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Pivotal GemFire® v9.3 Client Transactions The syntax for writing client transactions is the same on the Java client as with any other GemFire member, but the underlying behavior in a client-run transaction is different from general transaction behavior. For general information about running a transaction, refer to How to Run a GemFire Cache Transaction. How GemFire Runs Client Transactions When a client performs a transaction, the transaction is delegated to a server that acts as the transaction initiator in the server system. As with regular, non-client transactions, this server delegate may or may not be the transaction host. In this figure, the application code on the client makes changes to data entries Y and Z within a transaction. The delegate performing the transaction (M1) does not host the primary copy of the data being modified. The transaction takes place on the server containing this data (M2). Client Cache Access During a Transaction To maintain cache consistency, GemFire blocks access to the local client cache during a transaction. The local client cache may reflect information inconsistent with the transaction in progress. When the transaction completes, the local cache is accessible again. Client Transactions and Client Application Plug-Ins Any plug-ins installed in the client are not invoked by the client-run transaction. The client that initiates the transaction receives changes from its server based on transaction operations the same as any other client - through mechanisms like subscriptions and continuous query results. The client transaction is performed by the server delegate, where application plug-ins operate the same as if the server were the sole initiator of the transaction. Client Transaction Failures In addition to the failure conditions common to all transactions, client transactions can fail if the transaction delegate fails. If the delegate performing the transaction fails, the transaction code throws a transaction exception. See Transaction Exceptions.
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Glossary of Terms From The Gemology Project Revision as of 13:21, 27 March 2006 by Africanuck (talk | contribs) (term glossary) Jump to: navigation, search absorption spectrum: the spectrum pattern of colors, bands, and bars indicating what colors are trasmitted and what colors are being absorbed acicular: means "needle like"; jumbled intergrowths of long, spiny crystals adularescence: a billowing flow of whitish or bluish colors that seem to float along the surface; caused by the diffused reflection of light from parallel intergrowths of another feldspar that has a slightly different refractive index from the main mass anistropic: a stone that shows more than one color; double refractive; stones of all systems except cubic are anistropic asterism: star-like phenomena caused by light traveling along tiny fiber-like inclusions that are perpendicular to the crystal faces; the number of stars depends upon the type of inclusion in the particular variety of stone biaxial: trichroic stones that show two or three colors; all gemstones showing three colors are biaxial but not all biaxial gemstones will show three colors bipyramidal: two pointed ends creating a double pyramid shape; sapphire most often in this shape birefringence: double refraction; breaking up of light rays as they travel through the stone blade: long and flat crystals, sometimes resembling a blade of grass; can grow quite long botryoidal: interlocking, rounded masses that sometimes look like grapes or bubbles bulk diffusion treatment: chatoyancy: the cat’s eye-like phenomenon caused by light traveling down tiny fiber-like inclusions that act like a focal aperture, opening and closing when rotated under a direct light source; only one long ray is created contact zone: the area where intruding magma or hot water contacts the pre-existing rock, where it melts and cools; where many gemstone crystals are formed cryptocrystalline: miniscule crystals so small and compressed that you can't tell one from the other, the mass ending up having no resemblance to the the crystal forms from which it is made crystal: a large formation built upon an orderly arrangement of atoms that, if reduced to its most basic size, will still maintain the same shape that we see in the larger version crystal axes: the direction in which light travels through a stone; that gemstones have more than one axis providing a direction of light travel crystal structure: crystal systems: separated by their various shapes or type of crystalline form: cubic system: the most symmetrical of all crystal systems, with bold geometric shapes; isotropic (single refractive) · cube (6 sides) · octahedron (8 sides) · dodecahedron (12 sides) dichroic: anistropic stones that show two colors; type of pleocroism dichroscopes: instrument used by gemologists to test for pleochroism · London dichroscope · calcite dichroscope diffusion treatment: directional properties: double refractive: meaning a light ray will split into two or more rays as it passes through a stone; anistropic epigenetic inclusions: those that form after the big crystal has finished growing, usually due to a re-heating of the host crystal, when the big crystal gets so hot that part of it melts; new inclusions form inside the re-heated larger crystal after the big crystal has stopped growing flint nodule: fossilized remains of an ancient sea sponge, whose body was almost pure silicon, that was covered up with sediment fluorescence: property of certain gemstones where they are able to slow down ultrviolet rays enough to be visible to the human eye hexagonal system: six equal, parallel sides longer than the ends; uniaxial. inert: having no chance, movement, or reaction igneous rock: rock formed where lava pushed its way to the surface; a source of gem bearing rock imitations: materials used to mimic a gemstone without having the same composition as the stone it is imitating. ex: Synthetic sapphire used to imitate Alexandrite. infrared light: interference/strain colors: evidence of internal strain that appears as rainbow-like colors (primarily reds and oranges) under a polariscope intergrowth: when three or more crystals of the same species grow together and interlock during the formation period isomorphous replacement: isomorphic transition: isotropic: meaning a stone will show only one color; single refractive; stones of the cubic system are isotropic labradorescence: the phenomenon displayed by labradorite (caused by lamelar fromation of lattice structure), which has an appearance of an predominantly bluish or greenish oil slick on water limestone: a mostly calcium carbonate sedimentary rock marble: a metamorphic rock created when a certain type of limestone is subjected to tremendous heat and pressure, usually due to magma intrusion marine fossil: an ancient sea creature which has been preserved in sedimentary rock; flint is an example of a marine fossil massive: no crystal structure metamorphic rock: when host rock becomes so hot and so compressed that it melts and reforms as another mineral; upon cooling the original rock changes its form and becomes another type of rock monoclinic system: crystals look uneven or asymmetrical from any angle, with even the somewhat triangular terminations lacking symmetry; biaxial. opalescence: an opal’s ever-changing pattern of colors, caused by tiny sphere formations of silicon optic character: a stone's property of being either isotropic, uniaxial or biaxial; found by determining how the light travels down crystal axes; common instruments used to determine optic character are polariscope and conoscope optical interference figure: the actual point at which a light ray splits in a double refractive stone and determines whether a stone is uniaxial or biaxial; appears as a cross-hair, bulls-eye, or double arrow figure; common instrument used to view the figures is the conoscope optic sign: orthorhombic system: four equal sides with a distinctive shape, looking like a box that has been crushed from the side; conical termination that looks like a cathedral dome; biaxial pegmatite dike: a place where magma, or sometimes a hot water solution caused by the magma, has pushed into a pre-existing rock phantom crystal: when two crystals grow in the same physical space plane polarized light: light waves moving in one direction on one plane pleochroism: property of showing more than one color or shade of a color polarized: when waves move parallel in one direction; moving toward a pole or axis protogenetic inclusions: those that existed before the larger crystal started growing. The big crystal grows and engulfs another in the process railroad lines: refractive index: rhomboidal: lopsided, having unequal sides and no right angles rock: a combination of several minerals schist: dark rock that forms around a pegmatite intrusion sedimentary rock: rock formed from igneous and metamorphic rock eroding and washing onto the sea floor selective absorption: property of absorbing a particular selection of the white light spectrum single refractive: means that a light ray will pass through a crystal as one ray; isotropic stones (cubic system) spectrum: the band of colors that is emitted by a light source; measured in nanometers (nm) spot reading method: finding the refractive index of a cabochon cut stone by finding where the light in the refracractometer appears as half light/half dark on the reading scale strain/interference colors: evidence of internal strain that appears as rainbow-like colors (primarily reds and oranges) under a polariscope syngenetic inclusions: those that grew at the same time but at a slower rate than the larger crystal in which they are found; the more slowly growing crystal becomes engulfed in the larger crystal and stops growing once inside the big crystal synthetics: Man made gemstones having the same composition as the natural minerals. Lab grown. table: the flat top of a faceted stone tabular: grows as layers that are usually fairly easy to separate tetragonal system: rectangular crystals with four equal sides sides and angles being longer than the ends are wide; uniaxial trichroic: anistropic stones that may display three colors are; type of pleocroism triclinic system: no equal sides or angles; generally form tabular crystals; biaxial trigonal: 6 even sides longer than the ends, with some of the edges smoothed and poorly defined; distinctly flat surfaces on termination; uniaxial. twinning: two of the same species grow together during the formation period; can interlock or grow from the edge outward ultraviolet light (UV): energy in wavelength too short to be seen by the human eye unless they are slowed down; some gemstones under UV display colors very bright and different from their normal colors; harmful to the eyes, protective eyewear a must uniaxial: dichroic stones producing two colors white light: everyday light we see with; a combination of color-related light rays that mix together to generate the white light used by our eyes
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You searched for: “alleviates To make something easier to endure; to make less of a hardship. (2) Word Entries at Word Info: “alleviates alleviate (verb), alleviates; alleviated; alleviating 1. To make something, like pain or hardship, more bearable or less severe: The injection the doctor gave Susan was intended to alleviate the pain caused by her infected tooth. 2. To make easier to endure; to lessen; to mitigate: Jim found that by keeping busy it helped to alleviate his sadness that was caused by the death of his lovable dog. 3. From Late Latin alleviatus, past participle of alleviare "to lighten", from Latin ad-, "to" plus levis, "light (in weight)". To make something physical or mental things easier. © ALL rights are reserved. To make something easier to endure. © ALL rights are reserved. Go to this Word A Day Revisited Index for a list of additional Mickey Bach illustrations. This entry is located in the following units: -ate (to do) (page 1) lev-, levi- (page 1)
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You searched for: “anthropoid 1. Any creature; such as, the gorilla, chimpanzee, gibbon, or orangutan characterized by its resemblance to humans. 2. Resembling a human or an ape. Word Entries at Word Info: “anthropoid anthropoid (s) (noun), anthropoids (pl) Creatures that resemble or like people: Gorillas, apes, monkeys and other similar animals are considered to be anthropoids. anthropoid (adjective), more anthropoid, most anthropoid Resembling or having the characteristics of a person; used especially to refer to the human-like apes, including chimpanzees, gorillas, and many ancient apes: Harry's brother looked more anthropoid than an actual man because of his size and unusually hairy body. Resembling a human being; such as, apes. © ALL rights are reserved. Go to this Word A Day Revisited Index so you can see more of Mickey Bach's cartoons. (Greek: man, mankind; human beings; including, males (man, men; boy, boys) and females (woman, women; girl, girls); all members of the human race; people, humanity)
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The Greatest Guide To hair salon broadway burlingame ca News Discuss  She sensed my hesitation and informed me that she can darken it up. And after she darkened it, I fell in like with my hair! It's totally refined and that's just what I desired! The dark brunette was light-weight plenty of to view versus my black hair and it was http://ricardobrgwm.articlesblogger.com/1475649/the-ultimate-guide-to-curly-hair-services No HTML HTML is disabled Who Upvoted this Story
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Rules of Roleplay Go down Rules of Roleplay Post by Admin on Sun Jan 04, 2015 6:39 pm This will be the guideline of how we expect our members to roleplay here on our forums. I understand each forum is different when it comes to roleplays, so here is just a set of rules so the members understand how things work here. I'm trying to prevent a bloated amount of RP threads, and I believe this is the best way to do it. 1. No Multiple Accounts Every character you play, all the activity you have out of character, in our chat box and on the forums will be designated to one account. This will be easier for you and the administration to search your activities and posts. This is only meant to keep things organized, so we don't guess which character belongs to who. 2. Character Assignment No one is assigned a character for life, so if someone is playing the character you wanted to, it's alright. There is nothing stopping you from starting a roleplay in which you get to play the canon character you want. Just be sure to post your own character sheet for the new roleplay or refer to canon character rules. 3. Roleplay Discussion When starting a roleplay involving multiple parties, you must first post a topic in the Roleplay Discussion Forum; e.g. "Gotham RP Discussion" in RP Discussion forum and "Gotham RP" in the RP thread. Post the premise, accept and decline character sheets, and general out of character discussion should be taken place in that designated thread. Each Roleplay should have it's own set of rules as well, if you allow certain things such as Original Characters or Calling Hits. 4. Character Sheets When creating your character sheets, be detailed so there is little to question about your character, since this is an Original Character Friendly Forum. If the Game Master of the Roleplay is confused it is essentially their responsibility to point out issues they have with your character, but please make it easy on everyone so we know everything about your character and you don't pull something out of your sleeves that isn't on your character sheet. This is a service to all members you play with. 5. Game Masters The Game Master or GM of any RP on the forum should have a set of rules, but as it stands, a GM is responsible for everything in their respective RP. If there is a problem with a member, report it to the Admins and we will take care of the issue. Otherwise, the RP is in your hands, and treat your players with respect. Please refer to Original Character Sheets for Original Character Rules: link. Posts : 2 Join date : 2015-01-04 View user profile http://gothamcityrp.forumotion.com Back to top Go down Back to top - Similar topics Permissions in this forum: You cannot reply to topics in this forum
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You are here Certificate in the Foundations of College Instruction - Courses The certificate is structured to lead students through a three-phase learning sequence. The recommended sequence is: The final course is: Together, these courses work progressively to expose students to the role college teachers play, the requirements they must meet, and opportunities they may have. The sequence helps students develop skills and competencies in a sequenced manner building on previous experience. The recommended pathway to certificate completion is outlined above, however, students may take the courses out of sequence as befits their preferences and studying schedule, although it is recommended that GC 594 (practicum) be taken after GC 593. To see which courses are offered in the current and upcoming term see Schedule of Classes, Graduate College at Certificate in College Instruction Home
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“Ambassador, you’re realling spoiling us!” I was an OS Ambassador from before Solaris 2.0 shipped, and I still have the golden edition signed by Bill Joy to prove it! In my biased opinion, OS Ambassadors has been the most successful of the ambassador programmes, bringing tangible value to the field and engineering alike. Our conferences became a forum for change, and sometimes served as a watering hole for different engineering groups, working on similar projects in total isolation (we were excellent match-makers). As my experience and confidence grew, I became more vocal and more of a driver. When folk like Richard McDougall (who can forget his VxVM vs SDS coin?) moved on to other things and the original Ambassador Group Boards were formed, I joined the leadership team. I too moved on when I joined PAE, but I maintained “honorary ambassador” status until returning to the field. Back in the UK, Chris Gerhard and I started “uk-solaris” as a forum for all with a technical interest in Solaris from various field and engineering roles. At our first meeting we “treated” everyone to Ferror Rocher “chocolates”, which provoked the famous line from one of the cheesiest TV adverts ever (preserved for posterity here). Putting something back My first two putbacks into Solaris were a huge learning experience, and my respect for those who do this kind of engineering day in, day out grew immensely. I’d recommend the experience to anyone who needs a better understanding of the process … • 4991763 getenv doesn’t scale • 5105528 fix for 4915617 breaks simple multiprocess rwlock test case • 5105683 fix for 4915617 should be kinder with uncontended shared rwlocks • 6209711 thread error detection false positives possible with shared mutexes libMicro: we scare because we care In some ways, libMicro was a reaction to LMbench (which Bart Smaalders and I considered unscientific and a pain in the neck), but we really wanted to write a useful tool which could produce compelling data to drive improvements in Solaris. The result has exceeded our expectations dramatically. Not only has libMicro produced data for many “Linux is faster than Solaris at xxx” bugs, but it also kick-started Sun’s interest in the AMD Opteron processor (as well as helping the adoption of SPARC64). libMicro also has the distinction of being one of the first open source projects at hosted under Mercurial on the opensolaris.org collaboration website. It is still used extensively within Sun, and the code has also proven to be a useful reference for those wanting to write multithreaded applications. Today libMicro can be found alive and well here, and even our competitors are using it! PRISM and the patent Before Solaris could have large page support for program text and data, we needed a business case. PRISM stands for Process Relocation in Intimate Shared Memory, and was my first big innovation whilst in PAE. The idea is simple: stop the process, copy a region of small pages somewhere, unmap the source region, remap the source region with large pages, copy the data back, and then allow the process to continue. At the time ISM was the only source of large pages. My first solution used the LD_PRELOAD shared library interposition technique, but quickly moved on to LD_AUDIT interposition because this provides more fine-grained control. Operating at process startup (with the inclusion of an optional dummy malloc() and free() to preallocate the heap before the relocation took place), PRISM generated plenty of useful data to fuel the MPSS and Large Pages OOB projects. It also highlighted the usefulness of local copies of readonly text and data for large scale NUMA machines. The PRISM library helped some of our published CPU benchmark numbers, and so had to be shipped with some versions of our compilers. This triggered the patent filing process, with my patent finally being awarded a year or so later. About five years later, with MPSS and Large Pages OOB in place, I revisited the PRISM idea with Shatter, a tool to break up large pages into smaller ones. This contributed part of Nicolai Kosce’s dataspace profiling initiative (DProfile), which was trying to understand the effect of page colouring on performance. A brief history of threads Before joining PAE (Performance and Availabilty Engineering), I worked with a major european database vendor on their kernel scalability (on behalf of a mutual customer, a leading media company). We were fighting limitations in an aging implementation of Sun’s pioneering two-level thread model (something which became known as “old and broken libthread”). During one of my OS Ambassador trips, I visited Bryan Cantrill and Roger Faulker, and discovered that Bryan had sketched and Roger had prototyped a new implementation based on a one-level model. I then used the customer as the business case for introducing the one level “alternate” implementation in Solaris 8 (under /usr/lib/lwp). By the time I joined PAE, the new implementation had gained quite a reputation for fixing scalability and stability problems with many multithreaded applications. PAE had many fans of the two-level concept, so I found myself immediately in conflict with some of my new colleagues. But I stuck to my guns and was able to win most of them over to the one-level model. I then worked with Roger, Bart Smaalders and others to have make the one-level model the only implementation in Solaris 9. Part of my contribution to this effort was to write the technical whitepaper Multithreading in the Solaris Operating Environment: • The original version on www.sun.com [pdf] • The revised version as presented at SUPerG [pdf] This paper has become a widely quoted document of how we do multithreading, and is still relevant today. Of course, the new thread implementation paved the way for Roger’s 1600 file putback to unify the Solaris process model, making threads first class citizens in Solaris – something Linux may actually never achieve! I don’t consider myself an academic, but I did manage a “Desmond” honours degree in Microelectronics and Computing from the University of Wales, Aberystwyth. It was there that I first fell in love with BSD UNIX (on a VAX 11/750), and there that I saw my first Sun workstation (a 2/120, although I was never allowed to use it). I have since maintained an active interest in the education market, because I feel it is a natural recruiting ground for future Sun employees and customers. Indeed, I have recruited at least three people into Sun from Aberystwyth alone. Over the years I have worked with the Universities of Aberystwyth, Bangor, Bradford, Dundee, Durham, Leeds, Liverpool, Manchester, Oxford, St Andrews, Salford, Warwick and York, most recently on Sysadmin day conferences in Aberystwyth and Manchester. Job rotations An invaluable part of my personal development at Sun has been the SE Job Rotation programme, which was run by Barabara Hill (or “Mom” as she was affectionately known by many of us “on rotation”) … • Siebel scalability and load balancing (MDE, 2 weeks) • Oracle 7 on Solaris x86 and Windows NT (OPG, 2 weeks) • BaaN scalability (MDE, 9 weeks) • Many users project (PAE, 4 weeks) These job rotations gave me the opportunity to learn alongside thought leaders such as Adrian Cockcroft, Allan Packer, Bob Larson, Brian Wong, Dan Powers, Jim Mauro, Mike Briggs and Richard McDougall. They also gave me my first real contact with Solaris engineering, and paved the way for some of the jobs I’ve moved through over the years. The GORB (Giga Object Request Broker) One of the first solutions designed to make full use of the 64 CPUs and 64GB of the Enterprise 10000 … in a single process … using threads. This was a collaborative R&D project with a large telco, which resulted in at least one patent being filed. My role was to deliver the multithreading expertise needed to make this fly. Solving solitaire with a sledgehammer I’m only including this example because it was so outrageous! A government agency was investigating various hardware platforms for (what I guess was) HPC cryptographic applications. Obviously, they were not sharing any of their actual code, but instead specified a number of number crunching challenges for large scale multiprocessors. I took up the challenge of Solitaire with a 16-way E6000 and more than 8GB of RAM. o o o * * * o o o 5 6 7 5 6 7 o o o * * * o o o 2 3 4 2 3 4 o o o o o o o * * * * * * * o o o o o o o 0 1 7 4 0 1 0 2 5 o o o o o o o * * * o * * * o o o * o o o 6 3 1 x 1 3 6 o o o o o o o * * * * * * * o o o o o o o 5 2 0 1 0 4 7 o o o * * * o o o 4 3 2 o o o * * * o o o 7 6 5 Fig.1 Fig.2 Fig.3 Fig.4 Fig.5 In Figs.1-3 a “o” represents a hole, and a “*” a marble in a hole. Thus, Fig.1 shows the empty board, Fig.2 the staring position (32 marbles), and Fig.3 the target end position. My solution was to encode each board position as 33 bits, with 0 for a hole and 1 for a marble. Threads in a worker pool took known board positions from a work pile and found all possible news moves, which were then added to the work pile. Exploiting rotational and reflectional symmetry, each new board position becomes up to eight possible board positions. By coding the 33 bits as shown in Figs.4-5 I was able to make rotation a simple byte swap. Reflection is harder, but only needs to be done once (since the remaining three reflections and be achieved by rotating the first reflection). The really extravagant part was adding an 8GB char array to record board positions that had already been seen (and which, therefore didn’t require to be explored again). The result was a solution in just 2 seconds, with all possible board positions being found within 30 seconds. Sun hardware and my expertise in multithreading has moved on a lot in the intervening years. I’m now itching to try the exercise again on an T5220! The WOT (Wall Of Terminals) The Wall Of Terminals was a high-tech response to something a competitor was doing in their benchmarking centre with 50 dumb terminals, namely showing the state of simulated users during large scale multiuser testing. My design consisted of the following hardware: • a custom built piece of furniture • six dual-headed SPARCstation 5 workstations • two triple-headed SPARCstation 10 workstations • eighteen premium 21 inch Sun monitors and the following software: • scripts for building cloned diskless boot environments for the eight workstations • a CDE application which multiplexed up to 48 DtTerm widgets in one window • a multithreaded application routing up to 864 pseudo terminals across 18 instances of the above • a Java applet to reconfigure the number of DtTerm widgets displayed on the fly, and to select one to zoom The WOT was instrumental in winning a huge MRP deal in the aerospace industry, but also proved very useful as a collection of eighteen X11 screen for displaying just about any benchmark data. My WOT also won an innovation award at the second Sun Technical Symposium in San Francisco.
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Varible Suction Control Why is it important to control the suction force? All Festool dust extractors feature a control that allows you to adjust the amount of air flow, which is typically measured in cubic feet per minute (CFM). The higher the CFM rating, the more air is being moved and the more suction is being created. As a note, larger hoses generally produce higher CFM ratings, all things being equal. Varible suction control So, why is variable suction control important? Different tools have different CFM requirements. For instance, if you are removing larger chips generated by a router or planer, you would want to use a higher CFM and larger hose to ensure that all of the material is being captured. On the other hand, when sanding, you want a lower CFM, and smaller diameter hose to reduce the amount of pressure being created at the point of sanding. Fine dust does not require a great deal of pressure to pick up, and using too high of a setting will actually pull your sander down onto the work and increase the probability of creating swirl marks in your finish. Variable suction control is not a standard feature on most other brands of dust extractors. With a simple turn of the dial, CFM is regulated at the CT. This allows you to increase or decrease suction to match the operation being performed. Use the high setting to capture large chips when routing or planing; use the low setting to capture fine dust when sanding. When using the low setting, you can reduce noise, vibration, and power consumption, making this one of the Cleantex's most touted features.
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Luke / Chapter 22 / V35-38 “Then Jesus asked them, "When I sent you without purse, bag or sandals, did you lack anything?" "Nothing," they answered. He said to them, "But now if you have a purse, take it, and also a bag; and if you don't have a sword, sell your cloak and buy one. It is written: 'And he was numbered with the transgressors'; and I tell you that this must be fulfilled in me. Yes, what is written about me is reaching its fulfillment." The disciples said, "See, Lord, here are two swords." "That is enough," he replied. ”
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Snip, Snip, Summer is Here As you can see from the instagram photos on the right side of the blog, Paley had a big change last weekend. I’ve been meaning to get Paley to her hairdresser up in SF for the past two months. I finally got my act together and booked the appointments. Of coarse half way up to SF, I realized my wallet was back home in another pair of shorts. So luckily the two hairdresser (mine and Paley’s) had two openings next to each other. Several friends asked how did I get her to cut her hair. I explained to her that shorter hair mean’t less knots and less pain combing her hair out every week. She was sold. The chop was a little shorter than I requested but I love it. She and I named it the “Mimi Cut” after her Mimi. I am interested in seeing if the shorter hair will produce an curls. When it was this short before there were ALOT of curls. So far on day 3, nada! There is a slight wave though!
