale, when the modern loses his notes and his ramblings give out entirely, are easily understood as the wanderings of a madman—a modern who suppresses the past, memory, reason, and self-control. If Swift’s warning about the growing taste for newness, modernity, and things-of-the-moment appears madcap and farcical, it is nevertheless a painfully close nightmare preview of future fashions, fantasms, and fallacies that subsequently came to be real.
A Tale of a Tub clearly demonstrates several of Swift’s most common fictional ploys and motifs. Some representative of the depraved “moderns” is usually present, always crass, irreligious, ignorant,...
(The entire section is 2563 words.)
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Greenhouse Gas Reporting Program
Basic Information
In response to the FY2008 Consolidated Appropriations Act (PDF) (613 pp, 1.5MB, About PDF) (H.R. 2764; Public Law 110-161), EPA issued the Mandatory Reporting of Greenhouse Gases Rule (74 FR 56260) which requires reporting of greenhouse gas (GHG) data and other relevant information from large sources and suppliers in the United States. The purpose of the rule is to collect accurate and timely GHG data to inform future policy decisions. In general, the Rule is referred to as 40 CFR Part 98 (Part 98). Implementation of Part 98 is referred to as the Greenhouse Gas Reporting Program (GHGRP).
Suppliers of certain products that would result in GHG emissions if released, combusted or oxidized; direct emitting source categories; and facilities that inject CO2 underground for geologic sequestration or any purpose other than geologic sequestration, are covered in Part 98. Facilities that emit 25,000 metric tons or more per year of GHGs are required to submit annual reports to EPA. Part 98 was published in the Federal Register (www.regulations.gov) on October 30, 2009 under Docket ID No. EPA-HQ-OAR-2008-0508-2278.
Categories subject to Part 98 began reporting their yearly emissions with the 2010 reporting year. 2010 emissions were reported to EPA via the electronic greenhouse gas reporting tool (e-GGRT) in September 2011. Additional sources began reporting yearly emissions in September 2012, bringing the total to 41 source categories reporting.
In January 2012, EPA made the first year of GHGRP reporting data available to the public through its interactive Data Publication Tool, called Facility Level Information on GreenHouse gases Tool (FLIGHT), EPA will continue to update the tool and release additional data each reporting year.
To explore or download the latest emissions data or view GHGRP publications, visit the GHG Data page. If your business is or may be required to report GHG emissions to the GHGRP under Part 98, visit the For GHG Reporters page for more information about reporting requirements, deadlines, training, and the e-GGRT reporting system.
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From ErfWiki
Revision as of 19:23, 4 May 2009 by BarGamer (Talk | contribs)
Jump to: navigation, search
Proposed Canon
Tarfu is a Warlord for Woodsy Elves.Erf-b1-p058Same-site.PNG
It is implied that he might be relatively high level.Erf-b1-p062Same-site.PNG
Real World References
T.A.R.F.U. is an abbreviation of supposedly military origin, akin to S.N.A.F.U..
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Sustainability and Engineering
This past weekend, in Austin, TX, ESW held it's first Chapter Leaders Summit. Though more information on this event will be posted on the site soon, I wanted to call out here an interesting discussion that evolved at one point somewhat unintentionally yet organically and provide a few thoughts. That discussion centered on a key word in our organization's name: "sustainable." The conversation that emerged began a dialogue simply asking "What does 'sustainability' mean?"
Many different organizations define sustainability in their own context. ESW has its own philosophy on what the term means as well. Yet with such a statement and a mandate to uphold the principles of sustainability, it is important to revisit from time to time what this actually means, and the conference provided the perfect venue for this.
For those to whom sustainability is a relatively new concept, a starting point is often the 1987 Brundtland Commission Report on Sustainable Development. This report succinctly defines sustainable development as "development that meets the needs of the present without comprising the ability of future generations to meet their own needs." Initially, this seems to be very comprehensive, yet with a little closer inspection, this definition leaves much to interpretation--what are "needs" and how do you define the "ability" of future generations to meet them? Furthermore, this says nothing about the quality of resources or life now or in the future. Since this report, other definitions have tried to clarify and update this framework to make it more specific for different applications, industries, or projects. A common, almost trite, expression today is the "triple bottom line"--economic, environmental, and social (also called people, planet, prosperity and a host of other catchy phrases). But even this definition fails to discuss the tradeoffs between the three pillars--what defines sustainability in each realm?
Yet despite these written definitions (many of which are instituted through policy), the connotation of sustainability today is often purely environmental. Sustainability means conserving resources, eliminating non-renewable resources, and reducing environmental degradation. After all, having an earth on which to live for generations is at the core of a sustainable future. Yet to think only along the environmental line ignores the reality that many will not act purely altruistically and change completely the economic and social framework to which we are accustomed simply for the sake of the environment. Furthermore, to expect us to do so is not necessarily sustainable. We already have a social framework at least at a community level that is sustainable. Until three years ago, I probably would have argued as well that we had found an economic framework that was sustainable too (the fall of Iceland, Greece, Spain, and other world economies makes me question this currently). So is it necessary to revise these models too for the sake of just the environmental?
I bring these up mostly as points of departure for thought--I don't have the silver bullet solution. I think that there are ways of solving the environmental challenges progressively without totally revamping the social and economic systems already in place. and for this reason, I think that one person, an engineer like myself, cannot define "sustainability." It is too large a concept to be left just to one person or one organization. Inherently the concept requires integration. It demands that we reach outside of our silos, outside of just "engineering" or whatever discipline and make bonds with others. It frustrates me to see sustainable engineering education programs that fail to bring in economists, sociologists, anthropologists, urban planners, architects, biologists, chemists, and a litany of other disciplines to their courses and round table discussions. As engineers, we tend to focus on a single aspect of a problem. We are very good at finding technical solutions to reduce the environmental impact of our work. Yet if this is as far as we take our concepts of sustainability, then we have not gone far enough. We must reach beyond the technical solutions to find out how our designs and projects impact the users, the financial backers, and other stakeholders.
As an example, I recently had a conversation with colleagues about defining a sustainable building. As a civil engineer in a sustainable design and construction program, this is a typical topic of conversation. as our discussion progressed, it became clear that we were all honing in on just a few metrics of "sustainability"--energy performance, water use, and embodied energy and carbon. What was interesting and ironic is that we had this conversation in an ostensibly "sustainable" building yet one about which we constantly complain because it is not comfortable for occupants and does not provide adequately for the uses we need (two social parameters). And yet we were not connecting our own perceived social needs with our definition of a sustainable building. Clearly, something was wrong in our dialogue.
While I may not have an answer for what sustainability means, I can offer a few thoughts on how to develop the concept, and it begins with the story I have just related. I would urge all who want to understand sustainability to have conversations with scholars, colleagues, and friends outside your own department or silo. You'll get a new perspective and perhaps realize an aspect of a problem you never saw before. With every project, whether for ESW, a class, or professionally, have these conversations and learn what others see as being sustainable. Find out what concepts are important to them and how to integrate them technically, socially, and economically. It is too easy sometimes to get caught up in a single definition of a word and not think outside your own world. Who knows, if you do, maybe it will lead to a new definition of what it means to be an "engineer" creating a "sustainable" world.
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Puerto Rico Look up Puerto Rico at Dictionary.com
Spanish, literally "rich harbor;" Caribbean island, name given in 1493 by Christopher Columbus to the large bay on the north side of the island; he called the island itself San Juan. Over time the name of the bay became the name of the island and the name of the island was taken by the town that grew up at the bay. Often spelled Porto Rico in 19c.; name officially changed 1932.
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continent (adj.) Look up continent at
late 14c., "self-restraining," from Old French continent and directly from Latin continentem (nominative continens) "holding together, continuous," present participle of continere "hold together" (see contain). Meaning moved from "exercising self-restraint" to "chaste" 14c., and to bowel and bladder control 19c.
continent (n.) Look up continent at
"large land mass," 1550s, from continent land (mid-15c.), translating Latin terra continens "continuous land," from continens, present participle of continere (see continent (adj.)).