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Deep View of Early Universe Helps Solve the Faint Blue Galaxy Mystery Deep View of Early Universe Helps Solve the Faint Blue Galaxy Mystery Download Options Fast Facts News release ID: STScI-1995-08 Release Date: Jul 24, 1995 Image Use: Copyright About this image One of the deepest images of the sky taken to date with NASA's Hubble Space Telescope reveals a population of faint blue galaxies which turn out to be the most common class of objects in the universe. Their distances are estimated to range from three to eight billion light-years, meaning that they were abundant when the universe was a fraction of its present age, but are rare or harder to find today because they have faded or self-destructed. This picture, in combination with a series of images from the Hubble Space Telescope Medium Deep Survey that covers a larger area of sky, is allowing astronomers to solve the longstanding "faint blue galaxy mystery" by showing the true nature of these dim and remote objects. Deciphering the formation and evolution of these blue dwarf galaxies may provide new clues to understanding the process of galaxy evolution, including the formation of our Milky Way Galaxy. Hubble's high resolution shows that most of these faint galaxies do not resemble elliptical and well-defined spiral galaxies that are common in the present universe. Instead, they have a wide variety of shapes suggesting that galaxy collisions and other interactions were more common in the past. The galaxies are blue because they are undergoing episodes of intense star-formation which produce a lot of young, hot, and blue stars. This picture is a true-color image made from separate exposures taken in blue, green, and far-red light with the Wide Field and Planetary Camera 2. It required a total of 48 orbits around the Earth (amounting to roughly one day of exposure time) to make the observation and detect objects about four billion times fainter than the unaided eye can see (30th magnitude). The image resolution is about 0.06 arc seconds. The image covers a relatively small area of sky - only one tenth the diameter of the full moon - in the constellation Hercules. Cosmology, Deep Fields, Distant Galaxies, Hubble Deep Field, Hubble Telescope, Observations, Survey Credit: Rogier Windhorst and Simon Driver (Arizona State University), Bill Keel (University of Alabama), and NASA
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Fidel Castro’s Painfully Long Finale Anti-Americanism energizes numerous dictatorships. Check the miserable roster. Iran’s noxious mullahs have invoked the anti-American liturgy since 1979. Mass murderers despise America, with Cambodia’s (thankfully deceased) Pol Pot, Serbia’s Slobodan Milosevic and Sudan’s genocidal junta as examples. Three particularly long-lived dictatorships make "America hate" the staple gruel in their propaganda diet: the Assads’ Syrian Baathist regime, the Kims’ gulag of North Korea and Fidel Castro’s communist slum, otherwise known as Cuba. This week, after suffering another bout of illness, Castro announced he is resigning his presidency. Is the slum getting a new landlord? Not really. The world has seen little of Fidel since 2006, when he turned the day-to-day task of running Cuba over to his brother, Raul. Get the pattern: Bashir Assad followed his father, and Kim Jong Il got North Korea from his dad. Hereditary fascism and communism — keep it all in the family, and blame America in the process. Don’t listen to what they say, watch what they do. The America-haters practice the politics of distraction, and the distraction begins with their co-optation of democratic political language. A "presidency" suggests electoral politics and democratic governance. We all know otherwise. Fidel is a dictator, a military monarch with a fatigue cap rather than a crown. He is, however, a consummate spin-meister — the entire anti-American crowd is, to some degree. Media posturing and word manipulation veil their reigns of terror, corruption and crime. Fidel and Raul, like their kaput revolution, are old. Combat fatigues don’t hide Fidel’s paunch. His face sags. He doesn’t look like the future he claimed to be in 1959. In the 1990s, Fidel declared a "Period of Emergency" in Cuba. The emergency still persists. During this long emergency, Cuban agriculture has moved from tractors to oxen; transportation from buses to bicycles. And the Cuban Army (reminiscent of Guatemala?) has become a larger presence in the economy. Yet in his decline, Castro continues to style himself as The True Believer in communism. More likely, he is the last romantic communist revolutionary, faithful despite the ugly reality of national poverty and fascist repression, his own handiwork. International "progressives" — those sad cases — still venerate Fidel Castro. If Raul does indeed become the face of the regime, we may catch something of a break. Raul Castro lacks his brother’s charisma and pizzazz. He isn’t a personality capable of jiving mass audiences with the rhetoric of "hope" and utopianism. Raul, in fact, has the dull snake eyes of a secret policeman who gets his jollies with a truncheon. There’s a reason for that. During his brother’s five decades of rule, Raul has bossed Cuba’s "security apparatus" (i.e., the secret police). Fidel handled the media and manifestoes; Raul commanded the thugs and kept the crumbling jail of an island locked tight. But back to the "progressives." "Progressive" in this sense is another word damaged by Marxist autocrats and various other political authoritarians. For 50 years, the language of leftist "progressives" dovetailed quite well with Stalinism. They gave Red fascism its international political cover. Bad habit explains some of the international leftists’ ludicrous admiration for Fidel. Castro’s real progressive appeal, however, is hatred for America. This is why so many of the old Cold War progressive left quickly became apologists for al-Qaida’s mass murder — Osama Bin Laden has the anti-American bilge down pat. Now, Venezuela’s Hugo Chavez, a former right-wing military officer, claims Castro’s mantle. The anti-Americans love him. Chavez’ "Chavismo" combines machismo, socialism, Caudilloism, populism, anti-Americanism and oil money. Chavez, however, doesn’t command the podium and television cameras like Fidel in his prime. Castro squandered his charisma and political talent; Chavez is squandering Venezuela’s petro-dollars. And what comes next for the failed state of Cuba? Fidel’s painfully long political finale has damaged economic institutions, exacerbated ethnic tensions between "white" Cubans and Afro-Cubans (black and overwhelmingly poor), and created a generation of alienated, disenfranchised youth. Raul’s regency could be a time of transition, as the regime attempts a Chinese communist-like economic liberalization without political liberalization. This will enrich the Cuban Army and Communist Party elites, but do damned little for everyone else. Sign Up
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>> Friday, November 27, 2009 Today, November 27, 2009 is the 88th birthday of my father, FACUNDO EJE Y VALENZUELA. I am already good to be his granddaughter, but I am so gratified of being his youngest. Fifteen rushing minutes before 12MN: and all I can utter to myself is an endless, "I miss you, dad" between my sobbing thought. I have so much to say. I have so much inside. You know the feeling when you’re so much waiting for something and suddenly you realized that you just missed the last bus going home. Erase. I do not think I explained it well. I am bad with explanation, always. P.S. dad, I am culpable of my gibberish stuff. No, they are not really my priorities. God knows. But I am complied to do those. I am sorry. let me repost this entry from my multiply account: "Some fish are sad. And some fish are glad. And some are very very bad. Why are they sad and bad? I do not know. Go ask your Dad!" - Dr. Seuss. But dad is no longer there.(What a terrible advise Dr. Seuss!). I could stumble all over, do my tantrums like a four year old toddler, scream. But no dad will show up. There will be no dad to answer my queries.  I lost my dad when i was 13, or maybe i lost him even before he's really gone. I do not know. That would be another story i'm still not ready to discuss. So i am left with no option but to find the answers myself. I took psychology in college, expecting different theorist will answer my queries. Somehow, it gave explanations with my how's and why's. Psychologist's explanations are actually perfect, but i must admit, i'm still not satisfied. At the back of my head, i'm thinking if Dad got a different explanation. And i start missing him. I start wondering how it feels to be in a father's arms once again,. how it feels to listen to a father's advise. I'm dying to hear from him. There was a time when the mere sight of a family create blue atmosphere in me. I remember when i was a kid, about five or six. During night-time after dinner, i would knock at his bedroom door with a bar of clay in my hands. i would ask him to make something out of it and he would always make me miniatures of farm animals. My dad loves animals. cows, dogs, cats, doves, horses, name it, surely he would love it. He's so fond of taking care of those. and of course, the miniatures were so perfect in my innocent eyes and with my five year old mind then, i thought that when mid night comes. they would come alive. And now, it's been eight years since i last saw him. but 8 years is never enough to heal the pain. to compensate all the longing and missing. I will always miss him. I will always miss the way he sings the happy birthday song. There is something on the way he sings it that makes one so special. Well, i may have good explanations about life right now, thanks to all the psychology and self help books, and also with experiences i had. They taught me a lot about life. but i know, one day, i'll meet him again, and one by one, he will explain to me everything. " Post a Comment this is not about who i am. neither does it matter who you are. these are the pieces of being FREE. of loving and being loved of believing in fairytales and paradise and dragonflies and of not believing. of keeping our FAITH. of rainbow colored sky and black and white and everything in between. thank yous. we will see each other soon. hugs and hundreds of ♥, Related Posts Plugin for WordPress, Blogger... Blog template by simplyfabulousbloggertemplates.com Back to TOP
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Wednesday, July 13, 2005 BOOK: Ernest R. Pope, "Munich Playground" Ernest R. Pope: Munich Playground. New York: G. P. Putnam's Sons, 1941. viii + 260 pp. I often think it would be interesting to know more about how momentous events were seen by their contemporaries, by the ordinary people who were alive at the time when the thing in question was going on. Thus when I noticed an advertisement for Munich Playground on the dust jacket of Curt Riess' Total Espionage, it immediately struck me as a book that I would like to read. Pope worked as a Reuters reporter in Munich for several years before WW2 as well as during the first two years of the war itself. In his view, Munich was a more cheerful and easy-going place than e.g. Berlin; Hitler and other Nazi leaders would often visit Bavaria to relax and have a good time: hence the word “playground” in the title of the book. Pope had many opportunities to observe that the Nazi leaders were not “an awe-inspiring group of ascetic, fanatic, and inhuman supermen” as they were sometimes imagined; “[i]ndeed, their human failings are far greater than those of other national leaders” (p. vii). As can be expected from a book like this (indeed it was probably one of its important selling points), it contains several more or less lurid anecdotes; I have of course no idea to what extent they are true, but after all lurid anectotes may be enjoyed regardless of their truthfulness (or lack of it). To be fair to Pope, it should be pointed out that he does not insist that these stories are true, but often simply presents them as stories told by some other source, or even simply as rumours. For example, there's the rumour that Himmler entered Unity Mitford's hotel room in Nuremberg one night and tried to get into her bed (p. 134). And even: “it was in this room [in Hitler's residence in Munich] that Hitler's niece shot herself—after an unwilling incestual night with her wild-eyed uncle” (p. 138). Ian Kershaw in his recent biography of Hitler is more moderate (Hubris 9 VII): “whether actively sexual or not, Hitler's behaviour towards Geli [i.e. his niece] has all the traits of a strong, latent at least, sexual dependence”; however, evidence about the exact nature of Hitler's relationship with his niece and the causes of her suicide is really too scarce and unreliable to allow any clear conclusions to be drawn. Pope also mentions rumours that Hitler and Eva Braun already got married, but thinks it unlikely because Nazi propaganda strongly promoted the view that “no mortal woman is worthy to become a Frau Hitler” (p. 138). Chapter 10 is about Unity Mitford and her obsession with Hitler and Nazism. Supposedly Unity denounced to the German authorities a number of German citizens whom she overheard expressing critical opinions of Nazism, and saw to it that they were sent to Dachau; p. 133. Pope also claims that her suicide attempt following the outbreak of war was faked (p. 132), “she was found merely unconscious, with a superficial bullet wound” (p. 137). As far as I know, this is quite inaccurate; according to Mary S. Lovell's The Mitford Girls, the wound was in fact quite serious, Unity never fully recovered, and complications from the wound were also the cause of her death in 1948. Himmler supposedly enjoyed “personally administering whippings to the inmates of Dachau Concentration Camp” (p. 154; see also p. 156). When Ribbentrop and Ciano met, “plotting the overthrow of the British Empire two weeks before the war”, since Ribbentrop couldn't speak Italian and Ciano couldn't speak German, they “discussed their intrigues against England in English!” (P. 163.) Pope also mentions “[u]nconfirmed local rumors [...] that Heinrich Himmler on occasion would flush some condemned two-legged game for the Reichsjägermeister” (i.e. for Göring, who was an avid hunter); p. 167. It's not impossible, I suppose; but such rumours often arise during wars. In the 1990s, while the war was going on in Bosnia, I remember reading in a newspaper rumours that snipers involved in the siege of Sarajevo were occasionally joined by pecunious foreign hunters who wished to add a human trophy to their collections. In fact, as long as the “hunters” are taking the same risks as the snipers, I don't see the conduct of such hunters as being inherently any less moral than that of the snipers. The hunter would in effect be acting as a short-term auxiliary or mercenary soldier of some sort. But in Göring's case, if the above anecdote is true, the matter is of course altogether different; firstly the prisoners supplied by Himmler were almost certainly imprisoned unjustly, and besides Göring was simply shooting and unarmed civillians outside of a combat/war-zone situation, so it was really nothing else than cold-blooded murder. And I must admit that, although I am not exactly a fanatical supporter of animal rights, once we agree that such “hunting” of people is simply cold-blooded murder, it's hard to think of hunting of other animals as much better than murder. Just as in the case of hunting a human, it can in no way be said that the contest is equal or fair, nor can it be said that the quarry in any sense deserves to die. Of course this does not mean that I think hunting should be altogether abolished, but it should be reduced as much as possible. For instance, if the population of some species of animals has reached unsustainably high levels, I wouldn't mind if the hunters shoot some of them; otherwise the population will sooner or later reduce itself though disease and lack of food, so in the end many individual animals will be just as dead as if they had been shot by a hunder. But often people with vested interest will claim that a population is excessive even though it in fact isn't, just so they can justify further culling; thus even hunting of species whose populations are unsustainably high should be kept to a minimum and organized so that nobody profits from it (so that nobody has an interest in providing false data to justify more hunting). In a few places, Pope mentiones jokes from the Nazi era, for example this one about a fat and corrupt Munich functionary named Christian Weber. He was visiting a gallery with portraits of Nazi leaders, and was outraged to see that his own portrait made him look like a pig. It turned out, of course, to be a mirror (p. 30). — In my opinion one of the few good things about corrupt and totalitarian regimes is that they are good sources of jokes. I know that jokes are also told about politicians in democratic countries, but they somehow don't seem to have quite the same savour. On the web one can find excellent large collections of Soviet jokes, (e.g. this one), but it seems that German jokes from the Nazi era are much less common. Either there are fewer of them because the period also (thankfully) lasted a shorter time, or there hasn't been as much interest in preserving, recording and publishing them, or there may be a grain of truth in the accusations that Germans have an underdeveloped sense of humour (“German humour is no laughing matter”, as they say; but I doubt it; there may be brief periods of time less favourable to the development of jokes than others, and there may be individual sections of society that are on average less likely to appreciate jokes than others (Victorian-era matrons come to mind), but in general I think that a sense of humour is such a basic and common human characteristic that no nation as a whole can be said to be genuinely deficient in it for a sustained period of time). Anyway, one of the nice things about Pope's book is that it contains at least a few jokes and humorous anecdotes from the Nazi era. See e.g. pp. 215-18, 225-7, 246. A comedian said: “I don't understand why Dachau Concentration Camp is guarded so carefully. It has barbed-wire and high-voltage fences, a moat, machine-gun nests, and very high walls. Yet if I wanted to, I could get inside Dachau without the slightest effort!” (P. 216.) Pope met Lindbergh in 1937; “[m]y conversation with the famous flyer [...] left me convinced that he was no Nazi sympathizer” (p. 205-6). However, it shouldn't be thought that the whole book consists of nothing but lurid rumours. In fact, as a whole it was more neutral than I initially expected. Chapter 13 is particularly interesting as it presents his journalistic work, his efforts to obtain news and other information as quickly as possible; he recounts how he reported on Ludendorff's death (pp. 121-2), conventions of the German “Foreign Organization” (pp. 179-80; the organization included, among others, many German-American Nazi sympathizers), Nuremberg rallies (pp. 188-9), Chamberlain's visit of Hitler in Berchtesgaden (pp. 192-3), the Munich appeasement conference of 1938 (p. 199), the German invasion of Czechoslovakia in 1939 (p. 200). Diplomatic channels are slow and he was sometimes able to provide diplomats with news before they could receive them from their superiors (p. 196). The German people did not wish war, weren't happy about the Czech crisis in 1938 and were extremely happy when Chamberlain's appeasement policy avoided war for the time being (pp. 195, 200). There are several passages showing how important it was to him and the other reporters to be the first to report on a particular story or piece or news; even if just by a few minutes! See e.g. pp. 121-20, 160, 199-200. I must admit that I don't entirely understand this hurry; a newspaper is only published once or perhaps twice a day, so reporting some piece of news a few minutes or even hours late cannot make much of a difference. Perhaps Reuters, of which Pope was a correspondent, also supplied news to radio stations, who might report news many times a day and would thus be more interested in really fresh news. Chapter 15, “Nazi Morals”, is also quite interesting. The Nazi party consciously encouraged the erosion of traditional standards of sexual propriety and morality, realizing that “[a]n unhampered sex life is the outlet least dangerous to the regime [...] It is also the cheapest luxury, requiring no imported raw materials” (p. 231). (Incidentally, this last observation reminds me of the well-known limerick that ends with “Here's one thing the bastards can't ration”. :-)) Many of the Nazi leaders were also themselves inclined towards promiscuity (p. 230). This loosening of the morals particularly affected teenagers and young adults, and was one of the ways in which the authorities tried to attract them to join the Nazi organizations (pp. 229, 236). An unfortunate consequence of this was an increase in sex-related crimes (p. 235) and teenage pregnancy (p. 236-7). The weakening of family ties was partly also due to the fact that people were encouraged to enroll in various Nazi organizations, the activities in which left them little time to spend with other family members; what is more, children were encouraged to act as spies, denouncing their parents if they criticized the regime (p. 229). “The mainspring of Nazi sex policy is, of course, the drive for an increased population.” (P. 239.) This led to the introduction of various laws and taxes which discouraged people from remaining single (p. 239), prohibited contraceptives (p. 237) and abortion (p. 238), etc. Himmler recommended his SS-men that, as bearing children is a woman's “loftiest task”, they should look up women whose husbands have been drafted into the army: “Since their husbands are not in a position to become fathers, offer the women your services in the name of Germany's future.” (P. 240.) However, even if the number of births increased, many babies were weak due to “Nazi food rationing, overworked German mothers, medical malpractice” etc. (p. 242). “Although homosexuality is severely punished, Nazi authorities as yet have failed to legislate against the friendships of women.” Thus, some women, not wishing to have children, “have diverted their libido to their own, safe sex” (p. 242). My own impression after reading this chapter about Nazi sexual morality is highly ambivalent. On the one hand I naturally always approve of any loosening of sexual morality and any removal of obstacles and inhibitions. On the other hand I am always opposed to population growth, and find the Nazis' fixation with child-bearing deplorable, and I strongly disapprove of their persecution of contraception and homosexuality. It is also regrettable that sex has been offered to people as a way of making their lives not better but merely less bad, i.e. to make their miserable lives of long working hours, food rationing, no freedom of political expression, etc., easier to put up with. It always makes me sad to see that a ruling class has found a way to buy the obedience of the exploited lower classes through a simple bread-and-circuses policy, as in this case; it reduces the likelihood that the lower classes will rebel against their regime, but without such a revolt no decent system worth living in can ever be established. It is well known that Hitler was very fond of Lehar's operetta The Merry Widow, but it seems that in Nazi Germany this operetta was usually performed in a version that included generous amounts of female nudity (p. 7). And in 1939, Hitler commissioned a new version of the opera Tannhäuser with extra gratuitious nudity (“a nude girl posing as ‘Europa’ on a bull” and “a living, unclad Leda with her swan”; p. 138). Pope disagrees with the common belief that Hitler was not interested in women; apparently he often had one-night stands with actresses (p. 11-12, 137). The last chapter (ch. 16, “Hitler Breaks His Toys”) shows that there are many signs that Hitler and his regime are unpopular among the Bavarians, who dislike “its Prussian nature” (p. 243), its persecution of Catholicism (see e.g. ch. 6), regimentation of all spheres of life, rationing of food, sending people to war, etc. In fact one of the reasons why Hitler plunged Germany into war was to suppress dissent more easily and to make the people rally behind him, as people are wont to do in times of war even if their leaders are otherwise unpopular (p. 243-4). Anti-Hitler sentiment was also present in the army, both among officers (p. 247) and ordinary soldiers (p. 249). Wikipedia's article on Blitzkrieg mentions that “Though ‘blitzkrieg’ is a German word meaning ‘lightning war’, the word did not originate from within the German military. It was first used by a journalist in the American newsmagazine Time describing the 1939 German invasion of Poland.” Blitzkrieg occurs several times in Pope's book (which was first published in 1941), but one occurrence that I find particularly intriguing is on p. 255, where Pope is quoting a German who was concerned about his sons' fate in the war: “I'm afraid my sons won't be so fortunate in Hitler's damned blitzkrieg!” Perhaps the German did not use the word blitzkried and it was introduced only by Pope when translating the sentence into English; but if it was already used in German, this would suggest that the word has been present in everyday German language in late 1939 when the quoted conversation took place (and the speaker in question probably didn't have access to English-language magazines). All in all, I enjoyed this book a great deal. Except for some of the wilder rumours, much of it seems to be quite reasonable and probably not far from the truth (as far as I can evaluate such things, of course; for example, ch. 15 on Nazi morals agrees substantially with the section “The Politics of Self-Righteousness” in Michael Burleigh's excellent recent book The Third Reich: A New History; a book, incidentally, which I enjoyed immensely, although I hated Burleigh's unnecessarily pompous and ostentatious vocabulary and his evident relish in airing his conservative political opinions). Perhaps I should read some of William Shirer's books at some point — he was another American journalist who worked in Nazi Germany for many years and later wrote several very well known books about subjects related to WW2 and Nazi Germany. And when it comes to journalists' memoirs from the Nazi period, I'll certainly have to read Bella Fromm's Blood and Banquets at some point. Alas, so many books, so little time. It seems that not very many web pages mention Pope. According to this one, he was born in New York City on March 17, 1910; according to this one, he studied at Cornell and died in Bonita Springs, Florida, on October 4, 1995. Blogger Michael M. said... From the books I've read, German humor towards the end of the war was (logically enough) very dark and morbid. I've read a few examples, but the only thing that comes to mind now is that Berliners used to joke that LSR (Luftschutzraum) stood for "Lernt schnell russisch." I'd also like to see a collection of jokes from that period, if only out of curiousity. For what it's worth, Die Brennessel was a Nazi "humor" magazine, albeit totally void of humor... So it probably doesn't count. Nevertheless: great post. Great review. Tuesday, July 19, 2005 12:32:00 AM   Blogger ill-advised said... Thanks for the praise :-) as well as for the link to Die Brennessel. I agree that it isn't particularly funny. I think we should distinguish between government-sponsored attempts at humour (which tends to be really just thinly veiled propaganda), and the jokes told amongst the people in private, which may indeed be dark and morbid (if the situation is bad; but then I like dark and morbid humour anyway), but are also quite likely to be funny (because people told them to cheer each other up and make the situation feel a little more bearable). Obviously jokes of the latter sort couldn't appear in a Nazi-era print publication; but after the war they might be still collected from memory or oral tradition and then published. Wednesday, July 20, 2005 1:15:00 PM   Post a Comment << Home
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Skip Navigation Desert Archaic Culture archaic life New ways of living ancient handprints Handprints left behind thousands of years ago by people of the Archaic culture. Around 6500 B.C., whether new people moved in or the culture just changed, a new culture appeared in the archaeological record. Scientists call this the Archaic Culture. By then, the climate was warmer and drier—much like it is today. People had developed new strategies for living. What was life like? The Archaic people moved around to different areas to gather foods at different times of the year. For shelter, they used brush shelters and caves. Danger Cave, Cowboy Cave, and Hogup Cave all have evidence of Archaic use. If a family group wanted to stay put for a while, they might stay put in pithouses they had built. They also made and used new technologies.  For example, they made a variety of smaller, fluted spear points. They used a spear-thrower called an atlatl to help them throw spears faster, more powerfully, and more accurately. Toward the end of this period, hunters began using the bow and arrow for hunting, which was even more effective. The Archaic people also gathered plant foods, using baskets they made. They ground wild seeds using a mano and metate. (Mano= a grinding stone. Metate=the grinding platform). What did they leave behind? paintings of figures on sandstone These Archaic rock art figures (found in Range Creek) are called Barrier Canyon Style pictographs. Basically, the Archaic people knew very well how to survive. Archaeologists have found Archaic sites all over the state, in every kind of environmental condition, from high mountain areas to the West Desert salt flats. These people knew how to get food and thrive wherever they were. Archaeologists have found baskets, grinding stones, and nets for catching fish and rabbits. At Hogup Cave, near the Great Salt Lake, they have found the remains of deer, antelope, mountain sheep, and elk, 32 species of small mammals, 34 species of birds, and 36 different kinds of plants.  Obviously, these people had a varied diet. Archaic people also left behind split-twig figurines (little deer or sheep made out of twigs) and ghostly pictographs (rock art). These may be clues into the complexity of their culture and religion. Do any cultures in the world today have similar kinds of lives? Play a game to test what you know about Archaic technology.
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dewa poker Thread Rating: • 0 Vote(s) - 0 Average • 1 • 2 • 3 • 4 • 5 Replica Rado Original Automatic Jubilé R12 697 71 3 watch at fashiontimewear [Image: GREUBEL%20FORSEY%20watch%2024%20Contempo...20Dial.jpg] Discount GREUBEL FORSEY replica Watches price Introduction GreubelForseyDifférentield'Égalité Différentield'Égalité is one of the latest achievements of Greubel Forsey's experimental observation technology program. Greubel Forsey is the manufacturer of some of the most exotic high-end watches on the planet and has had an in-house R&D department for many years. The latest introduction to the experimental observation technology plan is the first technological evolution proposed in 2009: a constant force device, starting from remontoired'égalité. Why is this watch important? Différentield'Égalité is an example of some tradition of horological experiments: the study of a means by which constant energy can be transmitted to the escapement. The edge is the first known escapement that is very sensitive to power variations and is usually paired with early constant force devices such as fusee or stackfreed. A more complicated but more complex remontoire is another example, and the variant of the device is one of the most interesting mechanisms in richard mille sapphire watch replica Preliminary idea The mainspring in the watch is like a spring that powers a clockwork toy; it provides less and less power as the spring unfolds. In a clockwork toy car, the car slows down; in the watch, the balance passes through smaller and smaller arcs. In theory, the balance and the spring are isochronous - that is, the size of the arc should not be different - but since no real watch achieves the perfect performance of the theoretical system, the balance of health and stability is still a modern watchmaking The goal. The remontoire solves this problem by placing an auxiliary small mainspring on one of the wheels of the gear train. This second spring is much weaker than the mainspring, which periodically rebounds. The first remontoire in the watch was invented by the famous British Observatory timer manufacturer John Harrison, who used it in his second experimental ocean clock, H2. His fourth ocean clock, H4 (usually considered the first successful voyage observatory, and tested at sea in 1761 and achieved amazing results) recounted in remontoire every 7.5 ULYSSE NARDIN replica Watches The remontoire is a clever, if exquisite and demanding mechanism, but it does have an objection against it, which is that it still does not provide perfect even torque. This is where Différentield'Égalité comes in. Différentield'Égalité contains a mechanism, as Stephen Forsey described to me, "remontoire class" says "however it does the traditional remontoire (if there is such a thing) does not do it: it is 擒Vertical and balanced provide perfectly uniform energy. For this reason, Greubel Forsey has developed a differential system that receives an energy input from the gear train but has two output paths. The remontoire spring returns once per second; one output path goes A hop second hand whose motion reflects a one-second rewind interval (FP Journe Tourbillon Souverain is another example of a watch with a one-second remontoire-like jump or second hand). The other output path provides energy for escapement and balance; on this output path is a smaller conventional seconds hand display that advances each advance of an escapement tooth by one increment (in other words, how it works) Similar to the second hand in a traditional watch). You can see that the remontoir spring and the differential are partially exposed in the center of the dial.Hublot MP Limited Editions Complications replica Watches The completion of the front and back of Différentield'Égalité is as perfect as what we expected from Greubel Forsey (well, nothing that exists is flawless, but if anything exists exists in its hair, It may be a Greubel Forsey watch, judged from the perspective of quality. I think this is a very cool watch. Remontoire is a problem encountered by a few companies, because in general, it does not have much impact from a practical point of view - the modern lever escapement is equipped with a modern alloy balance spring, which is well constructed and adjusted in the watch Aspects are more advanced than optical terms. Watch in the days of the invention of remontoire. However, Greubel Forsey's watchmaking experiments - the 24-second tourbillon, the tilted tourbillon, and the tilt balance (such as the tourbillon found in Différentield'Égalité) are all about exploring the most extreme possible improvements in mechanical timepieces. (It's worth noting that these experiments were performed without relying on silicon.) In my already highly accurate system, there are some great improvements in distortion performance, if you have a similar idea, Différentield'Égalité It's a piece you won't want to miss. I hope to get more specific information on how the difference will work to some extent in the near future.Hublot MP Limited Editions Complications replica Watches Brand: Greubel Forsey Model: Différentield'Égalité Diameter: 44mm Thickness: 15.3mm Case material: white gold Dial: multi-layer; synthetic sapphire hour ring Index: paint plating growth hour index; engraving and paint minute index and no gap seconds index Lume: hour and minute hands Waterproof: 3 atmospheres / 30 meters Strap/Bangle: Hand-stitched crocodile leather with white gold folding clasp Function: hour, minute, running seconds, no beat/jump seconds Diameter: 36.4mm Thickness: 9.99mm Power reserve: 60 hours Winding: manual Frequency: 21,600 vph Jewelry: 47 Additional details: with spherical constant force différentiel 'alalité; remontoire springs are wound once per second, with 24 parts and 3 satellites. 30o tilt, fixed escapement with black polished balance wheel bridge. Nickel/German silver main board; nickel-silver bridge, flat black polished gold plate and round polished gold plate. fashion Rado Original replica Watches [Image: 905.ND.0001.RX.jpg] Forum Jump: Users browsing this thread: 1 Guest(s)
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UC Berkeley Institute of Personality and Social Research Many IPSR members maintain active laboratories that are engaged in research related to the IPSR mission. A number of these laboratories are described below along with links to their websites. Affective Cognitive Neuroscience Lab The Affective Cognitive Neuroscience Lab focuses on the brain basis of perceptual and attentional function, in particular mechanisms underlying the prioritized processing of emotionally salient stimuli, face processing, fear conditioning, and individual differences in cortical and subcortical function. Berkeley Personality Lab The Berkeley Personality Lab conducts research that focuses on personality, self-perception, and individual differences in emotion regulation. Berkeley Psychophysiology Lab The Berkeley Psychophysiology Lab seeks to understand the nature of human emotion in terms of its physiological manifestations, variations associated with age, gender, culture and clinical pathology, and the role emotion plays in interpersonal interactions. Berkeley Social Interaction Lab The Berkeley Social Interaction Lab focuses on emotion, morality, power, and culture. Emotion & Emotion Regulation Lab The Emotion & Emotion Regulation Laboratory at Berkeley seeks to understand emotion and emotion regulation through (a) Laboratory studies; (b) Diary assessments; (c) Implicit assessment methods; (d) Behavior assessments (e.g., coding of facial expressions); and (e) Measurement of physiological responses (e.g., blood pressure, heart rate). Emotion and Social Interaction Lab The Emotion and Social Interaction Lab studies how emotions help (and hurt) us in everyday life by examining the ways in which emotions influence social interactions, decision making, memory, prospection, and goal-directed behavior. Golden Bear Sleep & Mood Research Clinic The Golden Bear Sleep and Mood Research Clinic is dedicated to improving treatments for insomnia and other sleep disturbances, as well as bipolar disorder and depression in teenagers and adults. Knight Lab The Knight Lab is a cognitive neuroscience research laboratory within the Helen Wills Neuroscience Institute and the Department of Psychology at UC Berkeley. Micro Lab Studying the extraordinary impact of our ordinary, everyday nonverbal behaviors. Mills Longitudinal Study The Mills Longitudinal Study is a 50-year investigation of adult development that has followed a group of women (now in their early 70's) since they graduated from Mills College. Relationships and Social Cognition Lab The Relationships and Social Cognition Lab focuses on the psychology of human relationships, including friendships, romantic relationships, and intergroup relationships. Self, Identity and Relationships Lab The Self, Identity, and Relationships Lab focuses on: (a) Self, identity, and close relationships, and (b) Social Power. The Experimental Social Science Laboratory is used to conduct behavioral and social experiments at UC Berkeley's Haas School of Business.
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legal disclaimer The information on this web site is provided "as is" without warranties of any kind either express or implied. Due to the nature of the Internet, ISCA UK Ltd cannot guarantee the accuracy of the information contained in this website or its suitability for any purpose. All recommendations for handling, storage or use of products, whether given in writing, orally, or to be implied from the results of tests are based on the state of ISCA UK Ltd’s knowledge at the time such recommendations are made. Notwithstanding any such recommendations, you as the user of such products must make your own determination and satisfy yourself that the products supplied by ISCA UK Ltd and the information and recommendations given by ISCA UK Ltd are (I) suitable for your intended process or purpose, (II) are in compliance with environmental, health and safety regulations, and (III) will not infringe any third party's intellectual property rights. Material on this site may contain technical or other inaccuracies, omissions, or typographical errors, for which ISCA UK Ltd assumes no responsibility. Material may be changed or updated without notice. Any information communicated to ISCA UK Ltd through this site becomes the exclusive property of ISCA UK Ltd, which is entitled to use any such information for any purpose without restriction or compensation to any person. Links to other internet sites ("hypertext links") are included as a convenience to our visitors. When you access a linked site, you are accessing an independent site over which ISCA UK Ltd has no control. The presence on this site of linked sites does not mean that ISCA UK Ltd endorses or accepts any responsibility for the content or presentation of linked sites. In no event will ISCA UK Ltd be liable to any party for direct, indirect, incidental, special, punitive or other consequential damages resulting from any use of this web site or of the information made available on it, or on any other web site accessible through a link or hyper link, including, but not limited to, any loss of business, loss of profits, loss of data, or loss of use.