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venison (n.) Look up venison at
c.1300, from Old French venesoun "meat of large game," especially deer or boar, also "a hunt," from Latin venationem (nominative venatio) "a hunt, hunting, the chase," also "game as the product of the hunt," from venatus, past participle of venari "to hunt, pursue," probably from PIE *wen-a-, from root *wen- (1) "to strive for, desire" (see Venus).
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[ Back to EurekAlert! ]
Contact: Justin Anderson
Dartmouth College
Brian Jackson, Dartmouth College
Caption: Professor Brian Jackson is director of the Trace Element Analysis Core Facility at Dartmouth.
Credit: Dartmouth College
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Status: Overseas territory
Governor: Deborah Barnes Jones (2004)
Chief Minister: Lowell Lewis (2006)
Land area: 39 sq mi (100 sq km)
Monetary unit: East Caribbean dollar
Economic summary: GDP/PPP (2002 est.): $29 million; per capita $3,400. Real growth rate: –1%. Inflation: 2.6% (2002 est.). Unemployment: 6% (1998 est.). Arable land: 20%. Agriculture: cabbages, carrots, cucumbers, tomatoes, onions, peppers; livestock products. Labor force: 4,521; note: recently lowered by flight of people from volcanic activity (2000 est); agriculture n.a., industry n.a., services n.a. Industries: tourism, rum, textiles, electronic appliances. Natural resources: negl. Exports: $700,000 (2001): electronic components, plastic bags, apparel, hot peppers, live plants, cattle. Imports: $17 million (2001): machinery and transportation equipment, foodstuffs, manufactured goods, fuels, lubricants, and related materials. Major trading partners: U.S., Antigua and Barbuda, UK, Trinidad and Tobago, Japan, Canada (2004).
Communications: Telephones: main lines in use: 4,000 (1992); mobile cellular: 70 (1994). Radio broadcast stations: AM 1, FM 2, shortwave 0 (1998). Radios: 7,000 (1997). Television broadcast stations: 1 (1997). Televisions: 3,000 (1997). Internet Service Providers (ISPs): 17 (2000). Internet users: n.a.
Transportation: Railways: 0 km (2003). Highways: total: 227 km (2003). Ports and harbors: Plymouth (abandoned), Little Bay (anchorages and ferry landing), Carr's Bay. Airports: none; only airport was destroyed by volcanic activity; a helicopter service to Antigua is used (2002).
International disputes: none.
Major sources and definitions
See also Encyclopedia: Montserrat.
More on Montserrat from Fact Monster:
• Montserrat, island, West Indies - Montserrat Montserrat , British dependency and island (2005 est. pop. 9,000), 38 sq mi (98 sq km), ...
• Monsalvat - Monsalvat: Monsalvat: see Montserrat, Spain.
• Monserrat - Monserrat: Monserrat: see Montserrat, Spain.
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Massillon (măsˈĭlŏn) [key], city (1990 pop. 31,007), Stark co., NE Ohio, on the Tuscarawas River; inc. 1853. A wheat-shipping center on the Ohio & Erie Canal after 1828, it became an industrial city producing steel, steel products, and machinery; among its manufactures now are plastics, automotive products, packaging materials, and processed foods. Jacob S. Coxey, the social reformer, lived in Massillon and was its mayor in the early 1930s. A state park is nearby.
More on Massillon from Fact Monster:
See more Encyclopedia articles on: U.S. Political Geography
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Fast Company
New York City Police and Fire Departments Now Equipped With Ultra-Modern, High-Tech Boats
When I say "woefully outdated," I'm not exaggerating: The new fireboat, to be christened the Three Forty Three (after the 343 firemen and women who died in the 9/11 attacks), is replacing a boat acquired in 1954, and a very similar boat to be introduced later this year will be replacing one christened in 1938. The boats were so old (say it with me: how old were they?) that parts had to be specially manufactured, because those models are so far out of production. There were serious deficiencies with the old equipment--but the new boats are some of the fastest and most powerful in the world.
Previously, the police and fire departments had inadequate speed and range, and couldn't even get too near to chemical or other toxic spills--the boats were designed merely to put out fires. But with our unfortunate new reality, patrolling for chemical and biological attacks, terrorist bombings and the like, new equipment was badly needed. The New York Times tells the story.
The 140-foot Three Forty Three fireboat is a $27 million ship is capable of 18 knots (about 20mph). It's equipped with a 50-foot crane that can hold two people in a basket at its end, and actually has a camera attached on the underside to take a closer look at the water. It's the longest and heaviest fireboat in the world, twice as fast as its predecessor, and can pump more than twice the volume of water. It's also equipped with 3,600 gallons of foam concentrate for fuel fires, compared to its predecessor's 500. Even better, it has air filters that enable the boat to get far closer to chemical spills than the older boats ever could.
The police boat, as yet unnamed, is a different breed; built for speed, it's a 45-foot long, $2.5 million boat capable of 45 knots (52mph). It's also got a huge range, 250 nautical miles (288 land miles--why those would be different is a question best answered by someone who grew up near an ocean), which is vital for patrolling the New York City metro area's 400 miles of shoreline. It'll be the first in the fleet to right itself--if tipped upside-down by inclement weather or sea conditions, it'll naturally turn itself right-side up. In the same vein, it comes equipped with self-righting bulletproof floatation vests: If an unconscious person wearing one of these vests falls in the water, he'll end up face up.
The boats are being made at Eastern Shipbuilding in Panama, Florida, and the long trip north to New York should give them the opportunity to break in. It's great to finally give those patrolling the water some legitimate equipment to do it with.
Add New Comment
• George Yanos
A knot is, more or less, one minute of latitude, handy when doing hand calculations for navigation. A ground mile is a thousand paces, handy when you're measuring distance your legion is marching over.
Now they're just tradition, something not to be scoffed at until you have a better way.
• Jae Xavier
That is a very nice 3D model of the boat. It would be nice if someone animated it cutting though the water or using it's hardware.
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Franciscan Health System Logo
Firefighter Reclaims His Life From Chronic Pain
Scott Madison was shattered when his doctors told him he would probably never go back to work as a firefighter and paramedic. Following two on-the-job neck injuries and fusion surgery, he was disabled by pain. The job that had been his passion for 16 years had become too physically demanding for him to continue.
Then Scott was referred to the Franciscan Chronic Pain Program at St. Clare Hospital in Lakewood. He began the intensive four-week program in August 2010. He remembers the first week as a struggle. He wrestled with feeling sorry for himself and pessimistic expectations about treatment. At one point, he decided it would be best to accept the reality of permanent limitations and consider another occupation. Eventually, his inner strength won out. "I decided to stop feeling sorry for myself," he recalls.
Over the next four weeks, he practiced different strategies to cope with pain. In describing one of the turning points for him in the program, Scott says, "I learned that I have more than one gear." He became more aware of his characteristic level of high intensity and gradually learned to pace his day-to-day activities.
Scott was surprised at how effective the relaxation and meditation techniques were for controlling pain. Using these tools, he was also able to decrease, and then stop, narcotic pain medications. "The relaxation and breathing techniques made a huge difference," he recalls.
Eight weeks later, his decision to keep an open mind and a positive attitude paid off. He had progressed to the physical activity demands required of firefighters. He is also much more active with his family and able to resume work on projects at home. "The Chronic Pain Program gave me the tools I need to be successful," he says.
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Scott Madison
Scott Madison
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Reviewed by Robert T. Miller
Judge Richard A. Posner is for many the most brilliant jurist of our times. A judge of the United States Court of Appeals for the Seventh Circuit, a former chief judge of that court, and a senior lecturer in law at the University of Chicago, Posner is best known as a founder and outstanding practitioner of the law and economics movement, an academic project that seeks to use economic analysis to understand and improve the law.
He is also an extraordinarily prolific author. In addition to producing scores of scholarly articles and some of the law’s most influential judicial opinions, Posner also writes an average of a book a year. In the last decade alone, he has published books on the economics of aging, law and literature, antitrust policy, the federal court system, Justice Benjamin Cardozo, legal theory in England and America, the foundations of moral and legal philosophy, the impeachment of President Clinton, and the contested presidential election of 2000. He also regularly brings out updated editions of his Economic Analysis of Law , the standard introductory work on law and economics. According to legend, when a young Richard Posner clerked for Supreme Court Justice William Brennan, he once drafted an opinion for the Justice in under thirty minutes. The tale is not wholly implausible.
Frontiers of Legal Theory is Posner’s latest attempt to apply the results of intellectual disciplines more rigorous than law”such as economics and psychology”to practical legal problems in order “to orient law in a more scientific, economic, and pragmatic direction.” Since, in Posner’s view, law is best understood as a servant of social needs”as one tool among others to help human beings living in community achieve their goals”it makes sense to use the best available knowledge to change the law to better serve society’s needs.
This approach to legal problems is more easily illustrated than de scribed. An important result in economics known as the Coase Theorem, for example, states that where transaction costs are zero, the law’s initial assignment of rights is irrelevant to efficiency, since if the assignment is inefficient, the parties will rectify it by a corrective transaction. Roughly, if there are no costs to transferring legal rights (and in the real world, there are always such costs, sometimes low, sometimes high), then if someone values a right more highly than does its legal owner, he will purchase the right from the owner and the right will migrate to the person who values it most. (Readers unfamiliar with economics should note that there is no problem here of the person who values a right most highly being unable to pay for it, for when economists talk about persons valuing things, they mean that such persons are willing and able to pay for them, not just that such persons would very much like to have them.) One corollary Posner draws from the Coase Theorem is that where transaction costs are irremediably high, the law should replicate the market allocation that would result if transaction costs were zero by assigning legal rights to those users who value them most.
In Posner’s hands, such seemingly simple principles lead to surprisingly illuminating results. The fair use doctrine in copyright law, for example, allows anyone to make “fair use” of a copyrighted work without payment to the copyright holder, as when I quote from Posner’s copyrighted book in this review. This doctrine, Posner explains, is an instance of the law allocating legal rights efficiently where high transaction costs prevent the market from doing so. It costs too much in time and effort for me (and everyone else who wants to quote from his works) to negotiate with Posner for the right to do so, but if I could negotiate with him costlessly, he would probably agree to let me quote short passages from his book without payment, for my review is free publicity for his book and will stimulate sales.
Similarly, government’s power of eminent domain, by which it may compel an owner of property to sell that property for its fair market value, is also a legal device for overcoming high transaction costs. Most taxpayers in a certain city may, for instance, be willing to pay a small amount to build a public park to be located on the property owner’s land, but they may be prevented from buying the land by the high costs of organizing and pooling their money. Eminent domain overcomes this problem by allowing government to tax each potential user of the park, pool the money, and compel the transfer. These two seemingly unrelated legal rules”the fair use doctrine in copyright law and the law of eminent domain”thus turn on the same economic issue: the problem of overcoming high transaction costs.
But Frontiers of Legal Theory goes beyond many of Posner’s other books to propose how disciplines other than economics can solve practical legal problems. Posner’s signature economic analyses figure prominently, of course, including in treatments of judicial review, free speech, economic inequality, the uses of cost“benefit analysis, and the Federal Rules of Evidence, but the book also includes chapters that appeal to history, psychology, and epistemology. The chapters on the use of history in legal theory, for instance, include a powerful critique of the two published volumes of Bruce Ackerman’s projected We the People trilogy as well as a pitiless deflation of Paul Kahn’s The Cultural Study of Law . Posner argues convincingly that much of the history used by practicing lawyers and constitutional theorists amounts to an unpersuasive attempt “to forge a historical pedigree for their preferred positions in order to deflect charges of judicial creativity.” History, unlike economics, thus turns out to have little value for solving practical legal problems. A surprising exception is the kind of originalism advocated by Robert Bork and Justice Antonin Scalia, which Posner argues is not an attempt to give the past normative force for the present but a pragmatically grounded method of promoting democratic forms of lawmaking by curtailing judicial discretion.
The chapters on psychology and epistemology are rich as well, and I choose a single illustrative point. Cognitive psychology, Posner tells us, reveals that human beings tend to give undue weight in decision making to more easily remembered facts and images. Psychologists call this tendency to be affected by what is more easily remembered the availability heuristic. Posner argues that, be cause the heuristic tends to distort decision making, judges and juries (and those who frame legal rules governing their work) should guard against favoring the parties they literally see”those present in the courtroom”to the detriment of those whom they do not see, persons whose interests might be affected but who do not appear in court. For example, the availability heuristic leads judges to favor convicted criminals pleading for lighter sentences because the judges see the criminals with their own eyes, while crime victims are not parties to criminal cases and often cannot even attend the proceedings, as when the criminals being tried have murdered them. The distortion caused by the availability heuristic in this situation can be roughly balanced, Posner argues, by allowing victims (or their survivors) to make victim impact statements. More generally, good judicial temperament consists not so much in empathizing with the parties who appear in court (because of the availability heuristic, that is all too easy) but in keeping in mind the interests of those who do not appear.
The book has some minor faults, mostly inconsistencies probably arising from Posner’s having assembled the text from previously published articles. For example, in an early chapter Posner argues that although some economists say that making government pay the fair market value for property it takes by eminent domain will cause the level of such takings to be efficient, this is a mistake, for government, with its power to acquire funds coercively by taxation, does not respond to financial incentives the way everyone else does. Later, however, in discussing whether evidence obtained in illegal police searches should be admissible in court, Posner makes this very mistake himself by arguing that the frequency of such searches should be set at an efficient level by making the government pay the defendant compensatory damages for violating his constitutional rights in conducting the search. Similarly, in discussing the social costs of pornography, Posner first argues that pornography’s offensiveness “is very difficult to measure in even the roughest terms,” but in the very next paragraph he says that the offensiveness cost “is in any event likely to be modest.”
There is a curious lapse of a different kind when Posner says that the Golden Rule means that we should “be kind to the kind, and unkind to the unkind.” This seems to be the ancient Greek idea, criticized by Plato in the Republic , that justice is helping our friends and harming our enemies, not the Golden Rule of the gospel, which is that we should treat others as we would be treated by them.
Still, these minor shortcomings notwithstanding, there can be no doubt that in Frontiers of Legal Theory Judge Posner has succeeded again. In the concluding chapter, moreover, he gives us reason to expect that there will be much more to come. He refers to a study showing that judges tend to retain their faculties of legal reasoning until the age of eighty. Posner was born in 1939. That means that we can look forward to another twenty years of Posner’s amazing productivity, to a score of books, to hundreds of articles and judicial opinions, and to economic and legal analyses that are by turns illuminating, startling, and provocative.
Robert T. Miller, a member of the New York bar, is a doctoral candidate in political philosophy at Columbia University.
Articles by Robert T. Miller
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more by MaryAnn
Hollywood’s loyal opposition | by maryann johanson
Collectors (review)
Self-taught artist Elmer Wayne Henley claims that the act of appreciating nature “calms the soul” — “it proves to me that there’s a God,” he says, and so his rather naive paintings depict flowers and landscapes. Henley is serving six life sentences for the sexual torture and murder of dozens of young men, and whether he deserves a calm soul is a question wisely left unexplored in this chilling documentary. Instead, director Julian P. Hobbs focuses on the hobbyists who create the market for the artistic works of serial killers, people like Baton Rouge mortician Rick Staton, who enjoys the “brush with deviant celebrity” and shares his snapshots of chummy prison visits with such notorious murderer/artists as John Wayne Gacy; Joe Coleman, an artist in his own right and collector of death memorabilia, who likens the crimes of serial killers to “pagan rituals”; and Tobias Allen, creator of an infamous serial-killer board game, who says his “obsessive” pastime is an attempt to figure out “what kind of person” commits heinous murder. That’s the question that underlies Collectors, though Hobbs approaches it indirectly and from the opposite side: Is there only a degree of difference between the likes of Staton and Allen and the likes of Henley and Gacy, and is an interest in abnormal human behavior abnormal in itself? It’s impossible not to sympathize with the angry families of murder victims who wonder here how anyone can glorify killers and lend to their notoriety, or with the victims’ right advocates who, incredulous, sputter that these collectors are “pathetic.” And it’s also impossible to fathom that Staton isn’t the least bit creeped out by a portrait of his own very young son by Gacy, who killed little boys like him, and that Allen honestly sees his game as “a spoof on war games.” How far can black humor go before it crosses the line into from mere tastelessness into abject inhumanity? And does the fact that I enjoyed immensely this gruesomely mesmerizing film mean I’ve crossed that line?