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I’m working with a Raspberry Pi for a project. For my “Hello World” project, Raspberry Pi edition, I set up a LED and programmed it to blink. For a part of the main project, I had the Raspberry Pi read words in the lovely robot voice of espeak. I thought what so many people before me have: Can I put these two together? Can I make that little LED blink with the words? The files are generated using Linux’s text-to-speech program, espeak. Something like this: echo "This American Life" | espeak -w tal.wav I want to blink a LED along with the audio. The first issue is splitting the audio output between the speakers and my light-blinking program. Note to self, the tee command is cool My first idea involved tee, a nifty UNIX command that I never remember when I need it, but do remember when I don’t. tee can be used to split a command’s output into two outputs. In this context, I could use tee to send espeak’s data to both aplay and my visualizer. But since I can compute the visuals faster than the audio plays, and tee would send the file all at once to both aplay and the visualizer, the audio and visuals would be out of sync. Uncool! At this point, I searched for prior work on the internet (a benefit of being unoriginal!) It led me to a strategy involving Python’s built-in wave, which can read WAV files, and PyAudio, which can play audio through Python. PyAudio provided a nice starter script on its site, that provided most of the code for this project. The basic strategy is: 1. Read a part of the WAV file using wave. 2. Process that data to determine how bright to make the LED. 3. Update the brightness of the LED. 4. Pass the data to PyAudio to play. Or in code, the gist is (based on that lovely starter script) CHUNK = 1024 wf = wave.open(...) # WAV file stream = ... # Set up PyAudio's output stream data = wf.readframes(CHUNK) # Read a part of the WAV file while data != '': do_something_with_the_light(data) # Make the LED do something stream.write(data) # Play it (blocking) data = wf.readframes(CHUNK) # Read the next part of the file An aside: Chunk size If the CHUNK number is too small, the inside of the while loop takes longer than the sound part I read, and it sounds gross and choppy. If the CHUNK number is too big, I get fewer points where the visuals and audio are in sync. Do something with the light I found an example online that converted the data from wave into a numpy array. data = wf.readframes(CHUNK) def do_something_with_the_light(data): array = np.fromstring(data, dtype=width) And now I had numbers! Meaningless numbers I got this far without having to remember or learn anything about signals or audio. Now I had this meaningless array of numbers, which I wasn’t even sure if I had decoded properly. I took a step back and learned a few things. I started by trying to make sense of PyAudio stream initialization arguments, format and rate. stream = p.open(format=p.get_format_from_width(wf.getsampwidth()), # ??? channels=wf.getnchannels(), # mono or stereo rate=wf.getframerate(), # ??? Recall physics, and then digitize it Sound is a vibration and can be represented by a waveform. In one version, the x-axis is time. The amplitude of the wave is how loud it is. I need some way to measure this to determine how bright to make the LED. Artist’s interpretation of sine wave: sine wave WAV files use a bitstream to represent a waveform. A bitstream is, uh, a stream of bits, like 01010010. WAV uses a strategy to represent the wiggly waves in bits, and I want to turn it back into a waveform in order to access its amplitude. Part 1: Frames, a sample of an amplitude One way to represent audio signals is pulse-code modulation, where you sample the value of the amplitude at uniform intervals. I imagine it as something like this: equally spaced samples There’s only one highlighted point per column, and the point might be rounded up or down (I think this is quantization). Then I can represent this whole waveform in a list of numbers, like [4, 1, 0, 2, 6, 7, 4, 1, 0, 2, 6, 7, 4, 1, 0, 2] In Python’s wave, each amplitude sample, like 4, is called a frame. In the code, wf.readframes(1024) gives me the amplitude of 1,024 samples. For my project, I want to average the amplitudes of these samples to determine the brightness. So close! First though, I need to make sense of the raw data of wf.readframes(1024). Part 2: Sample width, how each sample is represented Pulse-code modulation WAV represents waves as a list of numbers in a stream of bits. The amplitude samples above looked like [4, 1, 0, 2, 6, 7, ...]. Let’s say I want to send you these numbers as a bitstream. First, I’d change [4, 1, 0, 2, 6, 7, ...] to bits, like 100 001 000 010 110 111, and I’d ditch the spaces and get something like 100001000010110111. When you start getting the stream of bits, 100001000010110111, you’d want to know if you should read it as 100001000 010110111 or 100 001 000 010 110 111 or something else. So I’d tell you ahead of time that each number is represented by 3 bits. Similarly in wave, wf.getsampwidth() tells me the sample width in bytes. To be honest, I still don’t completely understand this part, because I’m not sure what those bytes represented. Are they signed, unsigned, or a float? Is this noted in the file, or in the specification? Instead of looking into it too much, I peaked at how PyAudio did it. PyAudio also needs to know this information to build its stream. In the demo code, it uses p.get_format_from_width(wf.getsampwidth()) to get a PortAudio format, like pyaudio.paInt16. I cheated a bit, and added a mapping based on this: if pyaudio_format == pyaudio.paInt16: width = np.int16 sys.exit("add a mapping from this pyaudio format to numpy type") np.fromstring(data, dtype=width) Part 3 (bonus): Rate, or how wide the uniform intervals are At this point, I actually know enough to make my light blink. But for completeness, let’s talk about rate. In Part 1, I got a list of amplitude measurements across 1,024 points. WAV doesn’t store the x-values of all these points. Instead, it notes the number of samples per second, or how wide those uniform intervals are. wave gives the number of samples per second with wf.getframerate(). My file was 22050. Empowered with knowledge, onward I go! Back to my function: def do_something_with_the_light(chunk_data): data = np.fromstring(chunk_data, dtype=width) Now I knew what data I was getting. It represented the sound with 1,024 int16 numbers that represented the amplitude of the waveform. In the real world, it represented approximately 1/20th (or 1024/22050) of a second of sound. So I should be able to graph it! Graph of robot voice sound wave The last step is turning that wiggly line into how bright the LED should be when playing this sound bite. A higher amplitude means the sound was louder. I’m sure I could spend a lot of time on this (how do humans perceive differences in loudness and brightness?), but instead, I took the mean of the absolute value and scaled it to a percent for the LED. And it kind of looked okay! The light blinked along with the sound! And I learned a tiny, tiny bit about audio file formats. See Also
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Thursday, November 4, 2010 what to NEVER eat after you workout My partners over at Prograde have just released a shocking 39 page special report. Not only is it eye-opening info, but it's absolutely FREE. Which is absolutely stunning because they should be charging for it. And who knows? Maybe they'll start to, but for now you don't have to pay so be sure to rush over to this link below and get your copy. Here's just a taste of what you're going to discover: Why your workouts might just be a complete waste of time How your body is literally being ROBBED of the results you're working so hard to obtain What you should NEVER eat after your workouts And much, much more... Here's that link one more time: To Your Health, John Hall NSCA-CPT No comments:
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A friend of mine asked for a custom website, so here I am, writing a custom cms. I know, there are plenty of systems out there that would handle his needs, but it’s also a good excuse to play around with CakePHP 3, so here we are. For the lazy, the codebase we’ll be working on will be available on GitHub. I will be pushing each set of changes on the date when each blog post in this series is published. No cheating! Emailing in the Background One thing you may notice is that sending the “forgot password” email causes the site to slow down. There are a few things to think about here: • Users will get upset if their requests don’t complete “instantly”. • Google will actually penalize slower sites in their rankings • If you perform more work in a web request, those requests can build up, potentially allowing users to DDoS you. Overall, it’s pretty jank to send emails in the foreground. We’ll instead queue the messages to be sent in the background using the josegonzalez/cakephp-queuesadilla plugin which is included with the josegonzalez/app skeleton we are using. CakePHP does not yet have an official queueing library, though we hope to have one soon. My hope is that it will be a slightly repackaged Queuesadilla. Creating a Job class We’ll start by creating a generic MailerJob class in src/Job/MailerJob.php. Here is the contents of that file: namespace App\Job; use Cake\Log\LogTrait; use Cake\Mailer\MailerAwareTrait; use josegonzalez\Queuesadilla\Job\Base as JobContainer; class MailerJob use LogTrait; use MailerAwareTrait; public function execute(JobContainer $job) $mailer = $job->data('mailer'); $action = $job->data('action'); $data = $job->data('data', []); if (empty($mailer)) { $this->log('Missing mailer in job config'); if (empty($action)) { $this->log('Missing action in job config'); $this->getMailer($mailer)->send($action, $data); Briefly, we’ll go over this: • Jobs can be either functions, static methods in classes, or instances with a method that we execute. We are going for the instance methodology. • When a job method is executed, we pass in a JobContainer which has access to the relevant job data. • We still use the MailerAwareTrait so that we can reuse our Mailer classes. • The MailerJob::execute() method has been made generic so that we might be able to reuse this job for other cases where we’ll send email. Queuing the MailerJob This is relatively simple. We’ll start by removing all MailerAwareTrait code from our UsersListener. In particular, remove the following use statement: use Cake\Mailer\MailerAwareTrait; As well as the following from within the class: use MailerAwareTrait; * Default config for this object. * @var array protected $_defaultConfig = [ 'mailer' => 'User', At this point, you should add the following use statement to the top of the class: use Josegonzalez\CakeQueuesadilla\Queue\Queue; Finally, we’ll update UsersListener::afterForgotPassword() to actually enqueue the job: * After Forgot Password * @param \Cake\Event\Event $event Event * @return void public function afterForgotPassword(Event $event) if (!$event->subject->success) { $table = TableRegistry::get($this->_controller()->modelClass); $token = $table->tokenize($event->subject->entity->id); Queue::push(['\App\Job\MailerJob', 'execute'], [ 'action' => 'forgotPassword', 'mailer' => 'User', 'data' => [ 'email' => $event->subject->entity->email, 'token' => $token, A few things: • Queue::push() takes two arguments, a callable and data for the job. • Our callable should include the fully-namespaced class name and the function being invoked, so ['\App\Job\MailerJob', 'execute']. • Our MailerJob requires an action and a mailer to be specified, so we pass those in as data, and also send in the user’s email Finally, we need to update our UserMailer::forgotPassword() signature so that we only need the email and not an entire user object. * Email sent on password recovery requests * @param array $email User email * @param string $token Token used for validation * @return \Cake\Mailer\Mailer public function forgotPassword($email, $token) return $this->to($email) ->subject('Reset your password') 'token' => $token, Before testing this, one thing that we’ll need to do is make sure that we have specified a full base url for all environments. CakePHP will normally retrieve this from the current request, but cannot do so in a CLI environment. As such, we’ll need to add the following to line 17 of our config/env.php: 'App.fullbaseurl' => 'App.fullBaseUrl', Now we can set the APP_FULLBASEURL environment variable and have it properly scope all of our urls. Newer installs of the josegonzalez/app skeleton will not need the above change to your config/env.php file. Lets save our changes: git add config/env.php src/Job/MailerJob.php src/Listener/UsersListener.php src/Mailer/UserMailer.php git commit -m "Send emails via a background job" Running Jobs To run a job, we’ll need to first create the requisite tables. Queusadilla can use a variety of backends, though we are defaulting to the PDO backend for ease of use. Let’s run the migration for that: bin/cake migrations migrate --plugin Josegonzalez/CakeQueuesadilla Now we can just run the default queue: bin/cake queuesadilla And we’re done! For those that may just want to ensure their codebase matches what has been done so far, the codebase is available on GitHub and tagged as 0.0.18. We have no sped up our slowest endpoint by over 9000, which is great because I’m pretty sure the scouter is broken. For our next post, we’ll do a bit more minor cleanup of our admin panels. Be sure to follow along via twitter on @savant. If you’d like to subscribe to this blog, you may follow the rss feed here. Also, all posts in the series will be conveniently linked on the sidebar of every post in the 2016 CakeAdvent Calendar. Come back tomorrow for more delicious content.
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Kyte's key Features About Us Kyte is an intelligent SMS inbox. Our machine learning algorithm automatically filters spam and brings out only the relevant information right when you need it. We are a bunch of geeks from Powai, on a mission to use technology to solve India’s problems. Besides coding and designing awesome products we love to travel, hike and play squash. Think you can contribute? Write to us at
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Blocking Comment Spam If you run a blog, you will get hit by comment spam. In many cases, you can use filtering services like Akismet to block spam. But If your blog is on a low-end server with a small pipe, like mine is, then this is not ideal — you have to receive each spam comment, forward it to Akismet, then receive the response from them. I will show you how to block a significant amount of spam using mod_security. 1. A word about referer spam 2. Install mod_security 3. The anti-spam rules A word about referer spam First, you should check your logs to see if you get referer spam (Google it if you don't know what it is). Referer spam is much easier to identify at the HTTP level than comment spam, and by dynamically blocking IP addresses that send you referer spam, you will as a side effect block a significant amount of comment spammers as well. It seems that comment spammers and referer spammers often use the same zombie machines. Please read my tutorial on blocking referer spam for information on how to detect referer spam and add spammers to an IP blacklist in real time. Install mod_security First, you need to install it. This article is not a guide for installing Apache or mod_security, so please consult other resources if you need help on that. In CentOS and Fedora, you can get mod_security as an Apache module just by doing # yum install mod_security and restarting Apache. For other distros, consult Google or the documentation. This guide is for mod_security version 2 or higher. The anti-spam rules Below you will find the rules I use to block comment spam. Of course, every blog is set up differently, so let me take a second to explain the setup of my blog. The blog is at This page displays blog posts and comments. When a user attempts to post a new comment, the POST action is set to /post/comment_post.php, which processes the request and redirects the user back to /zhanga. We can write some simple yet effective rules based on just these facts. First, initialize a collection to track how spammy this IP is. (This block of code is also used in my blocking referer spam guide. You should only include it once in the configuration file.) For more information on exactly what is going on here, consult the mod_security documentation. Basically, each IP has a spam counter which gets increased if we detect spammy requests, and slowly decremented every day. Requests are dropped for any IP with >15 points. Note that how often and how much to decrement the counter, how high the threshold for blocking is, and how many points to assign to each spammy request is entirely up to you. Generally you will want to assign higher point scores to rules that have little or no chance of being a false positive. # Make sure to clear the default action SecDefaultAction phase:1,pass # Initialize collection and deprecate by 3 points per day (86400 seconds) SecAction phase:1,initcol:IP=%{REMOTE_ADDR},deprecatevar:IP.spam=3/86400,nolog # If there are already >15 spam points for this IP, then drop # the connection and add 1 point (instead of 3, as below). SecRule IP:spam "@gt 15" phase:1,setvar:IP.spam=+1,drop,setenv:spam=spam If the client is trying to access comment_post.php, and also claims that page is its referer, then it is either horribly broken or a spammer. Some spammers do this to get around referer filters, however on my site this script never refers itself. Assign 15 points to IPs who do this. SecRule REQUEST_URI "^/post/comment_post\.php" chain,drop SecRule REQUEST_HEADERS:Referer "/post/comment_post\.php" \ If the client is trying to access comment_post.php, and also claims to be referred from some URI outside of my domain, then it's spam since no domain can legitimately be posting comments to my blog. This regex matches referers that begin with http:// not followed by (optionally prefixed by www.) — we can't block empty referers because that would block many legitimate clients. Assign 20 points to IPs who do this: SecRule REQUEST_URI "/post/comment_post\.php" chain,drop SecRule REQUEST_HEADERS:Referer "^http://(?!(www\.)?icydog\.net/)" \ Some broken bots will try to POST to URLs like /zhanga/2004/05/post/comment_post.php?page=20040516 (which doesn't exist) and /zhanga?msg=Thanks+for+commenting.. These are never legitimate POST targets because no forms on my site point there. Block these and assign 16 points to any IP who tries: # There is no reason to ever POST to anything under /zhanga. SecRule REQUEST_METHOD "^POST$" chain,drop SecRule REQUEST_URI "^/zhanga" setenv:spam=comment,setvar:IP.spam=+16 Happy hunting!
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Luke Ball June 10 - August 3, 2016 Luke Ball is an accomplished artist who explores a broad range of techniques in his drawings and prints: pencil, ink, collage, etching, photolithography, lino cutting, screen printing, and more.  Ideas of persona, character and identity dominate his work, especially as they relate to masculinity. Ball received his BFA in Printmaking from Emporia State University; he is pursuing his MFA at the University of North Texas in Benton, Texas while spending most of his time in Kansas City.  His work questions cultural customs and social expectations through an exploration of concepts related to American culture, symbolism, masculinity, place, and his personal experience.   “I create images of isolated and desolate environments which are home to structures that hint at the presence of their creators, but never reveal them.  Elements from my everyday life populate my work.  The objects adorning these landscapes, such as muscle cars, rudimentary wooden scaffolding, construction materials, and domestic objects, are expressions of my personal visual vocabulary.  My work is a symbolic depiction of the social and cultural spaces we occupy in life.  These images explore the decay of social ritual; in particular, how the classic social expectations associated with men are being left behind.” “My work usually takes the form of prints or drawn collages.  I am interested in connecting the material process to the content of the imagery. Among print processes, I am drawn to etching as a means of connecting a real metal object, the etched copper plate, to the objects in the imagery.  The etched line allows for precision and delicacy, but also relates to the act of corrosion.  The drawn collages allow me to literally construct the image from a set of objects; much like the structures I depict would have to be built in the real world.”
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Read Las ilusiones perdidas by Honoré de Balzac Free Online Ebook Las ilusiones perdidas by Honoré de Balzac read! Book Title: Las ilusiones perdidas Loaded: 1527 times Reader ratings: 6.3 The author of the book: Honoré de Balzac Edition: DeBolsillo Date of issue: May 2010 ISBN: 8499086780 ISBN 13: 9788499086781 Language: English Format files: PDF The size of the: 440 KB City - Country: No data Read full description of the books: Posiblemente la Obra maestra de Balzac, Las ilusiones perdidas narra una historia canónica dentro de la novela del siglo XIX: la de un joven de provincias que llega a París con el objetivo de abrirse paso en la vida y triunfar. La odisea de Lucien de Rubempré, desde la inocencia de su Angulema natal hasta el fango del fracaso, constituye un imponente y audaz periplo narrativo. Balzac lo emplea para, a su vez, trazar la crónica de toda una época; elegía y recuerdo de los perdidos sueños de juventud. Esta novela, apoteosis y a la vez síntesis de La comedia humana, ha consolidado con el tiempo el vigor de su intimidante grandeza. Download Las ilusiones perdidas PDF Las ilusiones perdidas PDF Download Las ilusiones perdidas ERUB Las ilusiones perdidas PDF Download Las ilusiones perdidas DOC Las ilusiones perdidas PDF Download Las ilusiones perdidas TXT Las ilusiones perdidas PDF Read information about the author Reviews of the Las ilusiones perdidas Pozitivnenko, but naпve to the ugly. Poignant book. Useful book, lots of information Phone number you need to drive to protect against robots. Add a comment Download EBOOK Las ilusiones perdidas by Honoré de Balzac Online free PDF: las-ilusiones-perdidas.pdf Las ilusiones perdidas PDF ERUB: las-ilusiones-perdidas.epub Las ilusiones perdidas ERUB DOC: las-ilusiones-perdidas.doc Las ilusiones perdidas DOC TXT: las-ilusiones-perdidas.txt Las ilusiones perdidas TXT
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Like the Miss Manners’ “Edwardian house-party approach” from the Maureen: A turbo-charged version of the Obama anti-tattoo measure. In the process of stopping the scammers from accessing their network of sites, Scamalytics have created a library of fake profiles. So if you see confidential you know they are more likely a hooker or a scammer. I am convinced women make a percentage of money to talk to men. There’s an ever growing interest in Asian dating, whether Asian women or Asian men, being some countries more suitable for that than others.
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Monday, July 07, 2008 The Spiritual Brain: See the Probe article and hear the radio program! Heather Zeiger of Probe Ministries provides an excellent Web article and accompanying radio program in convenient segments. The popular worldview held in neuroscience, or the study of the brain, is materialism. Materialism says that humans are only physical beings, which means there is no possibility of an immaterial mind or a soul. On the other hand, non-materialists would say that humans have both a physical aspect and a spiritual aspect. As Christians, we are non-materialists, and would say that we are both physical and spiritual because God, a spiritual being, created us in His image. However, our physical bodies are important because God gave us bodies suited for us. But what if materialism were true? First, self-consciousness would just be an evolutionary bi-product; something that randomly evolved to help our species survive. Secondly, we would just be a product of our genes and our environment, so free will or the ability to make decisions would be an illusion. This implies that our thought life, our prayers, and everything that dictates our identity is nothing more than neurons firing.{1} And from this we can conclude that our beliefs are unimportant because we really can not trust them anyway. They might be caused by a misfiring neuron. But is this what the data shows us? In this article we will be looking at some examples in neuroscience that seem to contradict materialism, and to guide us we will be using the recently released book, The Spiritual Brain by Mario Beauregard and Denyse O’Leary. We will look at some experiments materialists have tried to do to explain religious experiences and their effects on the body. Then we will look at some experiments that can only be explained from a non-materialistic worldview. Yes! That's the fun part. Materialism is only a theory but non-materialism is a fact.
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nervous woman sitting on the floor From the moment you see that double line on your pregnancy test, your child’s well-being is top of mind. So it’s completely normal for expecting parents to feel shocked, stressed and scared if they’re told that their pregnancy is high risk. But before you panic, know that the term “high risk” in no way means you won’t give birth to a healthy baby. “There’s often a focus on everything that can go wrong, but the truth is most of the time, things go well,” says Jacob Larkin, MD, medical director of inpatient obstetric services at UPMC Magee-Womens Hospital. “Many of the issues we see during pregnancy can be treated and managed to have a healthy mom and a healthy baby.” If your pregnancy is high risk—or if you’re just wondering what makes a pregnancy high risk—this guide will help answer your most pressing questions. What Is a High-Risk Pregnancy? Put simply, a pregnancy is high risk if there’s an above average chance of complications, either for mom or baby, due to conditions that affect health during pregnancy, delivery or even after the child is born. Very few of these conditions are actually life-threatening. In fact, doctors may label a pregnancy as high risk for relatively minor issues, and there’s a blurred line between what defines a low-risk pregnancy and a high-risk one. “There isn’t some point where a patient magically transitions from a normal to a high-risk pregnancy,” Larkin says. It’s also possible for risk to fluctuate throughout pregnancy, says Ozhan Turan, MD, director of fetal therapy and complicated obstetrical surgery at the University of Maryland Medical Center. For example, women over 35 are automatically placed in the high-risk category because they have a higher chance of giving birth to a child with a genetic disorder, like Down syndrome. But if fetal testing results (such as from an amniocentesis) show that the baby has no abnormalities, that mother’s status would be adjusted to normal risk. What Makes a Pregnancy High Risk? Factors that can bump up the chance of complications during pregnancy include: • Being older than 35. At this age, mothers have a higher chance of delivery complications. The risk of giving birth to baby with a genetic disorder also increases after age 35. • Smoking, drinking alcohol or using drugs. This can lead to birth defects and other health issues for the baby. • Being overweight or obese. On the flip side, women who are underweight may also have a riskier pregnancy. • Having high blood pressure. Uncontrolled hypertension during pregnancy increases the chance of preeclampsia and low birth weight. • Being diabetic. High blood sugar levels can lead to birth defects early on in the pregnancy. • Carrying multiples. Being pregnant with twins, triplets or more can up the… Mayra Rodriguez Follow Me Mayra Rodriguez Content Editor at oneQube Mayra Rodriguez Follow Me
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Throat Cancer What is throat cancer? Throat cancer usually begins in the cells that line the moist surfaces of the throat. The two main areas of the throat that are common locations of throat cancer include: Pharynx– An approximately 5 inch long tube that begins behind the nose and leads to where the esophagus(tube to the stomach) and the trachea (tube to the lungs) both begin. The majority of deaths related to oral cancer (30.75%) were from cancer that began in the pharynx. The pharynx is broken down into three parts which include: • Oropharynx– This is the area right behind the mouth that begins where the oral cavity ends. It includes the back of the tongue, the soft part of the roof of the mouth, the tonsils and the side and back wall of the throat. • Nasopharynx– This is the upper part of the throat behind the nose toward the base of the skull. • Hypopharynx– This is the area in the neck that is beside and behind the larynx. It is found at the entrance to the esophagus and makes sure that food goes around the larynx. Larynx– This is what is often considered the voice box. It is located in the neck at the opening of the windpipe, just below the pharynx. Parts of the Larynx where throat cancer can occur The website of the National Cancer Institute Throat Cancer in the Oropharynx Throat cancer found here is often considered an oral cancer because this area serves many of the same functions as the oral cavity including breathing, talking, eating, chewing and swallowing. The 5 year survival rate for Stage I cancer in the oropharynx is 56%, 58% for Stage II, 55% for Stage III, and 43% for stage IV. These numbers reflect the percentage of people still alive five years after their diagnosis of throat cancer in the oropharynx. Throat Cancer in the Nasopharynx The nasopharynx is a small box like structure that serves as a passageway for air from the nose to the throat. Most cases of nasopharyngeal cancer start in the flat cells that line its surface. This cancer is pretty rare and is more common in Asia (mainly Southeast China) and North Africa than in the United States. The risk for developing this type of cancer increases with age, but about half of the cases diagnose in the US were in people under 55. In North America about 7 out of every 1 million people will be diagnosed with throat cancer in the nasopharynx. Throat Cancer in the Hypopharynx Most cancers that develop here begin in the flat, thin cells that line the inner layer of the hypopharynx. Most of the time cancer cells from here began as pre-cancerous conditions. Most of the time the pre cancerous conditions will go away without treatment if the cause (like chewing or smoking) is stopped. If it does develop into cancer and is caught while in the early stages hypopharyngeal cancer easily treatable. But, if left untreated this type of throat cancer will spread to and destroy other tissues and parts of the body. 2,400 cases are diagnosed each year and about 1,700 of those are men and 700 are women and these rates are falling each year. Throat Cancer in the Larynx Throat cancer can be found in one or multiple areas of the larynx (sometimes called the voice box), which is an organ in your throat. These three different areas of the larynx include: the top, the middle (which is the part that includes the vocal cords), and the bottom (which is the part that connects to the windpipe). As these three areas open or close it allows a person to breath, talk or swallow. How often is throat cancer in the larynx diagnosed? It is estimated that 1 out of every 277 people will be diagnosed with throat cancer in the larynx during their lifetime. It is estimated that in 2012 13,000 people will be diagnosed (10,000 men and 3,000 women) and out of those about 28% (3,640) will die from the disease. Want more information on throat cancer? Visit our Throat Cancer Symptoms page for more information on signs and symptoms of throat cancer and how it is staged and our Causes of Throat Cancer page for a list of possible causes and risk factors. Our Throat Cancer Treatment page offers more information on types of treatment available. Want to see more images of throat cancer? Visit our Throat Cancer Pictures page. See our Throat Cancer Resources page for additional links. Throat Cancer References Head and Neck Cancers. National Cancer Institute. Accessed January 9, 2012 Laryngeal and Hypopharyngeal Cancer. American Cancer Society. Accessed January 19, 2012. Nasopharyngeal Cancer. American Cancer Society. Accessed January 19, 2012. What you need to know about Cancer of the Larynx. National Cancer Institute. Accessed January 8, 2012. Post a Comment • Disclaimer:
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 Assignment: Math and Science Tutorial Videos - Andrew Probert Assignment: Create Math and Science Tutorial Videos Created by Andrew Probert Academy of the Pacific This year I've had my middle school math students using GoAnimate to create animated videos that serve as a math lesson. I would like to expand upon this and use Moviestorm in a similar way for math and science with older high school students. I also plan to use Moviestorm to create my own video tutorials to show to classes. Suggested techniques Create engaging videos to help improve student interest in the subject and attention to the lesson. I would show students movies created with Moviestorm to introduce a lesson. The students would then be able to create their own video at the end of the lesson and their video can be another means by which I assess their learning. Student benefits It offers students an additional and more exciting way to demonstrate their learning. • Ages 13-18 • Mathematics
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Preview Mode Links will not work in preview mode Mar 26, 2017 The ball is back! Don't worry about seeing Phantasm I; this episode's all you need. Ron delivers an excellent recap about Mike and Reggie, two friends on a roadtrip through hell to find the elusive Tall Man who is harvesting our dead for devious deeds. Also: he who walks behind the rows, and put some Foghat in... Mar 19, 2017 Chris pisses Candy off, Ron recaps an excellent Kong: Skull Island starring Tom Hiddleston, Samuel L. Jackson, Brie Larson, and John C. Reilly, a little bit on Thor: Ragnarok, Why isn't there a Pixar film about ducks?, and the gang justifies some more horror movie villains. If you'd like to skip straight to the... Mar 12, 2017 This week, Ron recaps Logan, starring Hugh Jackman and Patrick Stewart, about our favorite cigar-munching hero who must protect a young mutant from a society that has eradicated the rest of the X-Men. *MAJOR SPOILERS AHEAD* Mar 5, 2017 This just in: Hayao Miyazaki is out of retirement! Ron recaps Get Out, and it's pretty damn good, but is it worthy of 100% Tomatometer? Also, what the Justice League movie should have been, female film protagonists, and movies that feature pencils as weapons. *MAJOR SPOILERS AHEAD*
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A collection of avatars and dolls to be used in instant messaging, blogs, social-network environment which reflects your matching identity. You can download the images and use it locally or link to it from other websites requiring you to have an avatar or a doll icon... Posted by admin On 11-12-2006, 1Hits Directions to post image to the web. To put this image into your MySpace or Xanga profile please copy and paste the code below into your profile. Directions to import image to MSN Messenger. 1. Right click the avatar and click "save picture as". 2. When the dialog box opens, browse to the folder where you want to store this image, and then click OK. 3. From within MSN Messenger, you can import your display picture. Sponsored Links.