MPAA: not rated
viewed at a private screening with an audience of critics
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Eggie's avatar
What do you invest in with one million dollars?
Asked by Eggie (5086 points ) February 10th, 2014
You just won the sweepstakes and you got one million dollars. How do you invest it to make more money?
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Physics Questions People Ask Fermilab
Home made particle detector
Would it be possible for me to build a small particle detector at home? I would like to observe some of the cosmic ray particles that hit earth.
Dear Tom:
Yes, absolutely. All you need is a container with vapor, and charged particles zipping through will leave a trail similar to the trails left by air planes in the sky. This type of detector is called a cloud chamber.
Instead of writing down all the details, I refer you to a Scientific American website. In January 2001, the magazine published an article on how to build a cloud chamber. You can read this article at:
Please let me know if you need more help.
The cloud chamber method led to two Nobel Prizes: Called the expansion method, this discovery earned C.T.R. Wilson a share of the 1927 Nobel Prize ( Improving on that method, P.M.S. Blackett received the 1948 Nobel Prize ( for the development of the Wilson cloud chamber.
To learn more about cosmic ray particles, the particles that you will observe with your home-built cloud chamber, check out the public webpages of the Pierre Auger Project:
The scientists of the Pierre Auger Project, including Fermilab physicists, are building a detector to capture cosmic rays. They are particularly interested in some of the most energetic particles ever observed in the universe. Since those events are pretty rare, they build a very large array of detectors.
Since there are many more low-energy cosmic particles, there is plenty for you to see with a small cloud chamber.
Best wishes and good luck with the construction of your own detector,
Kurt Riesselmann
Office of Public Affairs
Back to Questions About Physics Main Page
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ingredient information
Rennet is a type of cheese yeast derived from calf stomach Rennet and Coagulating Enzymes What are coagulating enzymes and how do they create cheese? In order for milk to coagulate and eventually become cheese, enzymes must be added to breakdown the proteins that keep milk a liquid. Some enzymes do this better than others, but all of these enzymes are in the protein breaking subclass known as proteases. The best proteases or coagulants for making cheese are the type that break a specific protein called kappa casein. When the kappa casein is broken the milk loses its liquid infrastructure and begins to coagulate. What are Rennet, Rennin, and Chymosin? Rennet is defined in Webster's Unabridged Dictionary as "the lining membrane of the fourth stomach of the calf (and/or) a preparation or extract of the rennet membrane, used to curdle milk, as in making cheese…." Rennet is also used broadly to describe any enzyme used for the coagulation of milk in the process of making cheese. Rennin is defined as "a coagulating enzyme occurring in the gastric juice of the calf, forming the active principal of rennet and able to curdle milk." The cheese industry uses a broader definition of the term rennin, referring to it as "any enzyme used for the controlled coagulation of milk." Chymosin, often used as another word for rennin, is the most common enzyme recovered from rennet.
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Steve Denning
Steve Denning, Contributor
I write about radical management, leadership, innovation & narrative
2/25/2011 @ 5:32PM |8,749 views
Measuring Business's New Bottom Line: Customer Delight
Cover of "The Ultimate Question: Driving ...
Cover via Amazon
As I noted in yesterday’s post, we live now in the age of customer capitalism. The era of shareholder capitalism, i.e. pushing products and services at customers, tweaking the supply chain, parsing and manufacturing demand, with the goal of making money of shareholders, is over. The customer is in charge, as a result of epochal shift of power in the marketplace from seller to buyer. Making money and corporate survival now depend not merely on satisfying customers but delighting them. To prosper, firms must offer a continuing supply of new value and deliver it sooner. The new bottom line of business is: is the customer delighted? Yet how can we possibly measure something as ethereal and mercurial as client delight?
There are five parts to the answer:
Part 1: Measuring customer delight at the organizational level
Part 2: Measuring customer delight at the working level
Part 3: Client delight: Sizing and prioritizing
Part 4: Measuring a key aspect of customer delight: time
Part 5: Tracking client delight in real time: social media
Part 1: Measuring customer delight at the organizational level
To measure customer delight at the organizational level, the best place to start is the work of Fred Reichheld. Reichheld and his colleagues at Bain & Company spent years trying to understand how firms create relationships of trust and loyalty and the business impact that they get from that. Initially he had trouble getting firms to take loyalty seriously or to do anything about measuring or tracking it.
So he set out to create an instrument so simple that people could easily understand how it tracked the quality of their client relationships. It had to be plausible and credible so that people would use it. Finding such an instrument required three big breakthroughs.
First, he discovered in work with Enterprise Rent-A-Car that a key to measuring loyalty was to give priority to the enthusiastic customers, i.e. those who were delighted. Enterprise Rent-A-Car had made startling inroads into a highly competitive market previously dominated by entrenched companies like Hertz and Avis by by keeping a tight focus on evangelists—people who loved their company and would sing its praises to friends and colleagues. This experience showed Reichheld that his earlier work had focused too much on the entire range of customers, from the most satisfied to the least, with a large body of customers falling into the undifferentiated middle. This led to glacier-like shifts in average scores, which concealed what was going on at the extreme, where the real engine of growth lay. What was more important were the outliers—the enthusiasts who loved the firm and talked it up to their friends and colleagues. Those customers became in effect the unpaid marketing department of the firm. The first key was to give attention to client delight.
Second, he discovered that asking people directly whether they were delighted didn’t correlate with firm growth, customer repurchase rates or referrals. Instead, a more reliable question was an indirect question, i.e. a question about customers’ willingness to recommend a product or service to someone else. In fact, in most of the industries that he studied, the percentage of customers who were enthusiastic enough to refer a friend or colleague—perhaps the strongest sign of customer loyalty—correlated directly with whether they actually recommended the firm. He called this new process the net promoter score—and it is being used by a growing number of firms, including American Express [AXP], Apple [AAPL], GE [GE], Intuit, Philips, and Zappos.
Third, he discovered it wasn’t enough to count the enthusiasts. He also had to take into account those customers who had been turned into detractors by poor or even unscrupulous business practices which might have been very profitable but which undermined customer loyalty. When customers are unhappy about their experiences, they share that too. With social media, bad experiences can quickly become viral and even reach millions of people. To get a sense of whether a firm is making any headway in the marketplace, it has to take into account not only the total amount of delight it has created, but also the level of frustration and disappointment among those who were likely to become active detractors.
An instrument to measure client delight
In fact, once Reichheld brought detractors into the mix, along with promoters, he saw a strong correlation between survey responses and relative growth rate across competitors. The single question that worked was:
Client delight is thus measured with this equation:
% Promoters — % Detractors = % Net promoters.
Clumping customers into three groups—the promoters, the passively satisfied, and the detractors—turned out not only to provide the simplest, most intuitive, and best predictor of customer behavior; it also made sense to frontline managers. They could grasp intuitively what it meant to be increasing the number of promoters and reducing the number of detractors. This made more sense than trying to increase the mean of their satisfaction index by one standard deviation.
By focusing on only the most enthusiastic and the most negative customers, he sidestepped the grade inflation that often undermines traditional customer satisfaction assessments, in which someone even a tad above average is considered “satisfied.”
Reichheld himself is careful not to overstate the reliability or validity of the method. It’s not intended as a tool for academic study, he notes, and it doesn’t work in some settings—in a sector where a firm has a monopoly, or in some business-to-business sectors, where a question about whether repeat purchases are likely to be more relevant. And the survey results need to be continuously audited against actual experience to make sure that gaming or other noise is not entering the system.
Reichheld’s net promoter score thus has its limitations. The categorization of customers into three categories based on their response to one question is certainly not perfect. Nevertheless, it is practical and intuitive, and, most important, it drives rapid learning and action across the organization.