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From Name: From Email: To Name: To Email: Optional Message: Google releases new Web development aids from PCWorld Google released two new internally authored technologies that could help ease the burdens of Web developers. One is a tool for spotting memory leaks in JavaScript code, and the other is a library written in Dart for accessing popular Google application programming interfaces. With the release of these technologies, Google continues to back the use of the open Web technologies. more Powered by MultiBriefs
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New Wedding Show? Get Me Some Popcorn! Especially since my friend is in it! I wrote Friday about my brilliant hairstylist, Paul Norton.  Well, he’s on a new bridal make-over show debuting in a few weeks on TLC!  It stars Randy, the colorful manager of Kleinfeld’s from “Say Yes To The Dress, and of course, Paul.  Check it out! Enhanced by Zemanta
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©2018 New Model Army For bookings, inquiries and all communication please write to New Model Army (Sullivan/Harris) 1987 We're out here on the borders with our favourite few possessions Traded stories whispered round the fire As shadows in the searchlights, mugshots in the files Waiting in the camps behind the wire Kick the door until it opens, what you have you cannot hold We are young, forever hungry, you are fat and growing old Still every day you try to build a higher wall We pick the leaves of coca, we stack the crates of cola We wait upon the tables where you dine And learn from you not to accept the little that we're given To take the piece of silver where we can Now clutching at these papers in another office line We're staring from the darkness up at windows filled with light And every day you try to build a higher wall In my town we used to pray to idols sent from far away From out beyond the dusty days, we heard your voices call And in your town the streets are cleaned The order stands, the sirens scream You talk of peace, vacation dreams - and reinforce the wall Now in the queues at immigration, in the border zone We are your bastard children, all coming home And every day you try to build a higher wall Every day you try to build a higher wall But your money cannot stop us And you violence cannot stop us No you will never stop us with your higher wall Published by Attack Attack Music/Warner Chappell Music Ltd
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George H.W. Bush Claimed He Was the First to Say 'You Da Man' As memorials to President George H.W. Bush continue to make the rounds, some have recalled the amusing tale in which the ex-president claims to have coined the phrase “You Da Man.” [READ MORE HERE] Source: Breitbart Aggregated News Leave a Reply Leave a Reply Notify of
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Grab A Burger At One Of These Ardmore Favorite Stops There’s just something about a burger that’s deeply satisfying. You might consider getting a salad, but once you take that first bite, you know you made the right decision. But where can you find the best burger? You don’t want to just stop at a random fast food joint, after... [read more] Register Now For Goat Yoga Goat Yoga Yoga is all the rage these days, and it’s started to take on a lot of different forms. You may have heard of hot yoga or even beer yoga. But have you ever tried goat yoga? It’s the newest thing, and it’s really fun. If you want to try it... [read more] Visit The Pumpkin Patch At Canadian Valley Farms Pumpkin Patch What do you think of when you think of Halloween? Pumpkins are probably one of the first things that come to mind. You can bake with them, decorate with them, or even just carve them into jack-o’-lanterns. But where are you going to be able to find the best pumpkins?... [read more] Saturday Movie Night At The Cultural Center Saturday Movie Night When was the last time you got a good dose of culture in your life? Many people in Ardmore wish they could incorporate more fine culture into their lives, but making that reality can be hard when you have such a busy lifestyle. However, when you go to the Chicksaw... [read more] Don’t Miss The Mousetrap At Ardmore Little Theatre Mousetrap Performances It’s not every day that you get to see a performance in Ardmore, but there is a show coming up that you won’t want to miss – especially if you’re a fan of mysteries. “The Mousetrap” is coming to the Ardmore Little Theatre, and you won’t want to miss it.... [read more]
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February 04, 2009 I was over the phone with her for like an hour.... I was so pleased... She didn't talk a word.. Neither Did I.. The phone was kept down at the other end... I heard her talk to her mum & sister.. She was laughing ( its been two months since I heard her voice talking, laughing & commenting on someone).. I was so happy to listen to her voice.. So loving :) I hereby sit and grasp those lovely moments I had with her.. Where is that girl, who used to clap her hands in joy at the thought of meeting me? Where is that girl, whose hair was all was required to make me stare in silence? Where is that girl whose hug could kill all pain, all sorrow, and bring joy to my heart? Where is that girl, for whom talking to me was an addiction, not a chore? Where is that girl, for whom I could gather the stars and hunt down the sun and moon? Where is that girl, who used to dig her head into my shoulder and say nothing, and didn't have to? Where is that girl who could force me into silence with nothing more than a touch? Where is that girl who is like the cool summer breeze, blown in from the sea? Where is my Ambie girl? Wherever she is, I hope she is happy. That is all I've ever wanted for her. As for me, I will live in her memory for as long as I am alive. In my heart, she is mine. And nobody will ever take her place. Ever. And Ambie girl, you would not understand why I did the things I did, or said the things I said. Some day you might. Until then, I wait; My heart forever belonging to you. Aks!! Forever 1. Hmmm..Nice post!!Loadsa emotions well-put!! 2. Thanks.. Didn't expect someone to comment on this!! I've just penned down my heart in here! 3. cuz its about Me.... Its just pure me
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Go To Search Help Center Click to Home Popular Links Calendar module icon Annual Events Event Details Return to Previous December 1, 2018 - December 31, 2018 All Day Norcross, GA 30071 Facebook Twitter Google Plus Email Miracle on 34th Street, by Valentine Davies adapted by Patricia Di Benedetto Snyder. Saturday, December 1 Kris Kringle is the personification of good will and holiday spirit. As Macy's holiday Santa, he enchants children and shoppers so completely that he is deemed dangerous by fellow employees who question his competency and plot to ruin him. A small girl's belief in Santa and the magic of the holiday is at stake in a climactic courtroom decision. This hilarious, tender and charming show for the entire family is a Christmas classic.
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Rachel Walker Me drinking milkshake Rachel Walker Rachel Walker is a software developer at Thoughtworks in San Francisco. Even though she’s a dedicated nerd, Rachel has a diverse set of interests ranging from biking to photography to participating in a drag troupe boy band called Every Direction. Sessions for this user * NerdCred++; How to Customize your Bash Prompt The terminal is a powerful tool on any developer’s belt. The command line interface provides extensive functionality via simple entry of commands. In this workshop we will customize the development experience by adding personal ⭐︎flair⭐︎ and making the most of limited screen real estate. Customizing the prompt provides additional information and functionality with the bonus of flair. Participants will be able to take pride in custom craftsmanship with the result. Pamela Ocampo, Rachel Walker
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Friday, September 30, 2011 The Holy Name Of Jesus This is the shortest and yet the most powerful of all prayers. It has one word, the Holy Name of: While reflecting on the Holy Name of Jesus, the faithful repeats over and over the Holy Name of "Jesus" in a pious manner. Many of the Saints had a great love for the Holy Name of Jesus. Among a few, there was the Apostle Paul, St. Thomas Aquinas, St. Augustine, St. Dominic, St. Francis of Assisi, St. Francis de Sales and St. Ignatius of Loyola. The Holy Name of Jesus represents the incarnation of God among men on earth. It is the Name above all names. It is the Most Holy Name that deserves the greatest honour and glories, above all other feasts. Because of our living hope in the Name of "Jesus", we have the assurance of our resurrection and eternal salvation. No comments:
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Kevin D. Finson,Jon Pedersen's Application of Visual Data in K-16 Science Classrooms PDF By Kevin D. Finson,Jon Pedersen ISBN-10: 168123047X ISBN-13: 9781681230474 ISBN-10: 1681230488 ISBN-13: 9781681230481 This e-book examines visible info use with scholars (PK-16) in addition to in pre-service in- carrier technological know-how instructor practise. each one bankruptcy contains dialogue concerning the present cutting-edge with recognize to technological know-how school room software and usage of the actual visible info exact through the author(s), dialogue and clarification in regards to the specific visible information as utilized by means of the writer in his/her lecture room, use of visible facts as a diagnostic device, its use as an evaluate software, and dialogue of implications for technological know-how educating and/or technological know-how instructor preparation. Although the physique of analysis and perform during this box is growing to be, there continues to be a niche within the literature approximately essentially explicating using visible information within the technological know-how lecture room. A growing to be physique of literature discusses what visible facts are (although this subject remains to be seen as being at the start of its improvement in educators’ thinking), and there are a few scattered examples of experiences exploring using visible info in technology school rooms, even supposing these reports haven't unavoidably in actual fact pointed out their foci as visible facts, in keeping with se. As curiosity and a focus has turn into extra interested by visible facts, a logical development of wondering has been how visible info are literally utilized within the technological know-how school room, no matter if or not it's early ordinary, university, or someplace in among. visible info functions of curiosity to the technology schooling neighborhood comprise the way it is pointed out, the way it can be utilized with scholars and the way scholars can generate it themselves, the way it might be hired as a diagnostic instrument in proposal improvement, and the way it may be applied as an evaluation instrument. This e-book explores that, in addition to a number of pragmatic how you can aid technological know-how educators extra successfully make the most of visible information and representations of their instruction. Show description Read or Download Application of Visual Data in K-16 Science Classrooms PDF Similar primary education books New PDF release: Hap Palmer Favorites: Songs For Learning Through Music and Hap Palmer, writer of the preferred early adolescence list sequence within the kingdom, has prepare this glorious number of a hundred of his most enjoyable songs. various problem-solving and artistic flow actions are included. Download PDF by Alice Hansen,Adrian Copping,Nick Clough,Mike Pezet,Peter: Reflective Learning and Teaching in Primary Schools: Trainee academics are anticipated to illustrate reflective perform in lots of methods all through their direction. in contrast to different texts, this ebook takes a centred examine what basic trainees want to know and gives particular and info suggestions on the way to be meaningfully reflective in studying and instructing. interpreting mirrored image as a device for either lecturers and kids, this article considers how academics can motivate the youngsters they train to be reflective of their personal studying and the way this may increase studying and instructing. Get Improving Your Elementary School: Ten Aligned Steps for PDF All the chapters during this exact ebook wa written expressly for every significant stakeholder workforce on your university, adapted to their diverse wishes and studies. every one bankruptcy features a set of inter-related functional actions in order that each one team makes a speciality of an identical objectives and helps the others. No different e-book on tuition development encompasses a bankruptcy written solely for easy scholars, revealed in huge variety, illustrated with cartoons, and followed by way of step by step recommendation for educators on tips to use this fabric. Information Age Publishing,Julie K. Biddle,Barbara White's The Power of We PDF The facility of We: The Ohio examine crew event lines the paintings of a community of early youth educators who're encouraged via and engaged within the research the early formative years courses and practices of Reggio Emilia, Italy. The textual content describes how the community of research teams started, increased, and sustained their paintings. Additional resources for Application of Visual Data in K-16 Science Classrooms Example text Download PDF sample Application of Visual Data in K-16 Science Classrooms by Kevin D. Finson,Jon Pedersen by Kenneth Rated 4.39 of 5 – based on 23 votes
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XML Sitemap URLPriorityChange frequencyLast modified (GMT) http://perituspower.com/100%Daily2017-12-03 01:38 http://perituspower.com/sitemap.html50%Monthly2018-07-14 18:25
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grep regular expressions No replies User offline. Last seen 2 years 12 weeks ago. Offline Joined: 02/02/2016 I have a data file where I want to find specific lines that match the following structure: search for the start of a line, ^, followed by 0 or more characters except a tab or end of line character, [^\t\r], followed by a square bracket, \[, followed by 1 or more characters, .+, followed by a square bracket and a colon and the line ending, \]\:\r, like this: This will find the lines I want in TextWrangler. I cannot figure out how to find these lines using grep (I want to use a grep command to do things like count lines matching this structure, and other things). Can someone please help me translate this regexp into something that grep will understand? I cannot figure out how to do it from man grep. Also, from reading around online, it seems it might be possible to get grep to understand the same kind of regular expressions that are used in the book and in TextWrangler (grep -P?). Does anyone know if this is possible and how to do this? I use a Mac OS X Version 10.9.5.
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Banning without a fair reason. 8 Mensagens, 1 Páginas: 1  ↖ Voltar a lista de tópicos 1. koochehhaayehdeltangi, Hi people. I'd like to ask does any of you had some accounts that was banned by admins in the past without a fair reason? For example, you do not spammed, cheeted, insulted etc. But your account got directly banned for a long days, This thing is verry discussing for me, please post your ideas. Thank you all advance! 2. Mayana, Publicly saying that you were banned in the past is a very good way to get banned again. When admins ban someone, it's usually done so that person doesn't come back. I wasn't banned yet, BTW. I hope it stays that way. 3. Pavkov, If he was banned without a reason surely he should not stay silent about that. 4. Mayana, I'm not saying that he should stay silent. I'm just saying that talking about it privatly might be better. I'm not saying that would work, though. Really depends on which admin he annoyed. 5. Pavkov, He did not even say that he got banned. We all know that post like this, which should disscuss the bans can be posted only with a sense to provocate admins. So, I understand him. 6. koochehhaayehdeltangi, As long as admins usually doesn't answer, I'm just posted this to know more about this topic. And yes, I had some accounts but they've got banned directly without any spamming, cheeting, insulting etc. And some admins aren't answer or when i'm asking them about the reason of my last account, i'm getting a new reply with banning the same account which I'm currently online with. But I did not told I have issue about this thing directly, I'm just asked to you guies to know if there is any new rules about gameroom, let me to know them, otherwise maybe the reason of banning will be blank only, as far as I have saw some people who got their accounts banned from here. 7. Fawaz, Multiple accounts not allowed. so talking from one account about another account you're giving them fare reason to ban you. usually many get ban for same reason, multiple accounts. 8. koochehhaayehdeltangi, No. The reason is: trash. Responder ao tópico Você deve estar conectado para poder postar.
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From QuestFan Jump to: navigation, search Spaghettios2.jpg(328 × 202 pixels, file size: 29 KB, MIME type: image/jpeg) File history current22:55, 13 June 2007Thumbnail for version as of 22:55, 13 June 2007328 × 202 (29 KB)Zeality (Talk | contribs) • You cannot overwrite this file. The following page links to this file:
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Tuesday, December 11, 2018 Music Review (Updated) - 2018 To make music reviews more noticeable and easy to navigate each review, thought will classify each review as follows based on the rating in my blog BA - less than 7 (Below Average Album) A - less than 8 (Average Album) AA - less than 9 (Above Average Album) E - 9 and above (Excellent Album)
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Mathematica in Formal Methods 1. Development of a package to use VDM-SL structures in Mathematica 2. Including the physical model in hybrid systems in formal methods Software project / Seminar paper in Softwaretechnology With this project in Software Technology I try to remedy a big disadvantage in formal methods: Most tools don't support any or only very few mathematical functions. So when you work with PVS, the VDM-SL toolbox or Z, you cannot include the physical model which is mostly described as a set of differential equations. For the project, I wrote a package for Mathematica that implements the VDM-SL (Vienna Development Method - Specification language) in Mathematica, so that from now on the discrete control model can be combined with the physical model described by mathematical functions. As an example, I implemented NASA's SAFER (Simplified aid for extravehicular rescue) backbag. We (B. Aichernig and I) submitted a paper about this package for the NASA Formal Methods Workshop 2000 (LFM2000, Full proceedings). home search
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New Step by Step Map For HBS Case Study Analysis This PRISMA explanation and elaboration doc was formulated to aid the understanding, uptake, and dissemination of the PRISMA assertion and ideally offer a pedagogical framework for all those keen on conducting and reporting systematic evaluations. It follows a format just like that used in other explanatory paperwork. From our Original onboarding to our usage of advanced characteristics, the HubSpot crew has been by our facet to make sure that we be successful … Our calculator division is specially productive. We’ve grown sales by 26% considering the fact that we begun employing HubSpot. Taka Takeuchi For retrospective efforts, just one risk should be to utilize the phrase systematic overview for The complete approach nearly the point when one particular decides regardless of whether to execute a quantitative synthesis. In meta-analysis of person affected individual information, this period includes assortment and scrutiny of in depth Uncooked databases. The authors need to explain these procedures, such as any steps taken to lower bias and mistakes in the course of information selection and information extraction.78 (See box three) Bunuel has by now shown an algebraic technique, so let's test solving it by picking some numbers (aka using the INPUT-OUTPUT method). The pessimist, to the contrary, only brooded and perhaps cried for what experienced befallen him. He experienced a powerful perception that lifetime is all hell and no fantastic can be done hereafter. Building these kinds of destructive ideas brought about his drop and he couldn't survive for extended just after currently being unveiled within the prison. Authors ought to Take into account that statistical significance of the effects doesn't generally recommend medical or plan relevance. Also, a non-major final result would not display that a treatment is ineffective. Authors should ideally clarify trade-offs and how the values attached to the primary results would direct diverse people today to create different conclusions. Its function is to put the coed during the footwear of the choice-maker so that you can acquire a fuller idea of the predicaments and the choices designed. You will electronic mail the next The PRISMA assertion for reporting systematic critiques and meta-analyses of reports that Assess healthcare interventions: explanation and elaboration Your own Concept For non-pharmacological interventions, it may be valuable to specify for each study the key features of the intervention acquired by Each individual group. Full information on the interventions in involved scientific studies have been documented in only 3 of twenty five systematic testimonials pertinent to normal follow.84 If authors have executed a number of meta-analyses, they need to current the final results being an estimated impact across studies with a self-confidence interval. It is usually most basic to indicate each meta-analysis summary with the actual outcomes of provided studies in a very forest plot (see product twenty).one hundred forty It should constantly be clear which of the integrated reports contributed to each meta-analysis. Authors must find out here now also supply, for each meta-analysis, a measure of the regularity of the effects through the incorporated scientific tests including I2 (heterogeneity, see box 6); a self esteem interval may also be offered for this evaluate. 159 a hundred and sixty In the same way, there might be supplemental info pertinent to final decision makers, including the Price tag-performance on the intervention (like health technological know-how evaluation). Authors could discuss the outcomes in their critique from the context of present proof with regards to other interventions. Authors really should be easy in describing their like it lookup constraints. Apart from the key terms used to recognize or exclude data, they ought to report any more limitations related on the research, for instance language and day constraints (see also eligibility conditions, product 6).fifty one “Precisely, four sertraline trials involving 486 participants and a person citalopram demo involving 274 participants were described as acquiring failed to obtain a statistically major our website drug result, with out reporting mean HRSD [Hamilton Ranking Scale for Melancholy] scores. We were being not able to locate information from these trials on pharmaceutical company Web pages or he said as a result of our lookup of the released literature. These omissions signify 38% of sufferers in sertraline trials and 23% of sufferers in citalopram trials. Analyses with and with out inclusion of such trials discovered no dissimilarities while in the styles of final results; equally, the unveiled patterns usually do not communicate with drug review sort. Leave a Reply
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Search This Blog Sunday, January 27, 2013 The effect of break-in: Vsonic VC02 It is generally known that a new pair of headphones must go through a "warming up(aka break-in)" phase for certain period of time before it opens up its true sonic potential. Previously, both electroacoustic and psychoacoustic aspects of a 100 hours-long headphone break-in have been presented with SONY MDR-EX1000Sennheiser HD650, and Fostex T50RP; The physical transformation is evident, yet its degree is not of a night and day difference, as audiophiles normally describe it. On Vsonic VC02's cable, a tag, which is written in Chinese, is attached by the manufacturer, openly claiming the dramatic sonic change. The manufacturer states 100 hours of break-in improves the sound quality of VC02. Test methods A brand-new Vsonic VC02 is to be broken-in for 100 hours straight with XLO's break-in sample (100 dB SPL @ peak), driven with an Objective 2 headphone amplifier. Once the headphone is *placed on the occluded ear simulator, its physical placement must remain untouched for the next 100 hours in order to prevent any placement-related deviations. Each 10 times averaged pre break-in & post break-in measurement data are to be compared, and should any type of change occur, they are to be reproduced back utilizing a binaural recording technique to be ABX-compared. Objective Assessment Overall impedance is slightly decreased after the break-in. This is the similar behavior observed from previous break-in experiments. Frequency response The resonances in the mid frequency range shifted. Interestingly, this resonance shift has been reverted once the voicecoil cools down. Phase response  Harmonic distortion Although its degree is rather minimal, the amount of lower frequency distortion has been lowered. Again, such distortion decrement has been seen from previous experiments as well. Time-domain characteristics  ETC: pre-break in / post-break in Group delay Subjective Assessment ATTENTION: In order to accurately reproduce these binaural recordings, listeners must use a flat diffuse-field equalized headphone, such as Etymotic Research ER-4B and STAX Lambda PRO with ED-1. The accuracy of the reproduced result can not be guaranteed otherwise. The reference sample is an excerpt from the free hi-resolution sample provided by 2L - the Nordic sound. Downloading below samples is highly recommended for critical listening experience. Reference sample @ 24-bit / 96 kHz: A brand-new Vsonic VC02 @ 96 kHz: A 100 hour broken in Vsonic VC02 @ 96 kHz: As previously confirmed by others, 1 2 3 4 5 6 , and by myself, 1 2 3 , the physical effect of break-in is quite evident. Moreover, the psychoacoustic aspect of Vsonic VC02's break-in has been demonstrated for ABX comparison so that listeners could verify the audibility of 100 hours of what-so-called 'warming-up'.  1. How many hours did you wait after the 100 hours break-in? You wrote the resonance shift has been reverted after the voice coils cooled down, the other stuff didn't? Anyway, I do not see an improvement (like many audiophiles claim) after break-in at all. The changes are so tiny, you'd be hard pressed to tell a difference even if you had two exactly identical headphones - one new and one broken-in. The big changes these audiophiles talk about seem to be imagined. Getting used to a sound signature causes 1000x bigger changes than thousands of hours of break-in. 1. It usually takes ~4 hours before comparable results can roll in. FR came back for sure. Other parameters did too, but not as much. Above comparison is to demonstrate the most dramatic instances, so that the audibility of the break-in can be transparently heard. 2. So the measurements don't have much to do with break-in, but with how the drivers characteristics change after hours of stress and heating up the voice coil. There's no point in calling it burn- or break-in effects if the changes are not permanent. Because you could have also used square waves played at high SPL to heat up the voice coils within a few minutes and quickly made the measurements after that. I know you wanted to help with this post, and I appreciate your hard work, but this one was kinda counter-productive. 3. "FR came back for sure. Other parameters did too, but not as much." Hopefully I don't have to post the post 4 hour analysis data as well, and compare with the above data. :D 4. Have you also done 10 impedance measurements? One after another or evenly distributed over the 4 hours? If the measurements are spread over 4 hours we should be able to see a trend in the impedance due to cooling down. 2. Another thing is auditory memory. You cannot compare the slightly changed signature after burn-in with the signature you heard a hundred hours ago. Yet, reviews regularly contain seemingly highly detailed information of what changed during burn-in. I call BS on that. 1. The thing is, we have little changes, here, little changes there, little changes everywhere. Although it can be argued that most of these changes on their own won't make the difference, but what happens when they are added together? Will that make a large enough difference? The impedance response changes that range from 0 to .1 ohms that isn't a linear change (IEMs becoming a little more efficient) along with harmonic distortion across the frequency. There is the slightest change in frequency, it's tiny, but still adds in. You can also see changes in decay as well as some major things in group decay. Many of these are small in magnitude, but what's not to say together they don't form a large change together? We always seem to be dealing with the changes on singular properties (can you hear the frequency change? Can you hear the impedance change? Can you hear the phase change? Etc). However, the way a headphone sounds depends on all of these things together. So I ask the question, when we add the frequency, impedance, phase, decay, delay, etc changes together, can we hear it? I want to use a fingerprint as a loose analogy. If we can match 1 small portion of a print to a set of full ones, we still don't which print we are looking at. However, as we add more portions into it that match up, we can slowly begin to distinguish. Eventually, we hit a point where we know which fingerprint we are looking at. However, each of the individual points we matched won't tell us that, it's the sum of the smaller points. Similarly, we might not be able to hear the frequency differences (alone), or impedance, or decay. Add them together though, we might be able to, it might be bigger than you feel it is as well. Obviously I'm talking theory here, but there is reasoning behind it. 2. The OP talks about common sense in electroacoustics/psychoacoustics, but my friend, tinyman also talks about the practical issue arising when driving a headphone in real life, which totally makes sense. Then again, if the playback chain's quality is transparent(Hi-Fidelity) enough, such practical variables can be opted out. Still, I wonder how many regular listeners would have such accurate devices at their disposal? Are reviewers all day-dreaming, or are objective parameters rather fooling our perception? 3. @tinyman Problem is that they're not just small changes, they're ridiculously tiny, most non-existent in practical terms. CSD [which is merely shifted], impedance and resonant change were just due to the heating of the coil, they go back to normal after cooling down, thus no change in practical terms and even then, tiny. The THD and FR change is ridiculously small, even put together, the changes just don't add up to anything noteworthy even if crumbed together. Biases occur when breaking-in a IEM based on what is believed and auditory memory is horrible for direct comparisons. Agree with anonymous here. 4. @Inks, I need a source that these changes won't be audible since they are individually small... Small things added up get quite large mind you. Even small changes can have drastic results in many ways. Now, this isn't entirely audio, but I do want to use a math example as an analogy of how a small change in data can lead to extraordinary change in the final results. So, lets take the roots of two similar equations. First, x^2 - 4x + 2. There is one root, x = 2. Now, take the similarly close equation, x^2 - 4.0001x + 2, we wouldn't expect the roots to wander too far from 2. However, the solution to this equation show that the roots change drastically, x = .5858, 3.4144. In this second case, we changed the 4 by 0.0025% to create an approximated 70.7% (in both instances) change in the final result. Now, this math may have little to do with audio and perceived audibility. However, it is a good analogy to what I am trying to say. Don't rule out a set of tiny changes (set = 1 or more), unless you can show the sum won't make a difference. My question still stands Inks, does the addition of the FR, TDH, Decay, Group Delay changes cause an audible change in sound? This question was meant to be much more rhetorical as no one has enough information to answer this question (not even myself) as it hasn't been tested (or tested heavily enough) fully. You can speculate all you want, but it'll remain just that, a speculation. 5. if you need a source that a change of less than 1db is small, then I think we can end the discussion there, plenty of established readings will confirm this. Or an increment in THD that is still far below the established audible treshold, no speculation there. The analogy doesn't work for this case. 6. Now, I'm not talking about this graph specifically, but a 1 dB bump in a wide enough spectrum in the right place can be audible. You really do need to stop making assumptions Inks, you have little to no evidence to what you say at this point, so yes, we are done. For some odd reason, you still believe that human hearing is both linear and stable, that may not be the case. 7. @tinyman: Frequency response is easily the most important characteristics of how a speaker sounds (assuming distortions are low enough, which they are in this case), and FR is the thing that reverted after the voice coil cooled down. Impulse response, CSD, group delay all are related to the FR, which I repeat, reverted to the initial curve. @udauda: Practical issues when using headphones in real-life cause much, much, much bigger changes. Just one example: placement. You already know this, but others maybe don't. If you take some measurements, re-insert the earphones and do another set of measurements you'll see big changes due to different placement. This is another reason why I don't trust subjective reviews. It's impossible to re-insert/place ear/headphones identically after a couple of hours of break-in, let alone remember the exact sound signature. I don't think reviewers are day-dreaming. They just don't seem to know anything about biases and how much the brain is involved in hearing. Simply listening a few minutes to a new headphone will cause some getting accustomed to the new sound signature. This alone will make the new headphone sound better on the second listen, regardless if they were broken-in a couple of hours or not. This is completely wrong. x^2 - 4x + 2 using x=2 we get: 4 - 8 + 2 = -2, not zero. The first root is 0.58578 and the first root in the second example is 0.58577. 9. You are right, guess I could've used some sleep. The roots for the equation should be x^2-4x+4 will be x=2. If we change the second number to 3.9999 we will induce imaginary numbers. In essence, I was using the instability of the quadratic equation as an analogy to whether or not changes in the measurements will ALWAYS be stable (what Inks seemed to imply). Methods to solve many problems are unstable in practice, how do we know this isn't. 10. So given impulse, CSD, and group delay, you can draw an accurate graph of the frequency every time? I'll agree that they are somewhat related, but won't agree that they are 1-1 transformations of each other. 11. Asked the question improperly. I wanted to ask them in both directions, not just one. So can you generate an accurate FR graph using the others, but can you generate the others from the given FR graph. The data above actually gives me enough information saying that if you can, the outcome is unstable. Small change in FR causes huge change in group delay. 12. @tinyman: Math: In the first case the imaginary part is zero, in the second it is close to zero. Unless you damage the driver during break-in you won't see any crazy changes. Relationships: No, all that is needed is the impulse response. They are not "somewhat related", the relationships are clearly defined. The CSD is a visualization method of the impulse response. The frequency response shows the magnitude of the frequency response gain and the phase response shows the frequency response phase shift - this information is also in the impulse response. There's a unique relationship between magnitude gain and phase in a minimum phase system, so yes, you can theoretically go both ways. Group delay is just the derivative of the phase response with respect to frequency. Besides sleep you may also need glasses (scnr), because the group delay is almost identical. There's a red (post break-in) line on top of a hardly visible green line (pre break-in). There's no instability. The differences are tiny, despite using drivers with heated up voice coils. I guess with cooled down voice coils the tiny differences would almost vanish (there's always a small measurement error). 13. I'm sorry, but I don't respond to insults Mr. Anonymous. Good day to you. 14. I'm sorry if I hurt your feelings, but you cannot offer criticism if you cannot even read a graph. Granted, the image is tiny and fuzzy.. 15. No worries, not exactly hurt feelings, I just don't respond to insults (normally means we both need to calm down; EG something got out of hand). You are right about the graph though. Regarding your relations being clearly defined, I will agree that there are clearly defined relationships. However, I feel that the relationships aren't each other, reason why I say somewhat rather than completely. When I say somewhat, I mean they have clear overlap, but they aren't completely overlapping each other. Two different opinions about the subject, I can live with that. There are reasons why I feel that the FR graph isn't 100% related to the rest. This is just from my observations, but I've seen multiple impulse responses, as well as square waves point to the same FR graph. Even in this, the spectral decay isn't the same, which means a given FR for the bass points to two types of decay (two types of decay relate to the same FR). This, of course is just my opinion on it. 16. @ tinyman These graphs are the matter at hand, why are you changing the topic or graph to discuss? Show me the 1db difference in a controlled burn-in test for IEMs? I have little evidence to show that increments WAYYY below the audible treshold of THD and a change of about 0.5 or less dbs being hardly noteworthy even with these 2 together? I'll let the readers decide, common sense. Because of human error in seal and insertion depth, I believe many simply attribute these factors as burn-in. Even then the changes REVERTED. This is simply yet more proof that burn-in in IEMs is not something to consider and more proof that many reviewers out there let their bias and ego manufacturer these kind of myths. Have you even tried the test udauda posted? tell me there's a big difference there... 17. Now you bring up the point of time, that I'll respect. 1 dB over a set range of time may not be audible, and yes, should be below the threshold. As for me bringing up other graphs, it was in response to the statement that all the graphs are 100% related to each other. Anonymous made his statements sound like he can derive an exact FR graph from any other graph. My statement back is that he can't derive the entire graph, but definitely parts of it as well as others. As for your "proof" that it's the bias going to the myth and ego, I have to disagree. You are free to believe this, I won't though. I will wait until information comes out as what you are stating is untestable right now (ego and bias). Wait for more data to come, then make a decision is what I say. 3. I admire your work. Now I can believe the effect of break-in. However, it's to be noted that the audibility of difference between pre-break-in and post-break-in DO NOT imply the improvement of sound quality. I always worry about this confusion. 1. Thanks for your kind words, Carrot! Absolutely. Although the sound quality may change due to break-in, but the effect may/may not be preferable. 2. Agree with both of you here. The data above shows objective ideas of break in. It doesn't answer whether or not the changes can even be heard (I don't feel it should either), the subjective realm. That said though, it's always been unknown whether or not break in will make a headphone better or worse. 3. It doesn't show break-in. It mainly shows the changes of a heated-up voice coil.(See the third reply to my first comment. 4. So using the data, there are two possibilities. The measurements were taken with cooled coils, or hot(ter) coils. If the impedance curves were taking after the coils cooled (which most likely means the rest were too). This would show that the impedance did indeed drop a little. It shows some sort of burn in. Still questionable whether or not its audible. But, if the measurements are taken with a heated voice coil, we have a few interesting bits of data with the impedance curve. The resistance goes up as the coil's temperature increases (in copper, silver, and aluminum). The data above, however, shows the resistance dropping in the impedance curves. Which means that there is something going on internally with the driver. When cooled, however, the resistance will drop further (cooler temperatures = lower resistance), thus showing burn in. In both cases, we see something has changed, physically, with some internal mechanisms. If we measured while cool, then we see an impedance drop. If we measured while hot, we see an impedance drop when it should have gone up. I do want to thank you for the post, if you didn't post it, I would never have rechecked the impedance curves to see they dropped. 5. You're confusing DC resistance with impedance. DC resistance increases with heat, of course, but the curves above don't go down to DC (0 Hz). There are a couple of factors that explain the impedance dropping with a heated up driver. The heat is not only in the voice coil, it spreads to everything that is connected/around it. The diaphragm is less stiff when heated (that's bad), reducing the movement of air. The heat also weakens the magnetic force. If done cold (after everything mentioned cooled down properly) I'd say that either udauda got the curves mixed up or that the diaphragm was damaged. Anyway, udauda writes "Overall impedance is slightly decreased after the break-in. This is the similar behavior observed from previous break-in experiments." I cannot observe this at all. Only his t50rp break-in measurements show a clearly lower impedance. Maybe he did that one immediately after stopping the break-in. 6. @Anonymous: I think I mentioned I measure 10 times, and average it. That accounts all the possibilities from the moment I stop break in to the post-4 hours point. 7. Regardless of DC or AC, heat should still increase the resistance. The equations for both DC resistance and AC impedance is V/I, it should still go down. As for everything connected around it, think for a second, what is this everything? It's the wiring really. Copper in this case (or silver). both have increased resistance with temperature. Weakening magnetic force is expected as electrical force in essence is magnetic (they are intertwined in one another. You do make a valid point about the driver diaphram being less stiff, but this shouldn't come up in an impedance reading. It should come up in the frequency response though if it reduces the movement of air, it would also reduce the pressure exerted by the air (pressure measured in dB). As for Rin switching the before and after graphs. The statements he's made about seeing it in the past makes me feel this claim doesn't have enough merit. It is possible he mixed up this graph, the T50s, and all the others, but unlikely. As Rin stated, he measures 10 times and averages it (thanks Rin for that information BTW, very useful). I still say that there is something weird going on with something electrical. Could be cabling, drivers, insulation loss? IDK, but something is going on :p We just don't know what. We don't even know if it'd be audible ;) 8. I doubt the cables would heat up. Maybe the coil wire between the cable and the voice coil heats up similarly to the voice coil itself, but that piece of wire is usually very short. So that doesn't seem to matter. On loudspeaker drivers you see this big rubbery suspension around the diaphragm. The diaphragm and suspension in headphone drivers is often made out of polymer material. If you move this back and forth constantly (break-in) there's a build up of stress. Polymers can relieve this stress, but until they do the impedance certainly does change. If Rin uses a proper headphone amp with low output impedance there won't be big changes in the SPL. And who knows, maybe he isn't using a fixed output level but configures the volume control to match a certain measured SPL. The voice coil is surrounding the permanent magnet. Permanent magnets don't like heat. Again, this also changes the impedance. The 10 averages are certainly a good thing, but even more care (documentation) should be taken when each measurement is made in relation to when the break-in stopped. 9. We actually didn't see many changes in SPL (graph) here. So the headphone amp's output impedance would lower something that is already very small :p If the heat did affect the magnet, it would also weaken it, right? Wouldn't that change SPL output (weaker magnet would result in softer sound?). That would show up in the FR graph. You are right though, if the magnet was effected, it should show up in impedance recordings as well. I do agree, information regarding how long after break in recordings were made would be great ;) Other information you mentioned as well (how he configured the output level and volumes). 4. I think the changes are small enough to say that every time you insert the IEMs into your ear, the slight pressure & insertion depth differences might as well account for the change in data. (or difference from burn in when perceived subjectively) If the IEMs inserted pre-burn in was measured at a relatively high canal pressure, and that pressure slowly leaked over time of "burn-in", maybe that could account for the measured changes? I recall Tyll's article at Innerfidelity suggested that IMD improved with break-in, but the site's not working at the moment. I think this is the article. 1. The site works, just not too well on Chrome right now :p Works fine on Firefox, Safari, and Mobile Safari, just not Chrome ;) You also have to remember, we have a huge amounts of variables here. We don't know what the cause of change is, we just know there is some change somewhere. As you've stated, insertion depth and pressure. These would be human error, we can sort of account for that using multiple measurements pre-burn in and multiple post to get an average (IDK if this is what Rin does). If it is, the pressure and insertion should cancel itself out in the average eventually after enough trials are done. But let's go back to the idea that we don't know what breaks in. I'm not sure if anyone notices this, but as tips are used more, they deform in shape. The deformation actually causes the tip to countour to your ear more. So you are right that pressure might go away as time goes. Could this have a similar effect as pads breaking in on a pair of full sized headphones with time, the headband stretching out? It may, it may not. As the raw data shows, we see changes here and there, small frequency response changes (if any), distortion changes as well as impedance. Whether or not this is audible is questionable, and up for debate. A second thing that also comes up for debate is what causes this change. Many people want to really point at one variable and say "it's this". Some say it's frequency graph only, others say pressure and positioning only, etc. I say everything impacts in some way or another. It goes deeper than that single variable you want to single out. We have a huge multi-variable set of sets here with complex relationships to each other. We are just chipping away at the surface right now, there is much more that lies below that is to be found. If it was found, we might get an answer... Might. 2. All of these non driver break-in related variables and the documented loudspeaker burn-in experiments make headphone burn-in, like audiophiles claim, highly implausible. The driver's are tiny, the diaphragm hardly moves at sane SPLs. Even if we found out that the driver's characteristics changed (after cooling down), they'd have to be tiny and would be worls, no universes, apart from what reviewers claim. 3. You make very true claims regarding the loudspeaker to IEM, Anonymous. I still can't believe the last claim though, I do respect your opinion, but as of right now, evidence doesn't suggest either way. At the end of the day, a dB is still a dB, and referenced from the same general area (your ear) as it is in the measurements. You just won't feel the bass in your chest with an IEM ;) 4. All the measurements (evidence) I've seen show that the differences are tiny. They're even smaller if the driver gets some rest after break-in. 5. Thing is, reviewers hardly make claims such as. "I feel there's been a slightly change in a frequency region or in transients". No, they claim things such as, "bass got tighter and more refined, treble is smoother, etc." The data is FARRR from these claims. Do the test udauda posted, tell me it makes a difference 1. I don't have the Etymotic ER4 to test with unfortunately. I can test with others, and probably will. As for tighter bass, all you really do is have to reduce some loudness in the upper-bass, maybe lower bass. I still have no clue what they mean by more refined :p Smoother treble could mean that a small spike they heard in the treble went down a little, distortion went down or something like that. I do agree though, Inks, that many of these claims can be overstated at times. It could deal with the idea that a gain can also be felt as a loss in other areas. For example, they can say that the clarity and detailing came out a little more while the bass and treble got more controlled. If you focus on the individual areas, they aren't lying if all that happened was a midrange boost (midbass boost may have cause the bass to sound tightened or treble softer). At times though, I do agree Inks, we see these statements, but the graphs return no data to show that what they said happened, happened. At that point, the question becomes, why? How can we reproduce what they are hearing (thing with a theory is, it needs to be reproducible, or it remains inconclusive)? I will do those tests when I have time Inks. Maybe tonight or tomorrow :) 2. Just use the flattest IEM you have. Yup, but those bass changes are mostly due to seal IMO, I have yet to see it in a burn-in test. I have no clue to what's more refined either, just quoting burn-in believers. Again, I haven't seen a resonant spike get reduced either, the VC02's resonant spike remained intact, likely other tests will prove this. You are assuming some small changes that may be notable, like a 1db change, but tests haven't shown such changes, it has shown ridiculously small difference that even happened to revert back. Human error in seal, insertion depth and overall bias is what changes an IEM. 3. (also in response to your reply just above) The German loudspeaker manufacturer Nubert made a couple of (blind) listening tests with cables. They constructed the experiment very carefully (transparent switching device, level matching etc.). Listeners failed to distinguish the cables they tested. Then they increased the level of one cable by +1 dB. Now listeners were able to identify (statistically significant) the "better" (louder) cable, even if they tested two identical cables. The interesting thing is that the listeners said that the "better" cable sounded more "dynamic", "clearer", "smoother" ... Does that sound familiar? 4. @Inks: I don't see the treble spike going down either anywhere. Even the decay isn't substantial enough to do it. So I have no clue where they are getting that from. If anything, the spike should be more apparent seeing that the bass decay quickens. As for the 1 dB changes, it's audible if done instantly (EG, in EQ). Anonymous' data seems to show they can hear 1 dB as well, but probably not over a time span (a point you made earlier). @Anonymous: Thanks for the information, appreciate it. I've never been able to hear cable differences, but Rin does have some graphs of the Heir Audio with different cables. It does look to change sound if I remember correctly (I think he tested the Mangus as well as another no-name cable). As for their descriptors of the "improved" cable, it's plausible if the 1 dB wasn't uniform that they heard a hint more clarity (especially in the area where our ears are sensitive). My question to that is, what areas ended being boosted by 1 dB, did it effect decay in any way? I will admit this though, it does sound familiar ;) 5. @Inks (again, sorry :(): I will have to wait until I get home this weekend to test the tracks then :) I should have time though during the weekend (I'll test with my UE 900, HF5, and PFE022 with grey filters). 6. The 1 dB boost was over the whole frequency range, no EQ, just a tad higher volume. (If the boost is done over a smaller range of frequencies it becomes a lot harder up to impossible to hear a difference.) The main point is that no-one said: "oh, with this cable the system just sounds a bit louder". They all used their favorite terms for trying to describe what the "better" cable sounds like. 7. LOL, now we're talking something going on creating the anomaly. Could be in their head, but at times people seem to think louder is better. 6. Hey Rin, I've wanted to say this for a little while, but never really figured out where to say it, so I'll do it here. That said, it is off-topic. Well this is actually two things. Firstly, I do want to thank you for all the measurements you are taking, from everything to burn in data to just headphone measurements. They are very useful and helpful for lots of people. They also uncover some mysterious things ;) So thanks for that. The second is more of a suggestion (layout-wise). I don't know if the blogging software you have supports something similar to a "more" link, where it cuts the blog post short with a "read more" link to see the whole thing. It might make the root of your blog a little less congested and easier to navigate through the articles. Just a suggestion. 7. You can't compare the cable difference of loudspeaker and BA IEMs, completely different. Cables in BA IEMs, no doubt change sound but consider the BA's nature of impedance changes and impedance differences between cables. 1. Ah, gotcha'. Thanks for the clarifications Inks, it does make sense. 2. Some speakers definitely do have a very peaky (ranging from below 4 to far beyond 20 ohms) impedance curves. The difference is that some stock in-ear cables are very thin because they cannot be thick and heavy. This means higher resistance, which in turn means higher output impedance. This causes small changes in the frequency response. 8. Confirms what I believe: no burn-in physically, though many Head-Fiers would disagree. Rin, are you going to attempt to modify it to further better the response or show the effect of different ear sleeves for this IEM? Or is this second part as far it goes for the analysis of the VC02? 1. Well, I have all the data for sleeve analysis for sure. So that will be up sooner or later. After that, I can't be sure whether I can come back to VC02 or not due to other things on my to-do list. BTW I am doing a funky modification on MH1- STAY TUNED...
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Thursday, January 29, 2009 Ding Ding! In this corner.... Alright I am getting tired it seems like I am managing a cage match or straight out brawl between Nicholas and Richie. Nicholas knows that he isn't as big as Richie so he comes out with sticks and knives. OK not knives, but play golf clubs, and plastic bats. He chases Richie until he catches him with a flying bat. Then you have fist of fury Richie who comes out arms blazing and hauls off and hits Nicholas. I have tried time outs, I have spanked them both. But no luck. Do all boys fight? I am new to the boy thing. I can't be having the cage matches anymore. Someone is gonna get hurt. Live and Learn the Hard Way said... I have tried all of those same things, it has been ten years of cage fights at my house. Three boys worth and one sister who eggs them on. It is painful, but normal. I hope those years go quickly for you...
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Thursday, May 14, 2009 Who knows where the time goes? "Who knows where the time goes?" asked Judy Collins from my dad's record player when I was a kid (the first time). With my new bike toy - the Garmin 705 GPS/bike computer - I have a bit of an answer to that question, at least for a ride. I still can't figure out a decent way to navigate with the damn thing, but I love all the data I get when I'm done. In the plot of time vs. distance, the vertical segments show where time passed but distance did not - i.e., where I was stopped. On the pre-ride, we previewed the Farmer control (and used the outhouses), but without any support there, we had to stop for water at the bottom of McNeil Canyon at Beebe Park. Next, a nice sit-down lunch in Pateros. With no manned control near Twisp on the pre-ride we stopped at the store in Carlton on the way up the Methow and regrouped. Stops at the Omak and Grand Coulee controls were augmented with a brief stop at the store in Nespelem and one at the (heated!) bathrooms at the Dry Falls overlook. Total time off the bike - 2 hours, 40 minutes. The line shows slow pace as steeper slope (more time, less distance) and fast pace as shallower slope (more distance, less time). The correlation to the overlaid elevation chart is unsurprising - to me or to anyone that's seen me climb. eldiente206 said... The real question is how did you keep it charged for that long? Robert H said... When it is all said and done, that is a pretty steady pace Mark... especially when you consider the luxury of a sit down meal. Mark said... I used one of these. The only trick is that you have to find a "charge-only" USB cable to connect this to the Garmin. If you use a full cable, the Garmin thinks it's connected to a computer and the display blanks. I hooked it up and turned it on after about 14 hours or so. The Garmin ran fine for the rest of the ride. I also forgot to turn the Garmin off after the ride until the next morning. It wasn't recording then, but it was on. One additional issue: the auto-off functionality for the Garmin's backlight is lost, because it thinks it's plugged in. So I turned the backlight off completely (set brightness to zero setting) and used my helmet light to see the Garmin. Mark said... Robert - Thanks. Damn right. It was an "R80" pace (barely), so Jan would be proud of me (maybe). Lois said... Fun chart! Now you just need the SLC+ Power Tap and you'll have even more data. Keeping battery power is always a challenge; I use a similar method. I haven't figured out how to effectively use mine for navigation either. Vincent Muoneke said... Looking back. I should have taken more recovery time as you suggested on the Columbia River Road. You live, You learn. Thanx again MG said... Brilliant graphic of your ride, Mark!!! Really brought the ride to life for me. "Sitting on the guardrail won't help." I loved it.
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Ground Down Link to Secret Maryo Chronicles Buttons Link to Us Link to by using the following code. <a href=""> <img src="" width="80" height="15" alt="" /></a> Valid W3C XHTML 1.0 strict : <a href=""> <img style="border: 0px solid; width: 80px; height: 15px;" alt="" title="" src="" /></a> Where '' is the path to the image file. You can view the path by looking at the properties of these images or in Firefox choosing 'View Image' from the right-click menu. Small - 80x15 ID 1 Medium - 88x31 ID 1 Small - 110x32 ID 1 Button - 180x60 ID 1 Default - 350x19 ID 1 Have you made some nice graphics for Secret Maryo Chronicles ? Post them in the Community Forums.Red Mushroom Do not use unauthorized icons or words in conjunction with the logo.
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Wednesday, 23 September 2015 Although anger is a very natural human emotion and feeling; it can have negative effects on those who allow it to control them, and adverse effects on those who around them. Anger can destroy relationships, health, property, and livelihood. It is also very powerful and can vary in intensity from mild irritation to intense fury.  The latter can be destructive.  It can rage through a person, creating a desire for revenge and pushing a person to strike out at the object of his anger.  Because it is natural it is impossible for a person to avoid it completely.  It is however possible to understand anger and thus control it. Because anger is often associated with ‘fight or flight responses’, it is often difficult to separate an action that is done in self-defense (or to protect properties or families) from one that is done out of uncontrolled rage.   It is ok to feel anger but it is not acceptable when a person allows it to overtake him and drive him to act in an unacceptable way, sometimes even leading to a very harsh action. Uncontrolled anger is one of the tools of Satan and it can lead to many evils and tragedies. That is why once Prophet Muhammad called it a hot coal on the heart of a descendant of Adam.  There is no full proof way to completely eliminate anger because it is a natural human emotion. When I go through the lives of great personalities of the world I found they have given many technics how to control anger and how to channel it into acceptable actions.  There are also distinct advantages to following the guidelines set out. Once a man came to Prophet Mohammad and said, “Messenger of God, teach me some words which I can live by.  Do not make them too much for me, in case I forget.”  He said, “Do not be angry”. He the Prophet also advised that performing ablution was an acceptable method of anger management.  He said, “Anger comes from Satan, Satan was created from fire, and fire is extinguished only with water; so when any of you is angry, he should perform ablution”. If any of you becomes angry and he is standing, let him sit down, so his anger will go away; if it does not go away, let him lie down.”  Jesus was also the best psychologist and the best moral teacher. He understood anger and told how to deal with them. In the Sermon on the Mount he wen over his fundamental teaching on anger, contempt, and how to deal with interpersonal conflict. Jesus was saying that the emotion of anger is not a sinful but dangerous and to be careful! Be the first to say “I’m sorry” or to offer empathy and compassion. Of course, this is not fair, but do it anyway because God does it for you. You can “Forgive as the Lord forgave you”  In the same way Lord Krishna explains getting angry is a four step process. While contemplating the objects of the senses, a person develops attachment for them, and from such attachment lust develops, and from lust anger arises.  Let us follow the illustration below 1.    Our senses come In contact with a sense object. Sense object refers to anything that we see, hear, taste, touch or smell or even something that we think of in our minds. 2.    After the first point of contact we develop an attachment or liking for it. 3.    The obvious third step is to develop a desire (lust) to possess it or have it done our way. 4.     And finally when that does not occur, the emotion manifests as anger. So it appears as though the problem first arises when the senses come in contact with their sense objects. Therefore, the easiest solution must be to just control our senses and nip it in the bud. Well, that’s easier said than done! Thus anger is a normal, healthy emotion, but when chronic, explosive anger spirals out of control, it can have serious consequences for our relationships, our health, and our state of mind.   There are many techniques that can help us to be cool down and keep our anger in check. In such a situation focus on the physical sensations of anger, take some deep breaths, use your senses, stretch or massage areas of tension, slowly count to ten, and focus on the counting to let our rational mind catch up with our feelings.
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Saw Palmettos - Charles Theonia $150.00 - Sold out Image of Saw Palmettos - Charles Theonia Image of Saw Palmettos - Charles Theonia Image of Saw Palmettos - Charles Theonia Image of Saw Palmettos - Charles Theonia Image of Saw Palmettos - Charles Theonia UPDATE: Saw Palmettos is currently sold out from Container. Please email the author, Charles Theonia, to inquire about any purchasing remaining author copies in their possession. From the author: Saw Palmettos is a series of short poems about hormones, community, and the brain-time continuum. Three years ago, I started HRT. From the experiences of friends and the proliferation of transition narratives and timelines on youtube and elsewhere, I knew what I could expect to happen, but I had no sense of how I would feel about my changing body and emotions. Mostly, I was sure that I was low-key petrified of losing my hair. Photo: Julieta Salgado A friend who knows about herbs told me to rub saw palmetto tincture into my roots, so for the 15 oily minutes every application took to set in and try to block my new testosterone from converting to DHT, I made a practice of writing, which I’ve always found difficult to do regularly. As I wrote, inhabiting the inherently-funny, embodied moment of sitting still, dripping wet, and trying not to worry about balding, I noticed that I was focused less on depicting particular stories or scenes in time, and more on questions and uncertainties that lingered unresolved. The poems were tracing anxiety and disconnection not back to their sources, where I could potentially understand and contain them, but through to what comes next. The shifting “you” addressed in the poems encompasses many different relations from partners to friends to aggravating community acquaintances. It could be that this has helped me dig into feelings of surprise at the self (in its changes and its stubborn holdovers) and the fear that comes from being in the only possible position of the self. In some ways, especially in form, this writing has been a new mode of inquiry for me. In other ways, I am asking familiar questions: How are we implicated in one another?, and, What do we do about it? Charles Theonia is a poet and teacher from Brooklyn. They are the author of Which One Is the Bridge (Topside Press, 2015) and coeditor of Femmescapes, a magazine of queer and trans affinities with femmeness. Their work has appeared in publications including Cosmonauts Avenue, Glittermob, The Felt, The Wanderer, Queen Mobs Teahouse, and the Brooklyn Poets anthology, and they have collaborated with visual artists Abigail Lloyd, Aniahs Gnay, and Sarah E. Brook. They teach literacy skills at the Borough of Manhattan Community College and are an MFA candidate in poetry at Brooklyn College. Saw Palmettos is produced in a closed edition of 25 copies by Container co-founders Douglas Luman and Jenni B. Baker at the Open Works makerspace in Baltimore, MD. The wood stands are created from white oak timbers sourced from Free State Timbers in Timonium, MD, and milled on site at Open Works using the woodworking shop’s jointer and planer. Table, mitre and band saws were used to cut the boards down to size, and both power and handheld sanders used to generate a smooth surface. The holes in the stand are created using the shop’s drill press. The shop’s laser cutter was used to burn the title, author’s name and our logo into the wood stand. Finally, each stand was pre-treated and then stained with Colonial Maple Minwax stain. The bottles, housed in the stand, feature an etched surface indicating the number of the poem inside, created via a hand-application process that uses custom-cut frisket film stencils, vinyl numbers, and Armor Etch. Lastly, the text contained inside each bottle is printed on vellum paper with Canon CLI-42 ink on a Canon Pixma Pro-100 inkjet printer.
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What Do I Do Flash Cards picture Additional Images What Do I Do Flash Cards What Do I Do Flash Cards additional picture 1 Recommended Products What Do I Do Flash Cards USD$ 11.99 Item is available. Item # FLWDD • Mastercard • Visa • American Express • Discover • PayPal Credit • Buy now with PayPal The What Do I Do Flash Cards are a wonderful tool for anyone who wants to gain a better understanding of subverted social expectations. This deck of 48 cards helps children understand how to handle various social situations with poise, grace, and confidence. The encouraging illustrations and simple instructions are perfect for opening up dialogues between parents and children about what behavior may be expected from them in various social environments. By encouraging kids to understand and digest positive social behavior rather than memorizing it, these cards will help kids to comfortably respond to a wide range of social cues. • For ages 5 and up • 48 flash cards • Cards are 4.5" x 6"
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/ / 1992 Dodge Stealth R/T Twin Turbo 34112 Miles Jet Black Coupe 3.0 V6 Twin Turbo 1992 Dodge Stealth R/T Twin Turbo Condition: Used Make: Dodge Model: Stealth SubModel: R/T Twin Turbo Type: Coupe Trim: R/T Twin Turbo Year: 1992 Mileage: 34,112 VIN: JB3XE74C1NY012505 Color: Black Engine: 3.0 V6 Twin Turbo Fuel: Gasoline Transmission: Manual Interior color: Bone Vehicle Title: Clear Item location: Local pick-up only Description for Dodge Stealth 1992 Pampered by one owner since new, this un-modified Stealth is an impressive time capsule that'll transport you back to the days when stellar performance outshined raw horsepower! With few miles for its age, this 1-owner MoPar has rarely seen anything other than sunshine and warm summer days. A quick check of the car's undercarriage and suspension reveals no evidence of substantial rot or abuse. A quick check of its VIN certifies its body has never seen any major repairs. And... a quick check of our pictures confirms its clean Black paint is both rich and glossy. Under the hood, a DOHC 24-valve 3.0-liter 6-cylinder utilizes twin turbochargers to turn 296 horsepower into 306 lb./ft. of torque. That engine is backed by a 5-speed Getrag manual transmission, which feeds a full-time all-wheel drive system. That system's 45 front/55 rear power split gives the car catapult-like acceleration in any weather condition, while 4-wheel steering provides additional stability during high speed cornering. The electronically controlled, variable-rate 4-wheel independent suspension does an excellent job tightening apexes or loosening tension. Stops come courtesy of 4-piston calipers, which squeeze 16-inch rotors up front and 15-inch rotors out back. Power meets the pavement through painted alloys, which spin 245/45ZR17 Uniroyal Tiger Paws around Pentastar shaped center caps. And, between this coupe's doors, a 2-tone cockpit displays hardly any signs of wear. If you're a new-age enthusiast who likes to burn up the roads, few cars deliver the performance and luxury of Dodge's mighty Stealth R/T Twin Turbo. And with lightly-used, original miles, this MoPar will have you smiling every time you slide behind the wheel! Call, click or visit for more information.
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Make your own free website on Natural Haunt  A natural haunt is initially unexplained phenomenon that occurs and that upon investigation is found to be caused by natural occurrences. For example, lights flickering that are caused by loose connection or faulty wiring, noises that are found to be caused by pipes, animals, tree limbs, etc., apparitions that are found to be caused by mirrors, lighting, and reflections, etc.  It’s the easiest to determine and explain to the client, but most times leaves the client feeling foolish.  In these cases it helps to be understanding with the clients feelings and reassuring that they do not need to feel foolish.  Natural Haunts happen to everyone at some point. Residual Haunt  A residual haunt is the next most common type of haunt. These are the cases where the same apparition, noise, or occurrence happens in the same pattern, usually at the same time.  It can be something that happens daily, monthly or once a year. It may not always occur at the same time, but it will always occur in the same manner.  These haunts are best explained as an imprint made in time, like a recording. There is no spirit actually present, only the energy of a past occurrence. There is no danger in this type of haunt and there is nothing you can do to stop it. It is something that you either have to accept or move on. Intelligent Haunt  An intelligent haunt possesses a human personality and seems to have and to react to emotions.  It will react to its environment and seem to try to communicate with the living, sometimes by moving furniture, appearing, making sounds, etc.  They can appear as a full apparition, mist, shadow, orb. They can appear or verbally communicate to a certain person or a group, or in photos and EVPs. Their emotions can range from contentment, hopelessness, loneliness, confusion, and anger. They can and will act out their emotions as well as react to the emotions of the living.  It can be very unstable in dealing with this type of haunt. It is extremely important to keep your emotions in check while investigating. Poltergeist Haunt  The poltergeist haunt can be very terrifying. Activity will include a combination of knocks, bangs, furniture and items moving or being thrown, voices and apparitions. Poltergeist activity seems to increase and gain strength over time and is often negative or angry.  In most poltergeist haunting there is almost always a female teenager living in the home or a very high level of stress in the home. Poltergeist seems to be closely connected or affected by one person in particular in the home.  Often poltergeist is a result of several spirits feeding off the negative energy in the home and pooling that energy together. A poltergeist may appear and disappear without warning. Activity can occur for days and then stop suddenly and not happen again for months or years.  A poltergeist haunt closely resembles and could very well be an intelligent haunt with one exception; poltergeist is extremely more active than an intelligent haunt and is centered on anger.  Poltergeist activity could easily be mistaken for a demonic haunt, however there are elements in a demonic haunt that are not found in the poltergeist haunt.  The best way to deal with the poltergeist haunt is to find the root of the anger or the stress that it feeds on and try to eliminate it.  Again, it is extremely important for you to keep your emotions in check and never deal with a poltergeist haunt in anger or in a negative way. Demonic Haunt  The demonic haunt is very rare and very easy to identify, if it’s not hiding. Signs of a demonic haunt are a revolting stench of sulfur or rotting flesh, growling, howling, pushing, shoving, hitting, scratching, air will feel thick, temperature extremely warm, and black masses.  A demon can take on any form, most commonly half man, half animal. In most cases, the demons will hide from an investigator, but if confronted by the investigator, will feel threatened and appear in a human form, often as a child. It is more important to assess the activity before you arrived rather than during the investigation.  The goal of demons is to break a persons free will in order to  possess. This can take days, months or years; time is of no concern to demons. However when dealing with a demonic haunt, time is of the essence. They hate mankind and try to cause as much destruction and pain as possible. Demons cannot be destroyed and can only be removed through exorcism and cleansing.  If you find that the haunt is demonic, refer the client to someone who is qualified to do an exorcism and cleansing. (And don’t hang around for it to play with you, leave as quickly as possible. Your presence can only worsen the situation.)