In time, better measures may be developed. But for now, the net promoter score is the best measure available for determining client delight. Many organizations have found that it is adequate for practical purposes to move ahead.
Reichheld’s work is described in his path-breaking book, The Ultimate Question (2006) as well as in chapter 4 of my book, The Leader’s Guide to Radical Management (2010).
Coming up next: part 2: Measuring customer delight at the working level
To learn more
If you would like to learn more about the new age of customer capitalism, how to delight customers and how to measure their delight, please join me for two days on May 12-13 in Washington DC. Cool, innovative and serious fun. More details here.
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I hate homework. I hate homework because there’s at least 4 things I’d rather be doing right now. I’d rather be fixing this script because it’s not right. I’d rather be making more videos. I’d rather be finishing the new cover. I’d rather be writing down my thoughts so I don’t forget them before I can write them down. I’d rather be talking to friends. Wait, that’s 5 things. There’s more, but I’d rather not talk about them. For some, homework gives them a chance to get away from their thoughts. For me, it’s just a boring use of time that allows my mind to drift back to those thoughts. I suppose I should get back to my work. Damn, my coke bottle fell over.
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#98 - damandan (05/10/2013) [-]
>Windy city
>Water Tribe
#209 to #98 - anonymous (05/10/2013) [-]
I thought the exact same thing. Thumb for you sir.
User avatar #189 to #98 - meganinja (05/10/2013) [-]
Chicago was named the windy city because a Senator from New York or something said people from Chicago were full of hot air.
User avatar #220 to #189 - damandan (05/10/2013) [-]
Either way I still think the map is messed up (except for Texas I guess) North east should be air, south east should be water, west should be fire and great plains should be earth
User avatar #309 to #220 - meganinja (05/10/2013) [-]
that does make much more since though.
#104 to #98 - anonymous (05/10/2013) [-]
>great plains
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User avatar #28 - Sockopolis (07/15/2013) [-]
The homeless statistic rustles my jimmies. Sure, some were legitimately screwed out of their home, but lets be serious here, Im sure some homeless veterans have nobody but themselves to blame.
User avatar #208 to #28 - hudis (07/15/2013) [-]
No, the so-called 'liberty' of the U.S. is to blame. Humanity was never designed for every man to take care of himself individually. That's why the American dream will never work for the vast majority.
#33 to #28 - lolabunny (07/15/2013) [-]
I think the main reason for a high statistic is the level of PTSD and other mental issues found in soldiers due to fighting in a war. It's not been too long that we've really been able to grasp this and there is/was a stigma about going for help with mental problems so all these brave men and women develop debilitating and life ruining conditions that lose them their jobs and homes and don't/can't get the help they need to get back on track.
If I remember right they're now pushing for soldier to under go thorough psychological assessments and treatment, so maybe this number will start to decrease.
User avatar #48 to #33 - toadkillerdog (07/15/2013) [-]
heh, I got to see the Marine Corps treatment for ptsd, they basically make you sit through powerpoints nonstop until you say you're better. I killed a man, and for some strange reason showing me fucking graphs doesn't offer much perspective. The only way to make the military do shit for guys that get out is to force them to, or do it yourself.
Some of those homeless vets you see aren't actually vets, but the ones that are got back and got a high five from the military before they got thrown back out on the street.
#37 to #33 - anonymous (07/15/2013) [-]
Also alcoholism. Some people need to do a lot of forgetting of all the shit theyve done....
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Soldering Q and A
1. What is the solder in the soldering kit made of?
The solder is lead-free and made of tin, copper and silver. It is a solid-wire solder that contains no flux in the core. It is not silver-bearing.
2. What type of surfaces should I work on while I’m soldering?
Place the Heat Resistant Solder Mat on a work surface. Although it is heat-resistant, the mat will still get hot and can heat the surface beneath it. Add an extra layer (such as a stainless steel sheet or tile) under the mat if you are working on a surface that you want to protect. If you do not have a Heat Resistant Solder Mat, you can use a ceramic tile.
3. Can I use a photograph in a soldering project?
If you want to use a photo image, we suggest using a photocopy. The top layer of photo paper or any glossy paper will melt when heated, pull away from the photo and stick to the glass, distorting the image.
4. Can I put several layers of paper between the two pieces of glass?
Yes, you can layer paper, stickers, stamps or other elements to create dimension. You’ll have the best results if you distribute the elements evenly so that the two pieces of glass remain parallel and do not “rock.”
5. Can I use more than two pieces of glass in my soldering project?
Yes, you can use additional glass pieces to achieve a layered effect. You may need to go back over the copper tape with another piece of tape to make it wide enough to fit around the glass.
6. Can I put flat back crystals on the image under the glass?
Yes, you can use crystals as long as you distribute them evenly to prevent the glass from “rocking.” For example, if you put a crystal in one corner, place another crystal in the opposite corner.
7. Can I use sterling silver jump rings with my soldered piece?
We do not recommend using sterling silver. The heat from the soldering iron can cause the surface of the silver to turn black (called fire scale). This black coating must be removed by using an acid solution known as pickle – it cannot be polished.
8. Can I use the soldering iron to solder sterling silver or fine silver?
No, the soldering iron in the kit is intended only for use in making soldered pendants, as shown in our Basic Soldering Beading Technique, and related applications (such as stained glass).
9. What kinds of metal does the soldering kit work with?
We recommend using the base metal jump rings that come with the kit and base metal components.
10. My copper tape is crooked – can I fix it?
You can always peel off the tape and apply a new piece.
11. The wavy tape has waves only on one side. How can I put a wave design on both sides of my piece?
After you have applied the wavy copper tape, go back over the tape (as you would when adding tape to layered glass pieces) with another piece of wavy tape – this time with the wave on the opposite side of the piece.
12. I applied flux to my whole piece before soldering, and now the edges of the tape have turned green. Why?
The flux has dried on the copper foil, causing oxidation. Use a damp cloth to wipe off the dry flux and oxidation. To avoid oxidation, apply flux on one side at a time as you are working.
13. Do I have to worry about the solder sticking to the glass?
No, the solder will bond to the copper foil tape only (after flux is applied) and will not stick to glass.
14. Can I make a soldered piece without using the copper tape?
No, solder will not adhere to glass – only to the copper foil tape treated with flux.
15. Blobs of solder are on my work surface and sponge. What can I do with them?
You can still use the solder. Instead of adding fresh solder to the soldering iron, use the hot iron to pick up a blob. Apply the solder to your piece as usual.
16. Why won’t the solder stick to the copper foil tape?
You did not use sufficient flux. Flux acts as a bonding agent between the solder and the tape – without it, the solder will not stick. Since flux will evaporate over time, you may have to reapply more flux even if you have already applied it.
17. Why is my solder uneven?
Make sure your piece is seated flat on the table. If your piece is at an angle, gravity will pull the solder downward. Remember to apply flux each time before you add solder, which will help the solder flow more smoothly.
18. Why do black spots appear in the solder after I’ve heated it?
Spots are generally caused by dirt or other particulate matter getting caught in the solder. Most of the spots will come off when you wash or buff your piece when it’s finished.
19. Why does my glass keep breaking?
You may be overheating the glass, or the glass has been clamped directly. Avoid touching the glass as you apply the solder; instead, place the clamp on the copper or solder.
20. Why won’t my solder form the domed shape that I see in samples?
You are not using enough solder. Don’t be afraid to use too much – you can always remove excess solder with the soldering iron.
21. Why are the soldered edges of my piece lifting away from the glass?
You may not have pressed the copper foil tape down sufficiently, or you may have applied too much flux, causing the tape to come up from the glass.
22. If my piece is too hot to touch, can I use my jewelry pliers to move it?
We don’t recommend it. Heating the metal tips of pliers will cause the metal to anneal, making your pliers too soft for jewelry work. Designate a different pair as “hot pliers” and use them for this purpose.
23. I’ve attached a jump ring in the wrong place. What can I do?
Reheat the solder holding the jump ring in place, and move the jump ring carefully. Be sure to hold the jump ring steady with a pair of hot pliers or hemostat clamps while you are heating the solder.