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Strata logo. Please click here to return to home page. menu bar proposing a book information for professors about the publisher Proposing a Book Please read the description of our publishing areas in About the Publisher. We recommend that you send a query letter before sending a proposal or manuscript. Your letter should include: • the working title of your book • the usual title(s) of the course(s) for which the book is intended • a brief description of your general approach in the book • the major competitors and/or the major books that people currently use in the course(s) for which your book is intended • a list of the major features and characteristics that would distinguish your book from those books The letter should generally focus on how your proposed book would meet people's teaching needs. The letter and your proposal should be written in positive rather than negative terms (that is, focusing on what your book will do, rather than what other books do not do). A table of contents and a copy of your vita can also be helpful. Please send all queries to: Kathleen Domenig, Publisher Strata Publishing, Inc. P.O. 1303 State College, PA 16804-1303 If you are invited to submit materials for formal consideration, the publisher will send you a letter describing the appropriate form for those materials. Usually, we ask for a brief prospectus, a detailed outline or annotated table of contents, and two sample chapters (core chapters that are generally representative of your approach in the book as a whole, but not including the introductory chapter). For security reasons, we are unable to accept manuscript queries or submissions as e-mail attachments. An unsolicited proposal or manuscript may be returned only if the submission is accompanied by a self-addressed return envelope with sufficient postage. extraordinary textbooks books, home page proposing a book information for professors ordering about the publisher copyright notice
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Studydroid is shutting down on January 1st, 2019 Bookmark and Share Front Back Which antidepressants inhibit CYP 1A2? Which antidepressants inhibit CYP 2C? fluoxetine, fluvoxamine, sertraline Which antidepressants inhibit CYP 2D6? (very high) fluoxetine, paroxetine (very low) bupropion, citalopram, escitalopram, sertraline Which antidepressants inhibit CYP 3A4? (very high) (very low) Which antidepressants have the fewest CYP interactions? How do tricyclic antidepressants work? block the reuptake of 5-HT and NE (tertiary amines have greater effect on 5-HT but are metabolized to secondary amines, which have a greater effect on NE) adverse effects: alpha-adrenergic blocking effects, antihistaminic effects, anticholinergic effects, effects on cardiac conduction Is it okay to discontinue TCAs abruptly? no, gradually decrease dose by 25-50 mg/day/week to help reduce symptoms of withdrawal (GI complaints, dizziness, insomnia, restlessness) What is the MOA of MAOIs? inhibit the enzyme responsible for the breakdown of certain neurotransmitters, including NE enzyme has 2 forms; drug can block both or type B form Name 3 nonselective MAOIs available in the US. phenelzine (Nardil), isocarboxazid (Marplan), tranylcypromine (Parnate) What are the dietary issues associated with MAOIs? avoid foods high in tyramine (aged cheese, preserved meat) due to potential to precipitate a hypertensive crisis What significant drug interactions are associated with MAOIs? OTC decongestants (avoid) do not combine with other antidepressants (wash out perioud when switching) Which MAOI is available as a patch? selegiline (Emsam) dietary restrictions necessary when dose reaches 9 mg/24 hrs Which SSRI has the longest half-life? (1-4 days) Which SSRI has an active metabolite? Which SSRI is indicated for the treatment of OCD? What is the MOA of SSRIs? selectively inhibit the reuptake of 5-HT into the presynaptic neuron What are the symptoms of serotonin syndrome? confusion, hypomania, restlessness, myoclonus, hyperreflexia, diaphoresis, shivering, tremor, diarrhea, incoordination How is serotonin syndrome treated? discontinue offending agent supportive: cooling blankets, respiratory support myoclonus: clonazepam seizures: anticonvulsants hypertension: nifedipine If a patient does not respond to one SSRI, is it worth trying another? yes, patients who do not respond to one SSRI may respond to another (STAR*D trial) What are the most common adverse effects of SSRIs? GI complaints, insomnia, restlessness, headache, sexual dysfunction What antidepressant might have a beneficial effect on sexual function? Which class of antidepressants has been associated with EPS (extrapyramidal symptoms)? SSRIs - but not common (akathesia, dystonia, bradykinesia) Is it okay to abruptly stop SSRIs? depends - a withdrawal syndrome can be seen in patients stopping a SSRI with a shorter half-life; gradual dose reduction over 2-4 wks may be indicated most common: paroxetine least common: fluoxetine (GI complaints, headache, dizziness, impaired concentration, flulike symptoms, anxiety, insomnia) What is the MOA of venlafaxine? balanced NE and 5-HT reuptake inhibitor negligible effects at other receptors mostly 5-HT at lower doses; NE effect increases with dose (think BP) What are the adverse effects of venlafaxine? GI complaints common dose-related increase in BP; of concern in patients with uncontrolled hypertension Is it okay to abruptly stop venlafaxine? abrupt discontinuation can lead to withdrawal syndrome similar to SSRIs What is Pristiq? desvenlafaxine, active metabolite of venlafaxine What is the MOA of trazodone? serotonin reuptake inhibitor that also blocks 5-HT2A receptors does not have anticholinergic or cardiotoxic effects of TCAs What are some adverse effects of trazodone? does cause orthostatic hypotension and is quite sedating rare: priapism (0.1% or less) What is the MOA of nefazodone? blocks reuptake of 5-HT and NE, also 5-HT2A antagonist (like trazodone) 5-HT2A antagonism may make this med more effective for anxiety associated with depression minimal effects on sexual function; less likely to cause orthostatic hypotension How often is nefazodone dosed? What are some advese effects of nefazodone? sedation, GI complaints, dry mouth, constipation, confusion, light-headedness Black Box: liver toxicity What must be monitored for patients on nefazodone? What are some drug interactions with nefazodone? drug metabolized by 3A4 (nefazodone is a potent inhibitor of 3A4) What is the MOA of bupropion? primarily inhibitor of dopamine and NE reuptake, minimal effects on 5-HT (exact mechanism not known) What is the most improtant adverse effect of bupropion? increased risk of seizures minimize by avoiding in pts at risk; titrating dose every few days; max 450 mg/day (immediate release) or 400 mg/day (sustained release) What are the most common adverse effects of bupropion? nervousness, headache, insomnia; may cause psychosis no adverse effect on sexual function, may actually improve What is the MOA of mirtazapine? primarily antagonism of alpha-2 (presynaptic autoreceptor) and heteroreceptor that prevent release of NE and 5-HT; net result is increased NE and 5-HT in synapse also blocks 5-HT2A and 5-HT3 receptors; may lead to less activating adverse effects, fewer GI effects, and more pronounced effect on comorbid anxiety What are the adverse effects of mirtazapine? increased appetite, weight gain, constipation, asthenia; abnormal LFTs; very small risk of neutropenia or agranulocytosis lower doses: sedating higher doses: insomnia What is the MOA of duloxetine? mixed NE/5-HT reuptake inhibitor What drug interactions are of concern with duloxetine? caution when using duloxetine with inhibitors of 2D6 What adverse effects should be kept in mind with duloxetine? BP increased have been observed can cause liver toxicity What are some medications used to augment antidepressants in the treatment of depression? second-generation antipsychotics What is the usual dose of thyroid when used to augment antidepressant therapy? 25 mcg/day (not dependent on thyroid dysfunction) What is considered an adequate trial of an antidepressant medication? full therapeutic doses for 6-8 weeks (or up to 12 weeks) What is the difference between Bipolar I and Bipolar II? Bipolar I: presence of manic episodes; includes major depressive episodes in a majority of patients Bipolar II: presence of major depressive episodes and hypomanic episodes How long does it take to see the full effects of lithium? 1-2 weeks What is the desired serum concentration for lithium? acute mania: 0.8-1.2 mEq/L maintenance: 0.8-1.0 mEq/L When should lithium levels be drawn? 12 hours after after dose How long does it take for lithium levels to reach steady state? 5-6 days (half-life 20-24 hrs) may be prudent to check level 3 days after dose change x of y cards Next >|
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The Band Audio files Video clips Tape archive Related artists Chat Room What's New? The Return of Robbie Robertson A decade after The Last Waltz, The Band's leader comes out of retirement to make his Big Statement by Bill Flanagan From Musician magazine, September 1987. The article is copyrighted, please do not copy or redistribute. "I never said, 'I'm not going to write songs for a while,'" Robbie Robertson says. "I just didn't have the lure to get in there, sit down and suffer. And I enjoyed the sense that I didn't have to do it. After I did The Last Waltz I thought, 'This kind of redeems me a little bit. For a little while. '" Robbie Robertson isn't offering excuses - he's just running down the facts. As guitarist and songwriter for the Band, Robertson was one of rock's most important voices from 1968 - when Music From Big PinkLast Waltz concert. Robertson's charisma in the 1978 film of that concert almost led to a movie career - but after starring in one movie (Carny), Robbie decided he didn't really want to do that, either. So he helped his friend Martin Scorsese with some motion picture soundtracks, and laid low here in Los Angeles. For ten years. "I have an old Broadcaster that I use quite a bit," Robbie Robertson says. "It was made around 1948. With a lot of new guitars you plug 'em in, adjust 'em for an hour and maybe they sound pretty good. This you plug in and it sounds good. I've had this souped-up old Stratocaster quite a while. It has 'Number 254' on the back. You can tell it's old 'cause the neck's a little thick. Before I used it in Last Waltz I had it bronzed, like baby shoes. That gave it a very thick, sturdy sound. A Stratocaster has three pickups; I had the one in the middle moved to the back with the other and tied them together. They have a different sound when they're tied together, and I don't like having a pick-up in the middle, where you pick. I've got a Washburn whammy bar on that guitar. I have a 1959 Les Paul with flat-wound strings on it that I use if I want a thicker, fatter sound. Those flat-wound strings are nice for slide playing. "On the wall in the studio I have four amps: a little 30-watt Vox, a very old Bassman, a Roland Jazz Chorus and a Fender Reverb with a souped-up tremolo. I have a switch so I can use any or all of those amps, and I use a slow gear pedal a lot. I also use these tiny old Fender Princeton and Harvard amps on some things. "I have two cheap little Korg keyboards I used on the record; I don't even know the numbers - Daniel Lanois bought them for me one day. And I used a Yamaha piano/keyboard writing the songs. "And I have an old Rickenbacker lap steel - I like the way it looks more than anything about it. These things were made in the late 30s and there's a pickup on it that wastes any pickup anybody has on any instrument now. Amps start weeping at the very sound of the power this pickup puts out! I talked to Seymour Duncan on the phone a few months ago - I wanted him to come down and help me suss out this pickup. He said he'd come down and I never heard from him again. Maybe he was afraid I was gonna tell him this story... " Uh-oh - if you readers have gotten this far in this box hold on to your hats - 'cause Robbie just might be persuaded to tell us the previously unrevealed Seymour Duncan Story. Waiter, a couple more cocktails! "I met Seymour Duncan a long time ago," Robbie begins. "I didn't really remember the circumstances. One day I'm reading a magazine and he's telling how he got into pickups. It says that he met me in this place near Atlantic City where we were both playing, and we stayed up all night and played and he said, 'Geez - the sound of this guitar of yours - what have you got in it?"' Robbie turns conspiratorial: "Now this was a style of playing I had learned traveling around the country with Ronnie Hawkins. People asked me about it a lot and I got bored so I used to make up stories. I'd say, 'I soak my guitar strings in hair oil,' or 'I cut swastikas in the speakers with razor blades.' So Seymour Duncan says to me, 'What have you done to your guitar to make it sound like that?' And not being able to think of anything better I said, 'I've got more windings in the pickups.' "So anyway, I'm reading this article years later and Seymour Duncan says, 'Robbie Robertson told me about more windings, so I've put more windings in my pickups and I've gone on to make The Seymour Duncan Pickup!"' Robertson lets out a laugh. "And this whole business is based on a big lie! It never existed! I couldn't think of anything else to say!" Robbie takes a drink and smiles. "I never told this story before. I wonder what he's gonna think. " So do our ad guys, Robbie. "I wasn't so sure I had something to say," shrugs Robertson, forty-three. "And I heard a lot of people making records who had nothing to say, either. I thought, 'I don't know if I want to do that. I don't know if I want to just make records. Maybe I'll do a movie, maybe I'll score a film.' I enjoyed very much experimenting with the score for Raging Bull. It made me feel good. I thought, 'God, I've always been thinking of things to say, I've always been showing up. I'm just going to hang around the house for a while, talk to my kids.' I wasn't sleeping, but I just didn't want to make mediocre moves. I looked around me and it seemed like everybody was. It was like an epidemic of medium out there. I'm grateful I wasn't motivated to just get it over with." It's an admirable attitude - but not completely unique. John Lennon and John Fogerty are famous examples of rock legends who left for years to recharge. Simon, Dylan and Morrison have had their long vacations, too. What really sets Robertson apart is that (a) he said goodbye before he left, and (b) he's coming back with an album as powerful as the best of his old stuff. "Starting Over" wasn't exactly "Strawberry Fields, " and "Rock 'n' Roll Girls" wasn't "Run Through the Jungle," but Robertson's new record has songs that you could put right beside "The Weight. " Here in California in June he's wrapping up work on the still untitled LP he hopes will make it to the record stores the last week of September. The album has the dignity and depth Band lovers expect, but it ain't More Cahoots. Co-produced by Robbie and Daniel Lanois, and utilizing backup musicians such as Peter Gabriel and U2, Robbie Robertson's first solo album fits the aural space between So and The Joshua Tree. With the bonus of having tunes by one of the five best songwriters of the rock era. "Daniel Lanois wanted to do it basically because of the songs," Robertson explains. "But one of the things he prides himself on is bringing new inspiration to the party. When we got into it, it all started changing. We'd be recording a song in the studio and I'd go upstairs to my workshop and he'd come in and go, 'Oh my God - what is that you're doing? This is what we've got to pursue!' We're already in the middle of the river with the first thing and all of a sudden we're off on another mission. It was exciting; it kept the sparks flying." Robbie Robertson's impeccable. He walks into an expensive restaurant overlooking the Pacific Ocean in Santa Monica; the hostess and the waiters all know him, other diners send over drinks, he asks lots of follow up questions about the wine. The guy's obviously got it. He's completely on top of things. He was on the cover of Time magazine at twenty-five, he hangs out with Antonioni. The guy's impeccable. But the funny thing is, under the smooth exterior he's also the ex-carny, the kid who quit school when he turned sixteen to go on the road with rock 'n'roll wildman Ronnie Hawkins. Everybody else in this plush restaurant is squeezed at little tables. But not Robbie. He made reservations for one extra person so he'd get more room. As the waiters bring bread and more free drinks get sent by anonymous Band-lovers, Robbie continues to pretend that his friend must be just running late. He eventually says we'll order some hors d'oeuvres while we're waiting for our pal, and finally, when he's good and ready, he tells the waiter, Okay, we'll order our meals and let him catch up later. And you've got to think - this guy's immaculate. The bourgeois system is not set up to deal with articulate carnies in expensive clothes who use imaginary friends to get the big table. There's always been some hint of that sort of thing with the official histories of the Band, a suggestion that those five guys had a lot more going on than ever got in the papers. And that maybe the story that did appear in the papers had just a little spin on it. It's like those biographies of Lyndon Johnson that repeated a life story gleaned from other biographies back to Texas newspaper articles that it turned out were based on lies told by Lyndon. Not that the Band told lies - their records were so good that there was no need for hype at all. No, the Band had sort of a wall of myth around it, and writers kept raising it higher. So what do we know? That Robertson, Levon Helm, Garth Hudson, Rick Danko and Richard Manuel came out of Ronnie Hawkins' backup group to support Bob Dylan when he went electric. They played tumultuous concerts in Europe and America, with folkies booing and rockers screaming. In 1966 Dylan was waylayed in Woodstock, New York and the Hawks moved up there, too. With Dylan they recorded a bunch of demos that later became famous as The Basement Tapes. In 1968 Dylan released John Wesley Harding and the Band, as they redubbed themselves, knocked the rock world on its ear with Music From Big Pink. A year later they put out The Band, the brown album everybody's gone through three copies of. It had songs like "Up on Cripple Creek," "King Harvest" and "The Night They Drove Old Dixie Down. " They played Woodstock, they got that Time cover. (The magazine called them the first rock band to match the excellence of the Beatles. The Band might have been more impressed if they'd said Willie Dixon.) In 1970 they released Stage Fright, which contained some of Robertson's best writing, and in 1971, Cahoots, which was a little tired. Then there was a long filler period - a live album, an LP of oldies. In 1974 there was the big Dylan/Band tour - Bob's first in eight years and the biggest rock tour ever to that point. Something like four percent of the population of the United States mailed in money for tickets. That tour produced another live album, but the next real Band record, Northern Lights, Southern Cross, did not appear until 1975. It was quickly followed by Islands in 1976, and that was quickly followed by The Last Waltz. All in all not a very busy career. And there were gaps between tours almost as long as the gaps between LPs. Yet the story put forth in The Last Waltz, and repeated by writers ever since, is that the Band lived on the road and had to wrench themselves away from it before it killed them like it killed Jimi and Janis and Elvis. "We never even played a show until after we did our second album," Robbie admits with a laugh. "It seems like we played everywhere but we weren't out there," he smiles, "like maybe the imagination implies." One bit of mythmaking that did come true, though, was Robbie's dire prediction about the fate of the Band if they stayed on that endless highway. His four cohorts reunited without him a few years ago, and in early 1986 Richard Manuel died in a Florida hotel room. That tragedy implied that Robertson's motivations for breaking up the Band were based on justified fear. "It went through cycles of danger," he says slowly. "And one element of danger surpassed the others until it was just frightening. We didn't know what the next day might bring. There were times when we were just scared to death of what would come out of this monster that had seeped out of the woodwork. And we saw it happen to everybody around us. You don't learn from it: it just sucks you in. We started playing together when we were just kids - sixteen, seventeen years old. To see people teetering on the brink constantly.... Richard scared us to death. We scared ourselves to death. These things become the priority, that's what rules your existence. "We're talking about living a dangerous life. One thing equals another whether it's drinking or drugs or driving as fast as you -an or staying up for as long as you can. That way of life seemed very fitting. At a certain age you don't think, 'This is insane!'" "I came up with the idea of The Last Waltz. I thought it would be a very soulful move. I said to the guys, 'Listen, we don't want to travel town to town anymore. We should evolve to the next stage. I think we should do this and do it in a very musical fashion. Gather together people who represent different spokes of the wheel that makes up rock 'n'roll.'And everybody said, 'Yeah!' So we did it and it was over with. But you forget when you're doing these things that people have in-bred music, in-bred road. It isn't like all of a sudden they can say goodbye. So it turned out after a while that everybody didn't feel the same way I did about it." Robertson wasn't offended by the various combinations of his ex-partners who billed themselves as "Band Reunions." "That's when I realized it was in some people's blood," he says. "They couldn't say goodbye. It was too much a part of their past. I didn't feel strange about it, but it wasn't anything I related closely to. I didn't feel like, 'This is a big lie for you guys to do this.' I just felt like if I did it, it would be a big lie. " So Robertson, the man who wrote, "I'll spend my whole life sleeping" and other odes to enlightened laziness, took the high road and watched his three kids grow up. The Band had signed to Warner Bros. just in time to break up, and eventually that label realized they weren't going to see a Robertson solo album. Meanwhile, a young Band fan named Gery Gersh had gotten a job in A & R at EMI. He convinced Robbie to sign with that company, although Robbie was only half interested and EMI thought he was probably a great songwriter who couldn't sing (the price for Robbie passing most of the Band's vocals off to Rick, Richard, and Levon). When Gersh moved over to Geffen Records he got that company to buy Robbie's contract from EMI. Robertson did a lot of label switching for somebody who wasn't going near a recording studio. Finally, Gersh set out to convince a dubious Robbie that he really should write a bunch of songs and make an album. "I think he wanted to do this really badly, " Gersh says, "but didn't know how to go about it. And I wanted to do it really badly and didn't know how to go about it. So we just started getting into a series of very intense discussions of what we wanted to do. I didn't want to do it if he wanted to make another Band record, and he didn't want to make another Band record, so we hit it off immediately. We started searching for rhythms, for keyboard programs. We wanted to make the album mostly a guitar record. A lot of strings and swells that add color were done on guitars instead of synthesizers." Gersh and Robbie have some ambitious notions - including evolving a series of Robertson films with corresponding albums. But for now they're taking nothing for granted. "We're making the best Robbie Robertson record we can make," Gersh says. "If the public enjoys it as much as I think they will, it'll be fantastic. If they don't, I'll hold my head up very high. It's weird that this is Robbie Robertson's first solo album. I mean, if it's really well received does he get Best New Artist?" Work on the album began in June of 1986. Robbie and fellow Canadian Dan Lanois hit it off quickly - they both love experimenting with sounds. They also both like to get a lot of interesting sonic options on tape - and use the mix to choose between them, but not to alter the sounds themselves. Work began, but Robbie's pal Scorsese was after him to do the soundtrack for The Color of Money. Robbie kept trying to say no, and Scorsese kept calling him with one more problem, one more question, one more idea. "I told him, I can't do it. I've really got to give this album my full attention. He just ignored everything I said. He said, 'You know, when we get to this scene...' We were in the water! He's one of my best friends in the world and finally he said, 'Let's cut the crap - you've got to do this.'" So Robbie agreed to do the damn movie. "I thought it was not an ideal move at all, " he shrugs. "I haven't made an album in a while and all of a sudden with my left hand I'm gonna be doing music for this movie? To work with guys like Martin and Gil Evans is a gift from heaven, but the timing...Daniel wasn't crazy about the idea, but he kind of put up with it. Then he had to go over to Ireland to finish up U2's album." So the Robertson project was put on hold. Lanois, back up The Joshua Tree, got Robbie to promise to come over to Dublin to do some recording with Band fans U2. But first Robertson had to sort through the songs Scorsese was considering for The Color of Money. One was a tune Eric Clapton had submitted. "Marty said, 'I don't think it's going to work in the movie, but it's got something. There's a couple of lines that I like. I'm going to tell Eric to call you and you just straighten out with him what it'll take to make this song work in the movie. "' Robertson laughs at the memory. "So I thought, well this is some strange predicament. Eric's an old friend I hadn't seen in a while. He called me and said, 'Okay, what do we do?'I said, 'I don't know. Let me think about this thing, see if I can come up with something.' I just kind of copped out of the situation, put it out of my mind, and went on with scoring the movie. So a couple of days later he called me back. I said, 'Look, Eric, I've gotta be truthful with ya, you're catching me at a bad time. I've gotta score this movie and I'm in the middle of making an album...' He said, 'Don't tell me about a rough time for you! I'm in the waiting room where my girlfriend is about to have a baby! Don't tell me about timing!' I said, 'Well okay, you win this round - call me back in an hour.'Then I said, 'God! I've got to think of something!' So with all I could I just went into this zone of trying to figure out how to make this song work, how to shift it on the track for Marty. I said to the musicians I had in the studio, 'I'll be back in a minute - I've got to go upstairs and deal with something. Go ahead, you're doing great.' I went and did this thing out of desperation." An hour later when Clapton called back, Robertson sang into the phone, "It's In The Way That You Use It." Robertson held his breath and waited for Clapton's reaction. "I finished singing it, picked up the phone and I could hear him laughing like mad. I said, Okay, let me hear the joke. He said, 'Oh, this works! This is fantastic! Read them off to me so I can write 'em down.' So I read off the Iyrics to him and I said, 'I'm not completely done with it, but this is what I've got so far.'He said, 'Oh great, see you later."' From there, Robbie flew to New York to work on Color of Money horn charts with Gil Evans. "We're really under the gun time-wise, people are pulling their hair out, going nuts. We finish up the last piece of music for the film, I play my last guitar fill, and I grab my bag, run down to a taxi, and catch this plane to Dublin to try this musical experiment with U2. It's been set up that we're going to try mixing worlds together to see what happens. Those guys are in a very rootsy period. So anyway, I'm on the plane flying over there and I realize I have nothing written. I don't know what I'm going to do. I'm thinking, 'Oh I'll write something on the plane.' It's the biggest lie I've ever told myself in my life. On the plane I've got the perfect guy sitting beside me - he has a million things to say about everything and I can't stop him. We get to Dublin and they're having a hurricane! The plane barely makes it. I'm driving into town and cars are floating down the street! I'm thinking, 'Boy, this is one big disaster in the making here.' I'm taken to this house, I don't know where I am, I don't know what I'm doing. All I know is, I don't have any songs! Everybody's real nice and it's like another world, a twilight zone I've entered in a storm. I am so delirious from the work I've done in New York I can't even feel the predicament I'm in. I know I've got something to do, but I don't know what it is. They see I'm a hopeless case and send me up to some bedroom on a back floor. With great relief I go up there to try to rest and think, 'Maybe I'll write something while I'm up here!' I jotted down a few ideas. I had thrown two tapes in my bag. One was a horn chart I had done with Gil Evans that we weren't going to use in the movie. I thought maybe I can play this for them, maybe it'll inspire something. And I had this other little cassette of me playing a guitar riff and a tom-tom. Not much to go on. But while I was in the bedroom recuperating I actually got a few ideas. So the next day comes and it's time to deliver on this. Daniel plays the first tape for the guys. They hear this guitar riff, this tom-tom. Bono says, 'Let's go.' I'm thinking, 'Oh, God, let's go where?' I'm pulling scraps of paper out of my pockets. We start - and these guys jumped right in the water. They did something! I thought of a word idea, Bono thought of something. We recorded this song and it was twenty-two minutes long! We listened to it and said, 'That's pretty good!' "Then somebody comes in and says, 'Eric Clapton's on the phone!' He said, 'Listen, you've only given me seventy percent of the Iyrics on this thing. Where's the rest of them?' I said, 'Eric, could you call me back in an hour?' He said, 'No, no! We've been through this! I'm in the studio singing the song and my voice is about to give out! What are the rest of the words?' So I had to run back up to my little room and sort out what I could. I called him back and I guess in an hour that record was done. I appreciate his patience and understanding. He kept saying to me, 'Where are you? What are you doing there?"' Robbie went back into the room with U2. The song they had cut - "Sweet Fire of Love" was terrific. Robbie and Edge trade guitar fire while Bono, singing higher than normal, and Robbie, singing lower than normal, rail at each other like Gabriel and Lucifer. "Didn't we cross the waters?" Robbie sings, "Didn't we break the silence?" He sings of coming through the storm. If "Sweet Fire" were on a U2 record, you'd say the song was apocalyptic, but knowing that Robbie entered Dublin through a hurricane, it becomes literal. The Gil Evans horn charts evolved into a track called "Testimony," and then, two gems under his arm, Robbie got some sleep. "We just threw the chips into the hat and mixed it up to see what would come." Robbie says. "Edge and I got into this guitar thing that I love. I love guitars screaming at, talking to, each other." In Edge, Robertson saw a guitarist like himself, more concerned with total effect than flash or solos. "It's whether it's musical." Robbie nods. "That's all it takes. It doesn't have to be complicated, it just has to speak to the soul of the issue. If it does right by the song you've made the right choice. In this day and age I have trouble telling one guitarist from the other. With Edge I hear three notes and I know it's him. The sound was always way up front for me. Look at Miles Davis! People would play a thousand notes; Miles would play one note, I could recognize him, and it would break my heart to boot. One reason I wanted to try this experiment with U2 was because I was very impressed by this group as a rhythm section. Larry Mullen has incredible rock 'n' roll instincts, and he and Adam, the bass player, do something that feels fantastic. When I'd listen to those guys I'd think, 'This is the real item.'" "Bono and I talked about Iyrics. How when you're writing Iyrics for a band you have to express it on our behalf. When you're writing for yourself you don't have to do that." So Robbie's new songs are more personal than the Band's Americana? "They're personal in the sense of playing the character of the storyteller. The songs are not, 'I was born by a river...' I take the view of a character who zooms in on aspects of life and tells it through his words. Some of it is first person; some of it is on behalf of a story - but it's different than I was ever able to do with the Band." That seems like an odd statement. If it's in the voice of a character anyway, you think, why couldn't he have done it with the Band? But listening to the new songs, one character and set of images emerges that, sure enough, the other guys in the Band would not have been qualified to give voice to: an American Indian. Robertson has an office - he calls it a workshop - at Village Recorders in Santa Monica. "It's great that it's in a recording studio," he smiles. "That way if I get an idea and I need a microphone, I can call downstairs and borrow one. " There's a carved wooden table Robbie uses as a desk, a couple of couches, and a painting of an American Indian on the wall. Tonight Robbie wants to go to a Native American art opening at a chi-chi gallery in Venice. One of the artists is Darren Vigil, the Indian who did the painting in Robbie's workshop and who's now working on a Robertson portrait. The gallery itself could be the brunt of a Woody Allen skit - they hand out Tootsie Rolls as entrance tickets - but the work is wonderful. Robbie passes through the crowd like he was born in a beret, greeting local artists by name and then offering succinct critiques: "That's Andre - he's doing great. His stuff's a little mathematical but I like it a lot." (Trivia buffs will recall Bob Dylan's famous assessment of Robbie Robertson as a "mathematical guitarist. ") A lot of the paintings mix up the serious and playful. Darren Vigil's paintings are crammed with images and information - but there's a punch line: He paints little cracks in the claustrophobia through which peek starry skies. Robbie's studying a painting when someone suggests that the Indian unity between spiritual and physical - sort of combining high mass and a cookout - has a parallel in African art. "Yeah," Robbie says, "but I know a lot more about Indians. My mother was born and raised on the Six Nations Indian Reservation above Lake Erie." Wait. Back that up. Robbie Robertson's mother is an Indian? "Yeah. And my father was Jewish. How's that for a combination?" Born to wander, one supposes - or as Jimmy Iovine puts it: "The Six Nations met the Six Tribes. " Robertson's father was a professional gambler named Claygerman who married an Iroquois woman, took her to the big city of Toronto, and died when Robbie was a small boy. His mother eventually remarried, to a man named Robertson. "Every summer she would take me to the reservation," Robbie says. "It was like a time warp. My uncles and aunts had lots of kids. I had all these cousins who could tell things from listening to the ground. They could sniff the air and say when it was going to rain - tomorrow. These guys didn't climb trees - they could run up a tree. I'd run to the bottom of the tree, come to a halt, and say, 'What happens if you fall?' It was just a different way of life altogether. A lot of music, though. They all played something - mandolins, fiddles, guitars. That's where I started playing music. " Robbie's Indian heritage is more obvious on his new album than on anything he did with the Band. "Broken Arrow" - a fragile mood piece full of longing and melancholy - might be the most beautiful song he's ever written. And this guy wrote "Out Of The Blue," "All La Glory" and "It Makes No Difference." "Broken Arrow" is more about Indian summer than Indians - unless, like Robertson, you spent childhood summers on a reservation. It's a song that makes hardened session drummers cry. You better hear it for yourself. "Hell's Half Acre" is on the opposite end of the totem pole. It's a savage rock song about an Indian boy who is drafted and loses his soul in a meaningless war. "I thought of the whole idea of sending kids off to some foreign land to fight for something they don't understand," Robertson says. "The ultimate rape was to do it to an American Indian. That, to me, showed the picture more vividly." The pain of the song - a decent comparison is U2's "Bullet The Blue Sky" - whips out from the electric guitar. It was cut with the album's basic quartet: Robbie on lead and rhythm, Tony Levin on bass, Manu Katche on drums and Lanois ally (and by coincidence ex-Ronnie Hawkins sideman) Bill Dillon on ambient guitar sounds. The Native American art opening is packed, but Darren Vigil eventually finds Robbie. They slip out to Darren's car, where the artist has slides of new paintings. Robbie consumes them. He's knocked out by a Matisse-like painting of an Indian woman in sunglasses. Then they decide to take their Tootsie Rolls and head to a disco where a bunch of the Indian artists are having an opening night party. The place is dark and loud and crowded. The P.A.'s blasting "I Want You Back" and "Low Rider." People are dancing and drinking and pinching each other. As the owner leads Robbie to a booth some people shake his hand and some whisper to friends, "You know - Last Waltz, take a load off, Fanny, that guy..." A drunk comes up and starts pushing across that barrier between tipsy enthusiast and pain in the neck. Robbie just smiles. The drunk wants Robbie to come over to his house. Maybe. The drunk wants to come over to Robbie's house: "Where d'ya live?" The drunk wants to buy a round of drinks for Robbie's table - "What'llya have?" First guy: a beer. Second guy: a Coke. Robbie Robertson: "I'11 have a bottle of champagne." He's polite but serious. This shakes the drunk. "No - really... " "Bottle of champagne. " The drunk wavers and then says, "Awright - Robbie Robertson wants a bottle of champagne, I'll get him one." The guy pushes through the crowd up to the bar, gets quoted a price and does a double take. He snakes his way back to Robbie's table and says, "Look - I'll buy ya one drink. You want a beer or something?" Robbie turns and looks at him and says firmly, "A bottle of champagne." Champagne arrives, drunk is gone. Darren Vigil says, "Don't feel bad for that guy - he owes me fifty bucks. " Three allegedly Native American women come to Robbie's table and fan their hands over their mouths going, "Woo woo woo woo woo!" Robbie pops the cork and surveys the dance floor, which is getting wilder by the minute. "These Indians," he says. "Not supposed to drink." Three weeks later, Robbie Robertson is back in Woodstock, New York. He's standing in the doorway of Bearsville Studios, the legacy of his late manager Albert Grossman. When mixmaster Bob Clearmountain suggested Robertson move the album to Woodstock for the home stretch, he was reluctant. "At first I really didn't want to come up here to do it," he says. "It was like, 'Oh no! I'm starting over!'But it's been great. I'm really glad we came. " Twenty years after the basement tapes, he admits he isn't sure exactly how to find Big Pink. (He never lived there. Rick Danko and Richard Manuel did. ) That whole basement tapes thing got mythologized a little too fast. People are still bootlegging outtakes and goof-offs and things Dylan and the Band did once and forgot about. "But, " Robbie smiles, "none of those bootlegs have 'See Ya Later, Alan Ginsberg.' They don't even know that one exists!" Moving into the larger of Bearsville's two studios, Robertson cues up a track called "Fallen Angel," a tribute to the late Richard Manuel, the Band's piano player and saddest voice. The song begins: I don't believe it's all for nothing It's not just written in sand Sometimes I thought you felt too much You crossed into the shadow land In the 80s Richard Manuel, Rick Danko and Paul Butterfield blew around the Northeast bar circuit playing musical (and probably chemical) roulette. Sometimes they were so brilliant you couldn't believe it and sometimes they were so awful you'd get depressed. But Danko, the hyperactive, fidgity, fast talking, song-calling, grinning ringleader seemed the most in danger of flying off the side of the Earth. Butterfield seemed sullen and Richard quietly intent. Then Richard hanged himself and Butterfield dropped dead. Suddenly Danko looks like the tail gunner who's lost both his wing men. "No, " Robbie insists. "Rick is just very vivid in his ways. So you get the impression, 'Holey Moley! What a firecracker this guy is!' But he's just a very animated person. Richard was a big drinker and he stopped drinking. Just before he died he started drinking again. That disease comes back like a sledgehammer. And it drove him crazy. People were telling him, 'Oh, I'm so disappointed in you' and all this stuff. " Robbie sighs. "I think he just scared himself to death." "Fallen Angel" shares with the other tracks - loud and soft - a haunted quality. Robbie calls it "the voice of a true American mythology." He doesn't see "true mythology" as a contradiction at all. "A lot of it's based on mixing fact and fiction together," he says. "We know these places exist, we know these people exist. I don't know who they are, but I know it's out there somewhere." Robertson the songwriter has walked a very fine line, a line almost unique in rock. He writes in the voices of characters - the Confederate Virgil Cane, the migrant Cajun in "Arcadian Driftwood," the Indian draftee in "Hell's Half Acre." But he writes these characters with an almost confessional directness. Now this was common in pre-rock 'n' roll songwriting, but rock has tended toward either character writing in extremis or the appearance of autobiography. Most rock 'n' roll character writing is "Midnight Rambler" or "Money For Nothing," Randy Newman's bigot or Lou Reed's rapist. Created characters tend to be cartoons. The other style, the first-person I love you/ I hate you/ I can't get no satisfaction style used by everybody from the Beatles to the Sex Pistols, maintains at least the illusion of being autobiographical, of being a true emotional statement. Robbie Robertson is the rare rock songwriter who gives obviously fictional characters as much compassion as other songwriters lavish on "I." "I don't feel like taking the part of characters to outrage, " he says. "That's a bit of...a trickery to me. This has to be a true American mythology, as opposed to just whatever I could think of. Does it break my heart, does it give me chills, does it conjure up some kind of spell in me that I'll never get over? That is more interesting to me than a song on behalf of a bigot. I have nothing against that - but it doesn't have a valid place in this picture. "And I was embarrassed by the self-indulgence of 'me me me.' 'Here's a little song about me.' If I started out a song that way it'd make me puke all over the piano." He is quiet for a minute. Then he says, "Everything you write is personal, y'know? You maybe try to disguise or hide what's real personal about it. What is 'Out Of The Blue' if it's not personal? Or 'It Makes No Difference'?" Yet "It Makes No Difference, " from Northern Lights, is the perfect example of a Robbie Robertson love song. It's downright stoic in its stiff-upper-lipness: "There is no love as true as the love that dies untold." There's a truly strange distancing device in the bridge. Here is this heart-breaking song about soldiering on in the face of unbearable loneliness and suddenly the singer goes, "Stampeding cattle, they rattle the walls." Now what is that if not a way for Robertson to distance himself - a way to say, "This is getting too close to the bone, I better stick in a distraction so people will think it's a song about some other guy, some old cowboy." Where the hell did the cattle stampede come from, Robbie? "When I was writing that song," he says and interrupts himself: "It's nonsense that you think of these things but nevertheless you go through them - I'm writing and I'm thinking, 'Is this maybe getting a little too legitimate?' So I got to the bridge and I thought, 'Here's where I'll shuffle the deck a little bit.' I do remember at that point thinking, 'Here's where I get to make this song not just traditional, here's where I get to stir up some dust."' And how better to stir dust than with a stampede? "I remember people saying for years, 'Y'know, I was thinking of recording that song but when it got to that line I didn't know what to do. I didn't know if I could deliver that.' But although I was looking to break out of that mood for a second and then come back to it, I wasn't at all saying, 'What can I say outrageous?' I wanted to shatter the silence. And the loneliest thing and this feeling that you're going crazy in this room - what could be stronger than stampeding cattle inside the wall? So in a kind of Luis Bunuel philosophy of images it made all the sense in the world to me. I just wanted to feel more of a rumble in the earth. Things were too still for me. I didn't want it to just become sad. I've always appreciated the violence in desolation as much as the helplessness." Geffen's Gary Gersh is in Woodstock, with aide de camp Judith Haenel. Clearmountain is trying to figure out Lanois' random methods of storing different sounds on each track. Mixing these things isn't half as hard as finding where the information's stashed. There's a problem with a song called "What About Now." It's a march with a fine rhythm, nice synth parts and a solid verse. But the chorus is sounding like Up With People - a little too rousing for this LP, a little too jolly. The obvious problem is the backing vocals - hyperpro Hollywood studio singers with all the right notes and all the wrong feeling. Robertson wants to wipe those backgrounds and replace them with something more offbeat. That something turns out to be Lone Justice singer Maria McKee. Maria pulls up at the studio door with her manager, Jimmy Iovine. Yeah, Jimmy is a hotshot record producer, but not today. Today he's just along to look after his client (although he and Robbie joke about sending Lanois a snapshot of Iovine "fixing" Lanois' tracks.). Maria has just flown in from a European tour and she's pooped. But Robertson has a gift for making people relax, feel no pressure and work twice as hard. Robbie engages Maria in conversation about Paris, about touring, about headache remedies. He suggests that before they even hear "What About Now," Maria take a listen to "American Roulette," a song that needs a woman's voice on its chorus. Robbie explains that it's about America's way of creating stars to destroy them, that one verse is about James Dean, one about Elvis Presley and the third about Marilyn Monroe. The Bodeans sang on the Presley section (Robertson likes them because they sing like guys in a band who step up to the mike on the chorus - not like session pros). He wants Maria to try the chorus coming out of the Monroe verse. Maria understands what the song needs, and rather than go for the obvious harmony, she and Robbie try for a high, airy sound - a bit like Monroe's little-girl gasp. It works pretty well, but it's hard to get the exact balance between phrasing, pitch and sexy character. Through all the tries Robbie exudes easy confidence. "Maria," he says, hitting the talk-back button, "it's just getting better and better." Iovine - sitting on the couch and trying really really hard to not be a producer - finally says, "Why don't you slow down the tape a bit so she can have time to get that phrasing right." Robbie looks at his guest as if Jimmy just suggested they all paint themselves blue. "Slow down the track?" he laughs. "But won't she sound like Minnie Mouse when we take it back to normal?" Iovine says try it, and they do, and it works. Then Iovine goes back to being a manager. It's obvious watching Robertson record that he gets twice as much out of musicians with compliments as other producers do with threats. He goes to the other room to hear Clearmountain's mix of a track called "Showdown At Big Sky." "That's terrific, Bob," he says. "The way Bill's guitar comes up there is great. It makes me wish it started to happen even sooner!" Now another producer might say that as, "The guitar comes up too late!" Robertson's execution is a lot more dignified. Around guys like Clearmountain and Iovine, who are in their early thirties, and Maria, who is in her early twenties, Robertson seems like a great high school coach: He's patient and he emphasizes good values and he works the kids to death. But they feel good about it. (Robertson may retch when he reads that, but it's true.) Of course, the method could only work with people like Clearmountain and McKee, who can do a part twelve different ways on demand. In Maria's case the shorthand gets pretty funny, with Robbie calling, "No - too Linda Rondstadt"; "The last note of that one sounded like Joan Baez", "Not so much like Kate Bush - more like the Ennio Morricone things." In the other room, Clearmountain and Gersh are working on "Showdown At Big Sky." "The more echo you add, the less they sound like the Bodeans." "That's not important, what matters is that it sounds good." "We got the Bodeans for their character." This whole studio is full of method actors. Gersh wanted Tom Verlaine to come up and play a guitar part on another song but nobody can track him down. "What do you think of getting Todd Rundgren in?" he asks Clearmountain. Bob's face lights up. "Yeah! That'd be great!" Then he admits, "Well, actually I haven't heard that song. I'd just love to watch him work." They figure since Todd engineered Stage Fright, it would be fitting. By two a.m. Maria's asleep on the floor, the staff has gone home, Iovine's nodding - and Robbie is sitting at the mixing board with a weary Clearmountain - rocking away. The next morning at about eleven Maria answers the phone at one of the guest cottages. "Jimmy!" she yells to Iovine upstairs. "The power's gone out at the studio!" Iovine says, "I guess we have plenty of time for breakfast," and turns on the TV Contragate hearings. A few minutes later Clearmountain raps on the door and gets the word from Jimmy. Real bad news for Bob - a power loss could mean the samples he worked on last night are lost. Clearmountain, Iovine and McKee head to a Woodstock natural food joint, where they bump into Gary Gersh. Jimmy asks where's Robbie. "At the studio," Gersh says. "Already?" "Robbie's always at the studio. " Two hours later workmen are fooling with Bearsville fuse boxes, Clearmountain is firing up safety copies of his samples, Iovine and Gersh are doing business on studio phones, and Robbie is at the piano, working out harmonies with Maria. Robbie is the oldest of this group by ten years, under the most pressure by ten tons, and the most relaxed by ten miles. At about two-thirty Clearmountain plays him the final mix of "Showdown At Big Sky. " The track sounds great. Yesterday the song spent a long time ending, shifting back and forth between two sections without rising or fading. Now the excitement builds right through - and when the tune ends you wish it would keep going. This isn't a result of any cutting - it's a result of Clearmountain's laborious fine tuning and Robbie's football coach guidance. Robertson steps out of the mixing room and plops down in a chair. He looks tired, but he also looks real confident: the pride of a man who did great work, quit when he was ahead and has come back ten years later with something that can stand with his best. Days earlier he mentioned a thread that ties his songs together. Asked about it now, he says, "All it is for me is the sense of an American mythology. You'll hear it in the song we're going to mix next - 'Somewhere Down The Crazy River.'In my mind there's this mythical place in America where the storyteller lives. And he tells stories based on this place and people who've come through, and his experiences. That's why all the Indian stuff is there, because that's the birth of American mythology. It does something to me; it pushes a button in me. I don't know if it means anything to anybody else, but God, I know that place is out there somewhere." Robbie looks away - like he has one eye on this shadow land already. Then he says, "I've never been, but we all know it's there. And you'll recognize it in bits and pieces. You'll recognize it the way the storyteller tells it."
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a gathering of beasts the thick morning mist was rolling slowly through the leaves like a crowd of dazed spirits. the great beast grabbed a damp limb and pulled his massive frame up and out of his treetop nest. he could hear the others gathering in the distance. the low guttural moans of the elders, the hoops and rapid yips and yelps of the younger apes as they thrashed about the lush wet undergrowth. he could smell the battle coming, and almost taste the blood on his jutting yellow canines. it was time. his body ached but he shut it out. his knees, old and tired. he shut it out. it was time. he clinched his massive brow and let the rage course through his veins as the growing primordial sounds around him accumulated into a pounding thunder. he started out across the winding limb to join the others as a deep grunt emanated from behind. he turned and looked back to see the smaller gorilla standing in his nest, outstretched arms gripping fistfuls of sticks. "so what, i'm just supposed to clean up all this shit? is that it? i'm just here to clean up after you everyday while you go off and do whatever?" "but the war thing..with jerry and the guys, i told you on thurs..." "no, fine! just leave me here again and go play your stupid little games with your idiot friends!" No comments:
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Why are Indians hypocrites? Well, the heading might sound controversial. The content may be controversial too, but not as much as the topic, I believe 🙂 Hypocrisy meterRecently a friend of mine was saying that the problem with the Indian education system is that they teach you solutions without letting you experiment with the problems. I’m trying to add my points to it and apply the same for Indian culture. Without understanding the problem, one cannot appreciate the solution. Neither can one distinguish between actual solutions and crappy work-arounds. Applying the same arguments to Indian culture and moral system seems perfectly valid to me. Long long ago, so long ago, some people (including the so called God) have written down the solutions to all human problems. And we are bound to follow it. If you question the validity of those ‘solutions’, or even if you try to understand the problems they are trying to solve, it’s a “sin” (remember the scene from 3 idiots where the student is sent out of class for questioning the norms?). For those who could appreciate the student in the movie scene, questioning the culture seems so intolerable. If you do something just because you have been repeatedly told that’s the only way forward, at some point or the other your mind will question the validity of that approach. After some time, you will ‘regret’ for such thoughts and keep trying to follow what has been ‘taught’. But you will never be able to follow it completely because you never understood the essence of it. So what do you do? Either be in the comfort zone of hypocrisy, or be bold enough to follow only those for which you have logical reasoning. Unfortunately, most of my fellow citizens chose the first option, making life harder for those choosing the second one (including me) 🙁 4 thoughts on “Why are Indians hypocrites? Leave a Reply
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Password-protected bullets The way to make firearms really safe, says Hebert Meyerle, is to password-protect the ammunition itself. The German inventor is patenting a design for a cartridge that would be fired by a burst of high-frequency radio energy. The energy would only ignite the charge if a solid-state switch within the cartridge had been activated. This would only happen if a password entered into the gun using a tiny keypad stored in the cartridge. Via new scientist.
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Share Button Every photographer will agree with you that aperture and ‘F-numbers’ are confusing at first. Phrases like “open up your lens”, “increase your f-stop”, ‘”use a shallower depth of field”, “use a fast lens” all relate to aperture. Unfortunately, it needs to be understood in order to develop your skills and knowledge of photography. This is a fairly lengthy article but I’ve written in a way which I wish had been presented to me when I first picked up a DSLR many years ago. Once you get your head around it all, it’s fairly straight-forward and logical and will make a big improvement to your photography. Let’s break it down so that it’s easier to digest. What is Aperture? Firstly, if you’re reading this, you’re most likely a new photographer looking to learn more, but may already know that aperture relates to the depth-of-field in photos, i.e. how much of the background (and foreground) is blurred in your shots. Whilst that is correct, try to remember that aperture changing the depth-of-field in a photo is more of a side effect. The main function of aperture is related to how much light enters camera. This is controlled within the lens via small blades which widen or narrow the lens canal depending on the aperture value you’ve set on your camera. Of course, as mentioned, it also affects your depth-of-field, where a smaller F-number results in more foreground and background blur. What do the F-numbers relate to? Assume we turn on a light bulb and hold up a piece of white paper one meter away from it. Now, let’s say at this point the paper is illuminated 100%. If we were to move that piece of paper to 1.4 meters away from the bulb, the brightness of the paper would halve. Just accept that this is true (as it is) and stick with me. Move it to 2.0 meters away and the brightness of the paper would halve again from when it was 1.4 meters away. The brightness will continue to halve at 2.8, 4, 5.6, 8, 11, 16 and 22 meters from the bulb. Those numbers again? 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22. Look familiar? Set your DLSR to Aperture Priority mode and scroll through the aperture settings and you’ll see the same numbers appearing. Your lens works in a similar way! Every time you increase your aperture setting (or F-number), your lens closes up inside and reduces the amount of light coming through. This can be seen in the following diagram. As with the example of the bulb and paper, when you move your aperture setting from 2 to 2.8, from 4 to 5.6, or from 8 to 11, the amount of light hitting your camera’s sensor (think, piece of paper) will halve due to the area of the lens opening being halved. Lens Aperture Explained So that explains why a larger F-number means a smaller aperture (and vice-versa)! Indeed. This also explains why, when you increase your F-number (thus closing up the lens a little), the camera will compensate by selecting a slower shutter speed in order to let more light back in, in order to maintain a correct exposure for the shot. Therefore, with this in mind, if you find your shots are coming out blurred, try opening the lens right up (i.e. choosing a wider aperture = smaller F-number). This will let more light through the lens enabling the camera to choose a faster shutter speed. This is particularly useful to know when taking photos indoors without a flash or in low-light conditions. What are f numbers on a lens Using a wider aperture enables you to shoot at faster shutter speeds in low light conditions. I’ve heard of a ‘fast lens’. What is one? This relates to lenses which can operate at apertures as wide as f/2.8 right up to even f/1.2. At such wide open apertures as this, the shutter speed of the camera can be set extremely fast with no loss in exposure. Let’s say, for example, a lens at f/4 requires a shutter speed of 1/100s to obtain a correct exposure for a particular photo. The same shot taken at f/1.4 would use a shutter speed of 1/800s. Ok, so what’s this ‘F-stop’ I keep hearing about? In a nut-shell, an F-stop is just another way of saying when the exposure (brightness) of a photo is either doubled or halved. For example, adjusting your aperture setting from f/8 to f/11 will (as we’ve already explained) halve the amount of light entering your camera (assuming your shutter speed and ISO don’t change). So you will have decreased your exposure by ‘one stop’. Similarly, slowing down your shutter speed from ½ second to 1 second (to let twice the amount of light in), or raising your ISO from 200 to 400 (doubling the sensitivity of the sensor) will increase your exposure by one stop (again assuming your other settings remain unchanged). What is aperture A wide aperture (here I used f/1.8) is vital when you need to freeze movement even in dark conditions like at a concert. So there you have it. You should now know that aperture is controlled within the lens via blades and that it affects both the amount of light entering the camera, plus your depth-of-field. You should also have learned the significance of those F-numbers and where they originate from, plus, how aperture affects exposure and the knock-on effect it can have on your shutter speed. What’s more, every time somebody talks in terms of ‘F-stops’, you’ll be on the same wavelength. Author – Oliver Pohlmann Click here for more tips & tutorials Share Button No Comments Leave a Comment
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Why Am I Laughing? Podcast Artwork Image Why Am I Laughing? http://WhyAmILaughing.Buzzsprout.com Why Am I Laughing? What's funny? Why is it funny? Ben and RJ are your in-house comedy gurus who talk about all things comedy, laughter, and side-splitting goodness. Tune in every Wednesday as we discuss comedians, tv shows, and the movies that make us laugh the most. You can also play the podcast on the iTunes Podcast app, Google Play, and Stitcher!
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Let My People Comprehend Acts 8:26 “Now an angel of the Lord said to Philip, “Go south to the road—the desert road—that goes down from Jerusalem to Gaza.” The Holy Spirit took Phillip from the kitchen ministry to the revival in Samaria. Then He suddenly took him to the desert of Gaza to meet with the Ethiopian Eunuch. If you are complaining about your presence in the desert, do not go back to the revival in Samaria. There is an Ethiopian Eunuch waiting for guidance from you. Would you wait for him? Want to know more about this and / or subscribe?
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Published on April 24th, 2016 | by Josiah Batten The Marginalization of Christianity Pt. 1 As American Christians we frequently see debates about whether Christianity is being persecuted in the United States. Strictly speaking, we aren’t being arrested for being Christians, churches are not being seized by the government, and so on. To compare what we in the United States face with what a Christian in some other country, say Saudi Arabia, faces is a stretch. But the real issue is not whether we as Christians are being persecuted. The issue is we are definitely being marginalized, and that marginalization is what happens before explicit forms of persecution. So I don’t think we are being badly persecuted now, but given how we are being marginalized I think persecution is going to happen at some point down the road. Unfortunately, many of us are not very wise in this regard. Far too many Evangelicals are content to just go on living the “American Dream” and pretend like nothing is happening. Those that realize something is happening tend to react in all the wrong ways, in ways that only hasten our marginalization. We aren’t fighting much, and when we do fight we do not fight well. It is in light of this reality that I offer this series of posts. I’m not sure how long it will be, I’ll just keep adding posts until I think I’ve covered all the main points. The first thing we need to realize is that Christianity is being marginalized by our culture as a whole, and it is being so marginalized because as Christians we are at odds with the vision of society held by the reigning monarchy. That monarchy is composed of cultural gatekeepers, the media, prominent politicians, the major political parties, the musicians, the Hollywood elite, the vast majority of university administrators and professors, public “intellectuals”, the public school system, numerous special interest groups, and a vast network of village idiots who dutifully go into rage mode on social media whenever the generals of the reigning monarchy demands it. It truly is us against the world. The second thing we need to realize is that we are losing the fight, and losing badly. This is largely because we do not understand the fight, much less do we understand our opponents and the strategies they are using. My goal in this series of posts is to expose those strategies and tactics, to make what they are doing behind closed doors obvious for all to see. We need to know what we are up against to fight effectively, and we have been woefully ignorant of what we are up against up to this point. The emperor has no clothes, but to prove the emperor has no clothes I need to get him out into the open. So let me expose one of these strategies in this post, and I’ll save others for later posts. The primary strategy, the number one way that the anti-Christian worldview is prevailing in our society, is by rhetorical sleight of hand. They are controlling language, controlling what terms we use and how we define them, and thus controlling public dialogue and thinking itself. What those who seek to marginalize Christianity are doing is a page right out of Big Brothers playbook: They are manipulating language in order to effectively end debate about any topic before it begins. They are writing the linguistic rule book in such a way that Christianity cannot possibly win if we play by their rules, and then they actually convince us to play by their rules. This probably seems abstract and heady, perhaps even a little paranoid and crazy. Let me give you some concrete examples to illustrate what I mean. One of the primary ways Christianity has been marginalized is by being labeled “unscientific” or “anti-science.” Of course this a lie, and a blatant one. Francis Bacon, one of the founders of modern science, was himself a Christian. But our culture is not interested in a serious discussion, they are interested in beating us into submission. So how did they get the “anti-science” label to stick? By manipulating the language we use to talk about science and setting the terms of the debate to exclude Christianity from the start. What the anti-Christians mean by “science” is not science (in terms of the scientific method). What the anti-Christians mean by “science” is “naturalism.” Naturalism is a philosophy that holds only the natural world exists. Because Christianity is theistic, we are necessarily anti-naturalism. We believe God exists, that a supernatural world exists beyond the natural one. But such careful distinctions might give Christianity credibility in the public realm, so the reigning monarchy cannot allow that. Instead, they avoid the discussion entirely by dogmatically asserting the following: 1.  Science is really cool. 2.  If you don’t like science, you are a poo poo head. 3.  Christians don’t like science. 4.  Thus, Christians are poo poo heads. The more perceptive of you may have realized that this is hardly a rigorous argument. But more importantly, you’ve also realized that there is equivocation on what is meant by “science.” To maintain that Christians don’t like science, one has to define science in a way that puts it at odds with Christianity, one has to stop talking about “science” and start talking about naturalism. But the reigning monarchy is smart. They know “naturalism” has no sex appeal. Science is all the rage. So use the word “science” when you really mean “naturalism” and you can make the anti-science label stick to Christianity very easily. Of course, this is an abuse of language. Using a term to intentionally confuse people and marginalize a specific group is both intellectually dishonest and morally wrong. But it is also rhetorically effective. It allows the reigning monarchy to not only marginalize their competition, but also to control the thinking of their followers. It is an Orwellian manipulation of language in order to seize and exercise power over people. Illustrations like this could be multiplied. Political correctness is an enterprise in controlling how people talk in order to control what they think. Why do labels like “bigot,” “hateful,” and “close-minded” rear up any time Christians advocate for basic sanity in our society? Because our opponents are manipulating language in order to exercise control, and they are doing it so effectively few people even recognize it is happening. We as Christians have to wise up to this fact. Western Civilization is dying because we are being rhetorically outmaneuvered. And far too many of us accept this abuse of language. We play by this abuse of language, where the very words we use are stacked against us, and then we wonder why we can’t win at this game. We have to be alert to the fact that language is being abused in order to marginalize Christianity itself. Soli Deo Gloria, About the Author Back to Top ↑
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Buzzfeed Blames Free Speech for Paris Tax Revolt Liberal site promotes censorship over freedom of expression. According to a Buzzfeed reporter, it wasn’t a tax revolt in France but a failure of a bot algorithm on Facebook to censor properly. It really IS about censorship of political speech they hate and, Macron waves the white flag to the yellow vests while Trump points out the French agree with him. Please follow and like us: Cornelius Rupert T. Cornelius Rupert T.