24. My soldered piece is finished, but I’m not happy with the result. Can I take it apart and start over?
Definitely. The solder can be melted off the copper tape easily with the soldering iron. Let the solder drip off onto your mat or tile, and reuse it for the next piece.
25. What is the best way to store my soldering iron after use?
When you are finished using the soldering iron, unplug it, and let it cool slightly. Melt a small amount of solder onto the tip. Let the iron cool completely in its stand.
Copyright © 2004 – 2014 Fusion Beads, Inc.®
Fusion Beads Inc, Beads, Seattle, WA
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I have a theory about Deerling...
#1Chips_OutdoorsPosted 11/28/2013 9:54:10 AM
So, as we all know, X and Y seem to have taken out one of the more interesting features of the 5th generation games: seasons. While this mechanic honestly didn't have much to do with the game besides the appearance of a few more Ice types in winter and some cosmetic things, the Pokemon mentioned in the title and its evolution can no longer change and seem to be stuck in the spring form.
Now, as most people have noticed, the order of routes in this game represent the rotation of the seasons. You may think that battling with a Deerling or Sawsbuck on Brun Way might change them to their fall color, but that doesn't work. I even tried hatching several babies all over the region and even they didn't come out any different.
So what is a Deerling lover to do?
Perhaps the answer lies in Pokemon-Amie.
As you know, you play games with your Pokemon for puffs to feed them. When you get better at these games, you progress from the Easy level all the way up to Unlimited. The Unlimited level is rather special in the fact that, if you manage to get 5 stars when you beat a game, you get an opulent seasonal puff. I, like at least a few other people, thought that these puffs are good for nothing more than a big 'ol boost of closeness, but what if these puffs are the key to changing your Deerlings And Sawsbucks? It may be a bit out there, but hey! I'd like to think that they simply gave up on this gimmick Pokemon, especially since it's so cute and (was) at least a little popular. I know you could just transfer one when Poketransfer comes out, but wouldn't that kind screw over people that didn't get in on the 5th gen games? (Or people like me that lost their Black AND Black 2 cartridges?) Again, I have at least a little faith in their accommodations!
So... Has anyone actually tried this or are any of you willing to humor me? I was planing on giving it a go myself, but I've just been so busy lately that I haven't had the time to fuss with getting the darn puffs. (That and I gave away my only Sawsbuck before I came up with this...) The Unlimited games are pretty dang hard which just makes me feel even more strongly about the special quality of the seasonal puffs.
Perpetually cold and covered in cats.
#2ssj4warriorPosted 11/28/2013 9:55:18 AM
Deerling tho?
Mentions of Cloyster - 522
Number of 56th posts stolen - 142
#3The_DragonwPosted 11/28/2013 9:56:03 AM
ssj4warrior posted...
Deerling tho?
#4MegaDuranPosted 11/28/2013 9:59:13 AM
pokebank, trading, events (in japan).
thats about what I guess will give us the forms.
3DS: 3351-5468-4271 IGN: Benny
#5MarkofWisdomPosted 11/29/2013 7:40:26 PM
The_Dragonw posted...
ssj4warrior posted...
Deerling tho?
Lord slug is most displeased.
That picture is utterly hilarious and definitely fits
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Question from darklikex
Asked: 5 years ago
Egg groups?
What do egg groups do?
Top Voted Answer
From: Snoopy44291 5 years ago
The egg groups are....
Well, you usually breed a male Blaziken with a female Blaziken, or with a Ditto, right?
If you find a Pokemon of the same egg group, they can breed, like a male Blaziken with a female Lucario.
When breeding between two kinds of Pokemon, they can learn attacks that they normally wont learn. Like the Lucario and Blaziken that I said before, they breeded, I got the egg, and when it hatched, I obtained a Riolu, that learned Blaze kKck and Sky Uppercut.
Those moves are called "Egg Moves", in other words, the attacks that the Pokemon can learn only through breeding.
Here you will see the Pokemon and their Egg Group:
Go to the bottom of the text (in the link, not here) and click where it says "Breeding Section", select the Egg Group you want to check, and the list of the Pokemon that are in that Egg Group will be displayed.
Also, to check the Egg Moves, just pick your Pokemon in the Pokedex
(in the same link, but this time, in the top, where it says "FRLG" for Kanto Pokemon, "GSC" for Johto, "RSE" for Hoenn adn "DP" for Sinnoh, click and choose your Pokemon),
when the Pokemon data is displayed click where it says "Egg Moves", the Pokemon that you choosed and the attacks it can learn (well, the Pokemon that will hatch from the Egg) through breeding. If you still dont understand it, the other pokemon must know an attack that is compatible with the one you want to breed. For example, Blaziken can breed with a Camerupt and the egg will learn Rock Slide (when it hatches), but he will not learn Magnitude because they are not compatible.
Also, TM moves can be taught through breeding with another kind of Pokemon (well, Im not sure, but a friend says that has an Eevee that knows Earthquake, I think he breeded with a Pokemon of the same Egg Group that learned it through a TM).
Well, I hope this was usefull.
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Submitted Answers
Thanks, this helped alot.
Rated: +1 / -1
Snoopy44291 is right with one exception: Eevee can't learn Earthquake.
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Final Fantasy IX Production Error
Square Electronic Arts ships the latest Final Fantasy title to Canadian stores with no English instruction booklet.
Square Electronic Arts announced today that it failed to include an English instruction booklet in copies of Final Fantasy IX sold in Canada. The only instruction guide included was printed in French. The English manual will be shrink-wrapped to the front of future Canadian copies of Final Fantasy IX. Those who bought copies of Final Fantasy IX without the English instruction booklet may exchange it at the retailer where the game was purchased for a new copy.
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Jedi Knight II: Jedi Outcast impressions
We've played the retail build of LucasArts' latest first-person shooter. Details inside.
LucasArts' latest entry in its long-running series of first-person shooters is finally done, and we've had a chance to play the retail build. For those not familiar with the series, Jedi Knight II places you in the shoes of Kyle Katarn, a rebel bounty hunter who is strong in the force. The game takes place nine years after the events of Jedi Knight, and Kyle has given up the ways of the Jedi to become a mercenary. The game starts with a cinematic that shows Kyle and his trusty pilot, Jan Ors, on a routine scouting mission, when they receive an urgent request from Mon Mothma to investigate the source of a mysterious and barely audible emergency transmission from the seemingly desolate planet of Kejim. This scene, like all cutscenes in the game, is rendered using the game's 3D engine, which is a first for the series. The overall effect certainly looks a lot better than the full-motion video that earlier games relied on--facial expressions and lip movement, for example, are clearly articulated, and the animations of the 3D models give a clear indication of their respective characters' body language. When Jan and Kyle land, they discover that the planet is overrun by Imperial storm troopers, and the action promptly begins.
Interestingly enough, this first mission has you fighting side by side with Jan, who proves to be remarkably self-reliant. She can hold her own against the troopers in this first level, her pathfinding seems accurate, and she'll even draw enemy fire away from you on occasion. Also impressive is that these storm troopers don't seem to blindly prioritize Kyle over Jan or vice versa, and they'll go after whoever poses the most immediate threat to them. You'll start out the game with just the Bryar pistol, though you'll immediately be able to pick up an Imperial blaster from the very first trooper you neutralize. Throughout the first mission, you'll also come across a stun baton that incapacitates its victim with searing bolts of electricity, as well as several thermal detonators that can be set to explode on a timer or on impact.
As you'd expect, the first mission requires you to solve several puzzles to progress to the second level. These puzzles ultimately involve activating several switches to unlock a series of doors--standard fare among first-person shooters--though they're presented somewhat uniquely in that you'll have to re-create the actual shape and color of the individual keys (they're almost hieroglyphic in nature) to unlock their respective doors. The level itself is fairly large and shows off the scripting capabilities of the game's Quake III: Team Arena engine nicely. At one point in this first mission, for example, a fuel storage facility explodes in a massive fireball, and an entire bridge collapses into a ravine. Many aspects of the environment are interactive as well: Display screens will shatter when shot, troopers will fly through glass panes, and some doors can even be destroyed by using stationary gun turrets.
It should be noted that Kyle doesn't start out the game with any of his force powers or even the light saber. As you progress through the single-player levels, you'll gradually gain access to new force powers, and some existing powers will be upgraded as well. While playing Jedi Knight II's multiplayer game, however, we were able to get a good idea of the entire suite of force powers available.
Jedi Knight II's multiplayer component is surprisingly deep--it comes with 11 unique maps and 28 different playable character models. What's more, when set to play as bots, many of these character models have a distinct set of attributes that include reaction time, accuracy, agility, favorite force power, and favorite weapon. The Luke Skywalker bot, for example, is incredibly agile and has a lot of force powers, whereas Lando Calrissian is deadly accurate with ranged weapons but has no force powers. The game has seven multiplayer modes that are essentially distinct variations on typical deathmatch, team deathmatch, and capture-the-flag modes. When joining a game, you can choose which force powers to play with by distributing points to those powers, similar to how you use a skill tree in a traditional role-playing game. There are 16 force powers in the game--including choke, mind trick, lightning, and push--and each can be upgraded three times. You have only a set number of points to work with, though, so you can choose to play either with a wide variety of low-level powers or with a small number of advanced powers.
There certainly seems to be a lot to Jedi Knight II--its single-player campaign is chock-full of weapons, items, and expansive levels, and its multiplayer component is almost a game in itself. For more details on the game, be sure to check back soon for the full review. In the meantime, though, take a look at the latest batch of images and movies that we've added to our media index.
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God of War: Ascension preorder bonus and Collector's Edition detailed
The next God of War game is due out in March, which leaves plenty of time to decide whether you want the Standard or Collector's Edition of the game.
Preorder either, and you'll still receive the Mythological Heroes Multiplayer Pack, which lets you play as Perseus, Orion, Achilles, or Odysseus in multiplayer.
The Collector's Edition of God of War: Ascension, priced at $79.99, contains a premium steelbook case, an exclusive Kratos statue, the official game soundtrack (digital), a multiplayer double XP unlock, a pass for future DLC, a dynamic theme for your PlayStation 3, and a PSN avatar pack.
Which will you buy?
Follow @wita on Twitter.
[PlayStation Blog]
Tags: God of War: Ascension, Sony
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Joan Richardson Appointed Distinguished Professor
At the January 27 meeting of CUNY’s board of trustees, Joan Richardson, a member of the doctoral faculty in English and comparative literature, was appointed Distinguished Professor. She is a leading international scholar of American literature and intellectual history and a preeminent Americanist.
Dr. Richardson received a Guggenheim Fellowship in 2012 and, earlier, a National Endowment for the Humanities Senior Fellowship and a Woodrow Wilson Fellowship. Her books include A Natural History of Pragmatism: The Fact of Feeling from Jonathan Edwards to Gertrude Stein (Cambridge University Press, 2007) and a two-volume biography of the poet Wallace Stevens, and she coedited, with Frank Kermode, Wallace Stevens: Collected Poetry and Prose (Library of America, 1997). A new work, Pragmatism and the American Experience: An Introduction, is forthcoming this year from Cambridge University Press. She has also published dozens of scholarly essays and book chapters.
After earning her bachelor’s degree at Queens College and a Ph.D. at the Graduate Center, she began her teaching career at LaGuardia Community College. She joined the doctoral faculty in 1987 and was appointed in 1994 to the English program at the Graduate Center, where has developed courses on American aesthetics in the nineteenth and twentieth centuries. She also teaches in the Master of Arts in Liberal Studies program.
Photo by Michael DiVito
Submitted on: JAN 28, 2014
Category: Comparative Literature, Distinguished Professor Appointments, English, General GC News, Liberal Studies
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Thursday, April 09, 2009
Moldovan Spring and Changes to the Fight for Ungoverned Spaces
The book Geography of Happiness describes the European republic of Moldova as the saddest place on Earth. Considering everything that can and does go wrong on this planet that is quite an achievement. Right now the depression is being channelled into rage as Moldova may or may not be experiencing a revolution.
Moldova is a former Soviet state and is the poorest country in Europe. It is populated by ethnic Romanians. Shortly after independence, the Moldovan government lost a war to its eastern section, Transnistria. The much smaller Transnistria is populated by ethnic Russians and Ukrainians (Transnistria was a retirement home for many Soviet World War II veterans) and had the 14th Soviet Army stationed in it. The war was not even close. Today the retro-Soviet state of Transnistria keeps Soviet symbols and titles alive as it continually tries to convince Russia to recognize it. Russia meanwhile is content to use the threat of recognition to keep Moldova neutral and out of NATO.
The 1990s saw several attempts by Moldova and Romania to reunite. However, in 2001 Moldova elected an economically mixed, mostly pro-market, and pro-European Union Communist Party into power. The Communist at first were popular because they fixed some corruption, made progress on Transnistrian reunification, and played up a new Moldovan nationalism against Romania. However, change stagnated and corruption has once again flourished as Transnistria remains de facto independent.
So when the Communist Party won once again via possible vote stealing and gerrymandering, the opposition had enough. Calls for protests against the government quickly morphed into riots. Riot police have so far recovered the president's office building from rioters but roaming bands still protest on the streets. The Communists meanwhile blame Romania for trying to attempt a coup.
The opposition claims term limited President Vladimir Voronin wants to become the "next Putin" by holding onto power by becoming Prime Minister. The opposition differs from the Communists by being more pro-European Union, open to the idea of NATO, favors reunification with Romania (some protesters are waving the EU, Moldovan, and Romanian flags), and support market reforms.
Some commentators have remarked that these protests resemble the color revolutions of Ukraine and Georgia which ushered in pro-Western governments. The same is possible here but the opposition is divided deeply by rival personalities.
An interesting thing is how the protesters and rioters have coordinated. Social networking sites like Facebook and Twitter have been used to communicate and focus on targets. Web 2.0 have allowed for these protests to occur so quickly and degrade into riots quickly as well. In order to curb unrest the government cut internet access.
This is the opposite effect of traditional battles for spaces turned ungovernable between governments and insurgents. In the cases of the 1863 Five Points Riot in New York or 2004 Fallujah, insurgents sought to cut the location and those owning the space off from the outside world by removing communication abilities. The goal in these cases is use choas and momentum to overrun the battlespace owner. Back then in these locations the battlespace owner controlled the communication infrastructure.
Today in the wired world, communication abilities have been democratized. Technology has greatly eased the pains of coordinating large masses. As such, the Moldovan protesters/rioters have shown the usefulness of keeping communication infrastructure intact. This is not total new as French rioters have been known to use cell phones to coordinate in attacks against police. It would be fascinating to see a study which compares the advance of communication tools in the ability of insurgents to make a space ungovernable.
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No recent wiki edits to this page.
This anime is about Shobu Kirifuda. He is trying to become a Kaijudo Master like his father. Duel Masters is a popular game in his hometown and tournaments are held. He has many friends that support him each time he duels.
Shobu gets in trouble with his teacher a lot for bringing his deck to school. He also has to deal with a mysterious guy named Knight. As the show progress, Shobu learns that duel masters isn't just a game, it's a challenge to be the best!
Shobu is the main character in Duel Masters. He kinda has a crush on Mimi. He has the attention span of a rodent, he's clumsy, arrogant, and has a HUGE sense of humor. He's trying to become a duel master.
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Does she like me?
I am shy and there is this girl I really like. She always catches me staring at her and often smiles. Does she know I like her or does she think I am weird? Does she like me?
I don't know if she likes me or is trying to be polite.
What's Your Opinion?
Most Helpful Opinion
• A word of advice here. If you are shy, you aren't going to stand much of a chance. It's just a fact. And if you give it any thought, why should a girl living on a planet with 6 billion other people be expected to wait around for you to muster up the courage to say something when someone else can just walk right up to her and do it? You have to work on your confidence. Women aren't psychic, there's no way she's going to know if you like her if you don't show her or tell her. If you are thinking she might think you are weird, then you are overthinking the situation. Instead of doubting yourself and guessing what she thinks (which, by the way, IS weird), go right up to her and find out. You can pay her a compliment next time you see her to plant the idea in her mind that you are interested in her in some way. Be confident when you say it, say something about what she's wearing or something about the way she looks or something about her personality you like. Something positive, naturally. Then go about your day like nothing happened and see how she feels about it. Just don't procrastinate, the early bird gets the worm. You have nothing to lose. The worse that can happen is she doesn't feel the same way, and if that's the case it's better to know sooner so you can find someone else. It's not the end of the world, you have 6 billion options too no matter what happens, so it's good news all around.
• More vitriol disguised as 'advice.'
What Girls Said 23
• do you guys talk at all? if anything try gettiing her # and hanging out with her.. good luck :)
• She definitely likes you! (:
• dont be shy! find a way to start a conversation with her :)
• if she catches you looking, she was looking back ;)
• well what kind of a smile is it? is it a big smile? or is it a small smile stating that she sees you? if its a big smile then she probly likes you.
• Obviously you don't have that much information to depict the answer to this question, from this little info given I can only depict that she is trying to be polite, because its just a smile, and smiles are free.
• Staring is aggressive, rude and creepy. Learn some manners, she is being polite. How would you feel if someone did that to you? How do you know whether she likes you or not if you don't ask her? Being shy is no excuse but I understand you find it difficult.
• more than likely she thinks you're adorable. there is nothing more complimentary than catching a guy staring at you, unless he's a total creep about it
• If she smiled no she doesn't think that you are weird. If you really want to know if she is interested you should try talking to her more often. Though a simple hi is most likely beneficial for you at this time. Good Luck!
• Have you talked to her often? If she smiles, it could mean she's trying to be nice or kind of likes you. Talk to her more often then you''ll probably know how she feels about you eventually. Good luck!
• She won't think your weired at all, have you ever though that if she catches you looking at her, she must be looking at you.
I hope you've been smiling back at this girl, because if she likes you and you don't smile at her she might think you dont.
Let me let you into a secret I'm in a similar situation and the boy I like when I look he just puts his head down, family who work with him say he's shy but I just wish he'd just smile at me. never mind talk to me.
So next time you see her, smile at her. + I know you said your shy but after a while maybe say hi, but if your nervouse say hi as if your in rush to do something or get somewhere so you won't get embarrased or anything. Belive me please just let the girl know.
hope this helps x
• well I know a guy that does that to me stares a lot I smile at him like she does to you, I really like him and would love for him to approach me but the problem is because he only kind of stares at times and sometimes doesn't even look at me, In my eye's I think he may like me but if he does not enough to want to do anything about it or date me hope this helps :)
• You're really not going to know what she is thinking unless you talk to her. I don't mean confess your feelings straight up but just have a general conversation. Leave some hints like compliment her on how she looks today or how well she did in a subject. I know you are shy but you can't really tell if a girl likes you from just a smile. I think she finds it flattering that you stare at her. I suggest just start by saying hi :)
• This might mean she likes you. A flirting tehnique for a girl to get a guy to notice her is to smile at him breifly when you make eye contact. Guys, obviously, don't get the hint sometimes. (:
• girls don't smile at guys who are weird... and that never changes...
• she likes you, say something, its never funn to know a guy like syou and wonder why he does not do more than stare. GO FOR IT you have nothing to lose :D
• well I think she knows you like her if she always catch you staring at her and I think she could be interested in you so you should go and talk to her
• go for it :D usually if the girl thinks your creepy she usually doesn't smile back, but if she does there might be something there, good luck!
• Every girl like attention. But not the stalker type- so if you don't talk to her soon, its gonna be weird. I think she knows though.
• I can guarantee you that she at least knows that you like her. If she's smiling back, then there is a chance she feels the same way. If I guy I had no interest in was staring at me, I'd be creeped out and probably make a disgusted face at him, but if I liked the guy, I'd smile back.
• i think she likes u
but you have to go talk to her...
that way you know what's on her mind/
girls like it when you give them compliments so give her a compliment
• She probably knows that you like her, and if she smiles back then there's a good chace that she likes you too- I say, approach her, say 'Hi' start a conversation and see what happens. xxxxx
• That's cute! : ) ...Sorry. Anyway, if I was the girl, then it would mean I liked you. It depends what kind of smile. If it's a genuine, happy smile, then she probably likes you. If it's a half-smile, and it only last for less than a second or so, then she probably doesn't like you. Do you smile at her? If you don't, then do. Maybe try and possibly say hi to her, or talk to her, or sit next to her, or something. I'd say she knows you like her, to me, it's kind of obvious if you're looking at her all the time. I don't know if she thinks you're weird, I don't know what you're like, so I couldn't tell.
• She probably likes you because if she knows you are staring at her and looks back and smile it is probable that she likes you you also need to do this: if you see that when she smiles she turns back and kind of blushes its even more probable that se likes you good luck! ;)
What Guys Said 5
• She Likes You! Apparently When She Catches You Staring she is trying to hold the stare DONT BE THE ONE THAT TURNS AWAY FIRST... GO FOR IT!
• umm I would think she probably know that you are intrested in her..if I were you I would go up to her and talk to her ask her how she is doin? depending on her reactions to that if she laughs or giggles that means she really not intrested if she smiles or laughs and sasy good then ask her on a date. GOODLUCK!
• She likes you and wishes you would SAY SOMETHING. I think she posted here a couple of days ago. No, but really, if she is smiling back, she is inviting you to be brave enough to come talk. Do it.
Good Luck,
• That sounds like she may know you like her and she probably does like you. id make a move! set lazers to stun =] good luck!
• She probably thinks you're cute. If she didn't like you, she wouldn't be smiling back at you. Go ahead and approach her and say hi. If you share the same lunch period, sit down and talk with her. Don't let your shyness get in your way, okay :)
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1. Recess, what is that a subject?? if not then science.... :p
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Intelligent blood bags optimize supplies and prevent dangerous mistakes
December 13, 2009
Intelligent, radio-enabled blood bags could monitor blood temperature to avoid wastes and ...
Intelligent, radio-enabled blood bags could monitor blood temperature to avoid wastes and track supplies in real time.
During high-risk medical operations surgeons keep blood supplies at hand so that they are ready to face possible emergencies; but blood bags can only be reused if the cold chain has been maintained, meaning that a portion of such a precious and limited resource routinely goes wasted. To face this problem, researchers at the Fraunhofer Institute in Germany have proposed intelligent blood bags with an embedded a radio chip that constantly monitors temperature and checks for blood type compatibility with the patient, avoiding possible mistakes.
The idea is conceptually simple, although very promising. The main issue that the researchers had to face when putting the idea into practice was to enable radio communication without interfering with medical equipment, which they achieved by using lower-power communication via intelligent radio nodes.
"In contrast to tags that use radio frequency identification, we do not expect intelligent radio nodes to interfere with hospital medical devices," head of the communication networks department at the Fraunhofer Institute for Integrated Circuits Jürgen Hupp explained. "While the transmit power required for RFID tag reading can be as much as two watts, radio nodes only transmit in the milliwatt range."
Another important advantage of communicating with these intelligent radio nodes rather than with RFID tags is that the latter must first be manually activated by the reader, while the former can continuously gather information and independently trigger actions, drawing the necessary power from a battery and relying on a small processing unit to interpret incoming data.
The system is built on a flexible platform, meaning that the radio nodes could be used not just to monitor temperature in a blood bag but also — with the aid of additional information coming from a radio-enabled wristband worn by the patient — to prevent dangerous mistakes by determining whether the blood to be transferred is compatible with the patient's type, sending a warning signal in case of incompatibility.
But the flexibility of the system goes even further. Another application devised by the team is to monitor the location of various medical instruments that are often moved around and are sometimes hard to track. Knowing the exact location of syringe pumps and cardiac monitors at any given time by embedding an intelligent radio node can once again allow for a swifter retrieval and reduce the number of necessary equipment, cutting costs for hospitals and patients.
The project is funded by the German federal ministry of economics and technology and will undergo a six-month test phase set to begin at Erlangen University Hospital in January 2010.
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