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Medical Technology Intact Medical Intact Medical Corp. Intact Medical Corp. is the creator of a minimally invasive biopsy device for breast cancer screening. Rib-X Rib-x Pharmaceuticals Rib-x is a small molecule drug discovery company focused on the design of new classes of anti-infective agents. CVRx develops medical devices to treat hypertension and congestive heart failure. portfolio image
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Actinide reCycling by SEParation and Transmutation Overview > Organisation ACSEPT is structured in a very clear way so as to optimize the production, dissemination and potential exploitation of the generated knowledge. Each technical issue is clearly identified to form a domain. ACSEPT organisational chart Copyright "CEA - FP7 - ACSEPT", all rights reserved Legal Notice contact<@>
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AIM-37 Analog Integrator Module Accepts one mADC or VDC Input and provides one mADC or VDC Output Output is the integrated or averaged value of the input Integral or Average Time Periods can be from 1 Second to 2 Hours Output is updated at the end of each time period. Time Period can be controlled by an External Contact Click here to view Data Sheet for AIM-37 Click here for printer-friendly Data Sheet Click here for Instruction Manual Live chat by BoldChat
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Thursday, 1 March 2018 Empties 10 (video) Spring clean, anyone? It was about time I emptied my weighty bag of empties and went through the contents with you lovely lot. Be sure to subscribe if you want to stay up to date on my videos! Friday, 9 February 2018 Twenty Eighteen. Hello, it's me. I've been more or less absent from here for the past two years, with no real solid excuse. It's always in the back of my mind, this little corner of the internet, but I've found it hard to sit down and commit to a real post for a good amount of time. In the words of Fall Out Boy 'The only thing that's ever stopping me, is me.', and ain't that the truth. One of my New Year's resolutions (I have more which I mentioned of my podcast, which you can listen to here) is more mental energy: I need 'I can't be bothered' not to be an excuse anymore, whether that's exercise, relationships or this here blog. I tell myself 'I have a job, a boyfriend, I'm doing a degree, how do I have time to do this anymore?' however I fail to remember that I started this blog with all those previous commitments in place, and made time for it. This was something that really used to bring me joy, but when you have no one keeping tabs on when you upload and how often you upload, once you miss your own personal deadline it's a steep slope to once again keep yourself accountable. Last year I found myself really questioning social media and my place on it, why do I post what I post? As soon as I found any momentum to post anything, I often talked myself out of seeing it through, whether it was if I'd be able to take a decent enough photograph to accompany a post or if I'd be able to strike a balance between informative and boring. Needless to say I won't find out if that photo is any good or if I've found that balance without giving it a good college try. So here I am, a girl sat in front of her blog, asking it to forgive me, because I've forgiven myself. I'm going on holiday for the first time in 6 months this weekend, and I assure you scheduled programming will be back on track. I aim for one post and one video a week, but if I don't hit that, I'm not going to beat myself up. At the end of last year I worked myself up and burned myself out, neither of which are ideal, but that's okay, because I've forgiven myself for that too. The next one will be a little less emo, and a little more beauty. (Full of the FOB references today, aren't I?) Forever thanks. January Favourites! Remember me?! An actual real life post soon, I promise. I PROMISE. Friday, 3 November 2017 What's in my bag? (Video) Hi there - I thought I would do the ultimate old school video - the what's in my bag tag! I can't believe I've never done this video before! Make sure you subscribe to keep up to date with my videos! Sunday, 22 October 2017 USA Vlog! (Video) I thought it was about time I cobbled this vlog together - so here it is! This footage was from the time I went to the US for the 4th of July! Let me know what you think down below and don't forget to subscribe to stay up to date with all of my videos! Thursday, 12 October 2017 Empties Nine! (Video) I cannot believe I'm on my NINTH empties video! This bad boy is a longun' but if you fancy getting down to the real tea about the products I've used completely up - then this is the one for you! If you want to keep up to date with all my videos, make sure you subscribe!
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Skip to main content December 2018 on the Writing of History Few of our thirty-seven Presidents have been highly gifted with literary talent; of those few, fewer had the time or the patience to sit down and deliberately write books. Theodore Roosevelt, who was among the most gifted, also crammed into his “strenuous” life more nonliterary activity than perhaps any other President. Yet somehow, in a career of nearly forty years, he managed to produce more than twenty published books—histories, biographies, collections of essays, accounts of hunting expeditions, an autobiography. As on every other topic, Roosevelt had very definite ideas about writing, especially the writing of history. In the midst of a busy day at the White House in January, 1904, he took a few minutes to dictate a letter to British historian Sir George Trevelyan that included this passage:∗ From The Letters of Theodore Roosevelt , Vol. 3, Elting E. Morison, ed., Harvard University Press, 1951 We have a preposterous little organization called I think the American Historical Association, which, when I was just out of Harvard and very ignorant, I joined. [Time softened T.R.’s opinion: he himself became president of the association in 1912.] Fortunately I had enough good sense, or obstinacy, or something, to retain a subconscious belief that, inasmuch as books were meant to be read, good books ought to be interesting, and the best books capable in addition of giving one a lift upward in some direction. After a while it dawned on me that all of the conscientious, industrious, painstaking little pedants, who would have been useful people in a rather small way if they had understood their own limitations, had become because of their conceit distinctly noxious. They solemnly believed that if there were only enough of them, and that if they only collected enough facts of all kinds and sorts, there would cease to be any need hereafter for great writers, great thinkers. They looked for instance at Justin Winsor’s conglomerate narrative history of America—a book which is either literature or science in the sense in which a second rate cyclopedia is literature and science—as showing an “advance” upon Francis Parkman—Heaven save the mark! Each of them was a good enough day laborer, trundling his barrowful of bricks and worthy of his hire; as long as they saw themselves as they were they were worthy of all respect; but when they imagined that by their activity they rendered the work of an architect unnecessary they became both absurd and mischievous. Unfortunately with us it is these small men who do most of the historic teaching in the colleges. They have done much real harm in preventing the development of students who might have a large grasp of what history should really be. … They are honestly unconscious that all they are doing is to gather bricks and stones, and that whether their work will or will not amount to anything really worthy depends entirely upon whether or not some great master builder hereafter arrives who will be able to go over their material, to reject the immense majority of it, and out of what is left to fashion some edifice of majesty and beauty instinct with the truth that both charms and teaches. … There—I have not been able to deny myself the pleasure of writing you this wholly irrelevant letter. … good by and good luck. Faithfully yours,Theodore Roosevelt
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Site hosted by Build your free website today! Comprehensive Examination Questions July 1992 1. The history of books and libraries is in many ways a study of technical, material, and cultural revolutions. Discuss two or three such revolutions and explain their influence on books, libraries, and the world at large. 2. Should the reference department of a private university library offer the same quality and extent of reference service to outsiders as it does to its own registered students? Discuss the issues one must consider when making a determination on this matter. Include the reasons or evidence underlying your opinion. 3. Define the terms controlled vocabulary and natural language in the context of information storage and retrieval. Discuss the roles of controlled vocabulary and natural language in how we organize databases and catalogs and how we search for information. 4. "Consultative management" may be used to describe the management style within a particular library. What does consultative management mean? How does it work in a hierarchical organizational structure? What are the benefits of this management style? What are its limitations? In answering this question, use the example of a type of library or archive to illustrate how such a management style would be implemented. 5. Librarians and archivists face potential conflicts between internal professional values, embodied in such documents as their Codes of Ethics, and external pressures of various sorts. Discuss these conflicts and ways in which librarians might anticipate and attempt to resolve them. 6. In 1965, Edward C. Banfield wrote, "The public library has more users and more money today than ever before, but it lacks a purpose. It is trying to do some things that it probably cannot do, and it is doing others that it probably ought not to do. At the same time, it is neglecting what may be its real opportunities. What the library needs is first, a purpose that is both in accord with the realities of present day life . . .and second, a program that is imaginatively designed to carry its purpose into effect."How might the same be said of today's public library? How might other types of libraries face the same concerns? 7. Local historical societies often have photographs of regional interest among their holdings. Describe some strategies that such institutions might use to provide subject access to such material, recounting advantages and disadvantages of each method. What factors should a local historical society consider when choosing among the alternatives you have proposed? 8. Technology has changed the cataloging processes. Describe how cataloging or indexing has been affected by technology and discuss the new roles of catalogers or indexers. 9. Various types of libraries and archives have established advisory boards. How might such an advisory body be established? What contributions might such boards provide? What problems might they cause? Discuss with examples from various kinds of institutions. 10. Resource sharing is important in modern-day librarianship, particularly in these times of budgetary constraints. Discuss resource sharing making sure to cover the difficulties as well as the advantages associated with it. You may draw examples from a specific type of library or information center. Return to Comprehensive Examination Questions Page
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Home >> Signaling Pathways >> Apoptosis >> Caspase Caspases (cysteine-dependent aspartate specific ptotease) are a family of cysteine proteases that play an essential role in cell apoptosis. Caspases contain a conserved QACXG pentapeptide active site motif and are characterized by specificity for aspartic acid in the P1 position. The synthesis of caspases involves the activation of inactive proenzymes, which contain an N-terminal peptide (prodomain) together with two subunits (one small and one large), following cleavage at specific aspartate cleavage sites. Caspases can be classified into three subfamilies, due to phylogenetic analysis, including an ICE subfamily (caspases-1, -4 and -5), a CED-3/CPP32 subfamily (caspases-3, -6, -7, -8, -9 and -10) and an ICH-1/Nedd2 subfamily (caspase-2). Research Area Compare Products 1. Cat.No. Product Name Information 2. C5524 Ac-DEVD-AFC fluorogenic substrate for activated caspase-3 3. C5528 Ac-DEVD-CMK cell-permeable, and irreversible inhibitor of caspase 4. A4418 Ac-IEPD-AFC Recognition motif for serine protease granzyme B 5. A4419 Ac-LEHD-AFC Fluorogenic caspase substrate 6. A4016 Apoptosis Activator 2 Indoledione caspase activator, cell-permeable 7. A1930 Apoptosis Inhibitor Associate with caspase-3 inhibition 8. A4416 AZ 10417808 Caspase-3 inhibitor,selective non-peptide 9. A1904 Boc-D-FMK Pan-caspase inhibitor 10. A9901 Caspase Inhibitor Set I Caspase Inhibitors 11. A1925 Caspase-3/7 Inhibitor I Caspase-3/7 inhibitor Items 1 to 10 of 31 total per page 1. 1 2. 2 3. 3 4. 4 Set Descending Direction
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COMPOSER 1945–2013 Opus 28a Benedictus (1964) for SATB Chorus Text from Mass ordinary [Latin] Matthew Curtis/Choral Tracks LLC Duration: 3 min. Premiere: 2016; Collectio Musicorum (New York, NY); J. Dailey Contact us regarding perusal or performance materials. This brief choral work is a setting of the traditional “Benedictus” text from the ordinary of the mass (“Blessed is he who comes in the name of the Lord.”). It is largely homophonic (with no divisi) and as such is one of Rosner’s easiest choral works, highly suitable for either amateur or professional ensembles.
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Wild Women Musings Are we honouring the Dark Goddess? Or bypassing... "I just feel really agitated lately, since the Plant Medicine, Anytime someone is all in the "love everything" vibe, I just feel agitated." "Me too," I echoed, chiming in, in solidarity, "Lately when people are like "Love, all is love, I love everyone and everything!", I'm like "I hate you", and then I think "Omg Beth!" - because that's so not me. I know it's just a process." I felt a shift in the room. Is hate a strong word? Yes. Was I in a healing workshop? Yes. But that's how I felt - how I'd been feeling. I didn't censor myself. I was at a breathwork workshop, and we were at the end of the circle, sharing about our experiences and what we've been going through lately. At the start of the journey, we were told - all emotions are welcome here, nothing is ugly, nothing is bad. And yet, I could feel, from one person especially, sitting across from me, what I stated, was indeed 'wrong' or at least, very distasteful in some way. Some comments were then shared about what irritation is all about, or how to process it. The energy was - "Let's help you 'fix' this". And this, my friends, is where we're at --- we talk about letting all emotions be OK, making space for them. Learning to love anger as we love light... But we don't live it. We don't embody it. Even me, as I left the workshop, I felt ashamed for sharing the potent energy inside of me. "I shouldn't have shared that, the space wasn't being held for me." But even there, I caught myself, I was ashamed of my own powerful feelings. Thinking they must not be OK, if they triggered other people, by simply sharing them. I had to breathe through those feelings for hours. But sitting here now, I feel differently. I have sacred rage inside of me. And grief underneath that. During a recent Plant Ceremony, I had a past life recall that was so intense, I could do nothing but cry like an animal, when it surfaced. I didn't even know I could make sounds like that. And now, in the wake - yes I'm angry. Yes I have grief. And yes, that's all OK. My soul has been through a lot. (Can you relate?) It's time the healing community learns the difference between being in a genuine space of love, and simply spiritual bypassing, floating in the higher chakras. If you state you are in a deep vibration of love, but cower back and judge another who is not feeling the same way - you are not in a true space of love, you're in an unintegrated state. If you state you are in a deep vibration of love, and feel your heart grow wider, your compassion growing deeper, as someone shares the nitty gritty of their darker depths - you ARE in a space of love. Is it a touch arrogant for me to be defining when someone is genuinely in a space of love, and when they aren't? But what feels real is this - As spiritual brothers and sisters, it's time to honour the Dark Goddess. Not from our minds. Not as a concept. But from an embodied knowingness. She is the crazy bitch who takes you in the night and throws you deep in the pit of your own fears, to wake you the fuck up. She is the one who stands at the gateways between birth and death - yonis splitting open in blood and screams. Last breaths being taken as souls return to the Mystery. She is the one with unending compassion and love, who guides you to see your own bullshit so you can be who you truly are. And 99% of the time - she ain't pretty. I pray we grow, together, to appreciate Her and hold space for Her. To not cower in fear or judgement when She speaks, when She roars. For I truly believe, it is in honouring Her, that we will restore this Earth to balance. So my dear,  I leave you with this, I honour your darkness,  I honour the shadow that inhabits it,  And I honour the sacredness of the void that lives inside of you. You are not too much,  What is inside of you, is not too much, For me. Menstrual Blood Ceremony... Like most women, I used to lament getting my period. I'd use tampons and take painkillers to basically simulate the illusion that I wasn't bleeding. I didn't focus on taking time for myself to listen or to tune in, while bleeding. Because like most of us - I'd never been taught. From the very beginning of getting my moon (what I call my period now) - I felt shame, and kept it as hidden as possible. Fast forward to today - my continued awakening over the last 8 years reminded me of an ancient secret - one my body already knew. My bleeding phase is sacred, my blood is sacred. Honestly where I stand today I don't know why most people are so 'grossed out' by menstrual blood - my moon in Scorpio, vampy self actually finds blood to be sexy, mysterious, dark, and primordial. The deep red hue connects us to something inside of us that's incredibly deep and wild. Ancient cultures would use menstrual blood in sacred rites - aware of its power. Women were not allowed in Native American sweats who were bleeding - not because they were 'dirty' - but because they believed the prayers from a woman who was bleeding would be much louder than everyone else's - she was that much closer to the mystery. Today I honour my blood and I give it back to the earth in ceremony. This is a picture from my most recent moon time ceremony, here in Peru. I talk about this more in a free journey I am offering this month. In this journey, I share a video of how I do ritual with my blood. Sign up below! 🌹🕷❤️🌙 Time for greater authenticity in friendships... Time for greater authenticity in friendships.  Especially with females.  I understand we have sisterhood wounding.  And sometimes it's hard to get past.  But I no longer have space for fake friends. DSC_9852 2.jpg Yes, I can feel you when you judge me.  Or flip flop between wanting to tear me down + cheer for me.  I can feel when your intentions for me are not the best.  And I notice when you say you'll be there for me,  But when it comes down to it,  You aren't. I don't care if you talk about spirituality,  Or if your work is supporting women.  I can read through the lines,  Feel through your words. I'm done pretending I cant,  And I'm done making excuses for you. I can have compassion, because I know it can be hard to let down our walls sometimes.  But I will have to let you tear those walls down from afar.  And ask you to call me when you've processed. Because I'm coming into a space where I am clear about what I'm worth, And how I deserve to be treated. There is a difference between seeing someone as my mirror,  Honouring my own shit, And receiving triggers as medicine, And ... Letting someone in my field,  Who is not actually supporting me,  But pretending they are. Thank you to my friends who unconditionally love and support me,   And are honest with me about where you're at.  Thank fully, there are quite a few of you,  And I'm grateful. I am learning, growing, changing,  Once happy to let anyone in my field,  Now, letting nature and my intuition tell me who is good for me,  And who to let go of. All this, said in loving boundaries,  From someone who used to have 0. Are feelings of "not-enoughness" getting you down? In the work that I do, I get the privilege of speaking to many people behind the scenes... I'm not sure how many readings and coaching sessions I have given at this point, but certainly to hundreds and hundreds of people, possibly a thousand. With this, comes getting to know what's happening "behind the scenes". With my intention to hold safe space, many people tell me things they don't tell many of their friends. And with this, I can most certainly say... You are not alone. Whatever struggle you're experiencing, whatever shadow in your soul is pushing you into psychosis, whatever wounds you have... you are not alone. I speak to the people that seem to have it all. I speak to the people that seem limitlessly confident. I speak to the people who are wealthy and have successful businesses on the outside. I speak to the people who have flawless photography. And I hear them. I hear their demons, their fears, their insecurities, their heart pain, their wounding.... I have the honour of knowing what's going on behind the scenes. And though all of this information will stay forever confidential, what I've learned from it, will not. We are more alike than we seem.  Every single person is going through some sort of internal struggle.  We all have times we don't feel good enough and compare.  We all have dark nights of the soul. And in this, we are unconditionally loved. It is my invitation for you, in this moment, to drop the comparing mind, if only just for this moment, and realize, how much is going on under the surface of the facade. May we be brave enough to share our behind the scenes experiences so others don't feel so lonely. And may we be wise enough to see behind the scenes and know we are all one human heart, beating together. No one is left behind. I love you.  Thank you for trusting me enough to share your depths.  Thank you for your Spirit.  Which is unconditionally loved,  And true. Jailbreak into my dreams... Announce yourself unexpectedly In my sleeping hours For the thousandth time I’ll push you away As you do with me But we both know That will never work Cosmic roots run too deep But so does prejudice And fear In this earthly life Whatever the lesson The way to complete freedom Show me I surrender Take me there Spirit I am your willing participant Unshackle the chains of attachment Help me to plunge Into the river of clarity Social Media Comparisons + Inside My Soul It's so easy to compare and compete Matching up social media images To perceived ideas of other's lives But let me make it clear As much as there is joy and purpose Flowing through me There is also a torrential downpour Of collective pain That stays with me As I move around the world Sleep in my cozy bed And make food For my body temple And with this, I open To the work Of transmuting Part snake Part mermaid Part deep and dark Part light and expansive Everything exists within me Demonize me Or put me on a pedastal But I'll always be Just like you A being Who holds the entire Universe Sister to Sister IMG_0794 (2).jpg I don’t want to be another girl you compare yourself to Or woman Whichever term you prefer Better than Or less than 2 sides of the same pendulum I want to be beyond that with you I want you to know I live with shame in my veins Crusty residue of a society ready to fall I want you to know I long for the same things you do For everlasting love + deep peace within Sometimes I feel like I fall short in so many ways But still I try, and live each day, aiming to be more me More true Just like you I have days where I feel sexy as fuck And groggy as fuck I question my decisions Over-analyze things I cannot change Explode with joy And crumble with pain Whenever I post I want you to feel my humanity My genuine desire for connection That underlies everything I do I’m not perfect I will piss you off Make you question things Delight you with my vulnerability And maybe even shock you With my defensiveness I am made of blood and bones Of stardust and thrones And dear sister I want you to know That I know You are made Of those things I don’t want to be another girl you compare yourself to Or woman Whichever term you prefer Better than Or less than 2 sides of the same pendulum I want to be beyond that with you And there you are in my newsfeed, with your sexy smile... Oh and there you are in my newsfeed Popping up with your sexy smile Even though we are friends I was interested in more And you politely declined And there I witness that part of me That yearns for validation Oh if you liked me Then I would be sexy too And so we do this For I know I’m not alone Searching the world for people To validate our self-worth Temporary highs, we gain And yet, inevitably If I adhere to the old way Of validation from the outside When they don’t like me Or I say something “wrong” I come crashing down But everytime I crash I grow stronger and smarter For I dont like that feeling at all Here I am, in all my glory, whole Like you, like us all,  And I can no longer afford, To wiggle my way into your graces That are so temporary That are so… unsatisfying I’m amazing Not because you say I am Or don’t Not because I’m better than Or less But because I’m a child of the Universe With stars running through my veins And a beating cosmic heart lives inside of me A testament To the unconditional love That I am
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Thursday, November 12, 2009 Murder of Crows Contest - Special Recognition My entry to Celebrate Urban Birds' Murder of Crows and other Spooky Bird Tales received "special recognition" and shows up this site under the "Great Poems" section: If you missed reading my spooky birding experience before, here is a link to my submission. 1 comment: 1. What a great photo of a Black-crowned Night Heron! thanks for entering the challenge. The next one is about do birds survive winter? Hope you inspired again. Christianne, Celebrate Urban Birds
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Careers, Jobs and Education Resources for: Ripley County, Indiana Ripley County is a county located in the U.S. state of Indiana. As of 2000, the population was 26,523. The county seat is Versailles. (from wikipedia) General Information Indiana State$88,044 Average House Value (as of 2000) 32,030 Population (as of 2000)$41,573 Average House Income (as of 2000) 32,941 Population (current)499.2 Square Miles of Land Business Information 816 Number of Businesses (as of 2003)$125,999,000 Total First Quarter Payroll (as of 2003) 13,200 Number of Employees (as of 2003)$546,100,000 Total Annual Payroll (as of 2003) Gender (as of 2000) Ethnicity (as of 2000) Median Ages (as of 2000) County Employers
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A family affair: Born in 1918, Achille Castiglioni was a celebrated Italian designer. He studied architecture at the Polytechnic University of Milan and would later distinguish himself with a variety of creations. His brothers Livio and Pier Giacomo often collaborated with him in his work. Amongst his most well-known products are the Luminator Lamp-post, the Mezzadro Stool and many others. However, the Taccia lamp is one of his most appreciated designs. With its simple and rational style it has been incredibly successful. The TACCIA Lamp: The Taccia Lamp can be placed on the bedside table or on the floor. It was created in 1962 by Achille and Pier Giacomo Castiglioni for Flos, a pioneering Italian company. It can be adapted to any environment. In keeping with the modern world, it uses LED technology. As the light points upwards, it will fill even a large space and the white light perfectly details any room. It's not just a practical design though. This sculpture is a piece of art. Roman columns can be seen in the aluminium pedestal with its glass lamp and it's not surprising it has been displayed in a museum. The Taccia perfectly reflects the Castiglioni brothers' style, particularly Achille's. Inspired by a car headlamp, it's a brilliant and stylish combination.
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 Classroom Scout - connecting parents and students Quicker and easier Most parent portal websites require you to log in every time you want to check up on your student. Classroom Scout logs in for you and displays your student's information the moment you open the app! More readable Classroom Scout pulls together the information from your student's parent portal and re-formats it so that you can read it on your phone or tablet. More usable Classroom Scout finds local districts, so getting started is a breeze. You can also connect multiple accounts and students, making Classroom Scout the only parent portal viewer you'll need. Always up-to-date There's no sync and no delay; you'll be able to see grades and attendance the moment your student's teacher updates them.
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From character mode to Bitmap Original picture by Uka Original picture by Uka The graphic chip (VIC II) on the Commodore 64 can work in two modes, either ‘characters’ or ‘bitmap’. Most of games and a vast majority of basic programs run in the first mode. It is preferred when performance is required with a lot of graphisms that must be updated on each frame refresh. Unfortunately, this mode is based on 8×8 tiles and not adapted to complex pictures (e.g cover pictures, photos, …). Moreover, it becomes tricky to draw a single pixel at a given location or simply draw a line… When booting the C64, the basic editor is displayed in this mode. You can read and type characters in a 40×25 matrix where each character is subdivided in a 8×8 pixels grid. The VIC II need 3 memory areas to draw a screen in this mode : 1. the screen ram (default $0400-$07FF) that stores the characters (or ’tiles’) codes 2. the color ram ($D800-$DBFF) that stores the foreground color of each character 3. the character rom ($D000-$DFFF) that defines characters pixels (kind of Font) All we need to know for Maze Master is how the character data are stored in ROM. Figure 1. Character ‘A’ Screen RAM The ‘A’ character above is located at column 6 (starting from 0) and row 3. We know that the screen ram is used by VIC II to know which character to draw at each 40×25 location. For instance, memory address $0400 stores the char code of character at column 0, row 0. Second char at column 1, row 0 is located at address $0401 (1025 in decimal). Then, the ‘A’ character above is referenced in screen ram at address $0400+6+3*40=$047E. If you try to modify theses addresses in basic (in VICE emulator or real C64), you can display new characters at any 40×25 location : Figure 2. Poking in Screen RAM You notice that this short program display characters with codes 0..39 in the first row of display. So char ‘A’ is the character with identifier 1 (starting from 0) but also the second character defined in C64 ROM ‘FONT’. Character ROM This ‘FONT’ or ‘character generator’ is an area of the C64 memory used by VIC II to draw pixels of an individual character. It is stored in a chip on the motherboard : Mos 901225-01 Character ROM Chip If you dear old C64 is starting to burn out, this chip can return bad values to VIC II and mess up your display… But let’s get back on track… All we need to know for our Maze Master case study is how characters are defined in this ROM. If you look back at figure 1, you can see that a character is defined in an 8×8 dots matrix. Each row of this matrix is encoded in 1 byte. Thus one character takes up 8 bytes and an entire charset requires 2048 bytes (256 chars * 8 bytes). C64 Character rom is located at addresses $D000-$DFFF, thus defining two charsets of 256 chars each : • $D000-$D7FF stores uppercase & symbols charset • $D800-$DFFF stores uppercase & lowercase charset So, if you’d just like reading pixels values for character ‘A’, you would read memory locations $D008-$D00F. But it is not as easy as it looks ! Let’s try out… Figure 3. Reading character ROM Ouch ! We expected to get $18, $3c, … and got null values… Actually, C64 is using what is called a memory overlay : What is read at address $D000 by the CPU (I/O area) is not necessarily what is read by VIC II (char ROM). Moreover, $D000-$DFFF is also mapped to RAM !! It’s getting a bit confusing but this complexity is also mandatory to make C64 so powerfull with only 64Kbytes of addressable memory… The block of RAM or ROM visible at a given address is controlled by the register mapped to memory address $1. If you look at this address content in basic, you get the default memory overlay : print peek(1) Here is the meaning of the first 3 bits of this register : Bits #0-#2: Configuration for memory areas $A000-$BFFF, $D000-$DFFF and $E000-$FFFF. %x00: RAM visible in all three areas. %x01: RAM visible at $A000-$BFFF and $E000-$FFFF. %x10: RAM visible at $A000-$BFFF; KERNAL ROM visible at $E000-$FFFF. %x11: BASIC ROM visible at $A000-$BFFF; KERNAL ROM visible at $E000-$FFFF. %0xx: Character ROM visible at $D000-$DFFF. (Except for the value %000, see above.) %1xx: I/O area visible at $D000-$DFFF. (Except for the value %100, see above.) So, in this default memory configuration, our basic program displayed the 8 first bytes of I/O area. This deals with horizontal and vertical positions of sprites 0..3 ! To display properly the character rom content, we must modify this overlay by clearing the third bit of this register. Let’s try to write value 51 to address $1: Unhide charset memory Figure 4. Unhide charset memory Well done, we finally got the ROM values for character ‘A’ ($18=27, $3C=60, …). But wait… what are those lines 10 and 50 needed for ? Mmmm… here we tell C64 to temporary deactivate CIA1 timer to avoid using I/O area while we read from ROM. The CIA (Complex Interface Adapter) The CIA (which is an other custom CHIP of C64) can generate interrupts used by BASIC for various tasks (make cursor blink, scan keyboard, …) and need to read some I/O registers. As the CPU cannot read both I/O and char rom in range $D000-$DFFF at the same time, C64 would freeze when such an interrupt occurs and I/O area is hidden by characters rom. Line 10 deactivates CIA1 timer and line 50 reactivates this timer. We will write the same code in 6510 assembly when creating our custom charset in Maze Master ! I won’t discuss further more about charset set. There is a lot more to learn about it : • color character mode • color RAM • X/Y scrolling registers • VIC bank and custom charset in RAM… But we have seen more than what is required to code the Maze Master display routines… Bitmap RAM When using Bitmap mode, VIC II is getting each pixel state of screen directly from a specific memory area. Thus, in order to display an entire screen, 320*200/8=8000 bytes of memory must be reserved for display. As only 16Kbytes of memory can be addressed by VIC II at once, this means that only half of ‘graphic’ memory is now available for other graphic ressources (sprites). This is not a severe issue for Maze Master since only 1280 bytes of sprites data are stored in the 16Kbyte cartridge. But let’s enter Bitmap mode directly from BASIC : POKE 53265,PEEK(53265)OR32 Figure 5. Entering BITMAP mode Display mode is controlled by register at address $D011 : Screen control register #1. Bits: Bits #0-#2: Vertical raster scroll. Bit #3: Screen height; 0 = 24 rows; 1 = 25 rows. Bit #4: 0 = Screen off, complete screen is covered by border; 1 = Screen on, normal screen contents are visible. Bit #5: 0 = Text mode; 1 = Bitmap mode. Bit #6: 1 = Extended background mode on. Bit #7: Read: Current raster line (bit #8). Write: Raster line to generate interrupt at (bit #8). Default: $1B, %00011011. Thus, we entered bitmap mode by writing to bit #5 of the control register. Oups… the screen is completly broken now, and we can see some pixels blinking in the first rows of display. Actually, what we are watching is the C64 memory content in range $0000-$1FFF. When using bank 3 for its 16Kbyte ‘graphic’ memory, VIC II can read the character ROM at addresses $1000-$1FFF. As you can see in figure 5, the character ROM is displayed in the lower half part of the screen. This should give you an hint about the way pixels data are stored in a bitmap… Bitmap data are divided in 8×8 pixels blocks, where data is encoded the same way as in character ROM. This means that the pixel at location (0,0) is mapped by the most signifiant bit of byte at address $0000. Equally, pixel at location (7,7) is mapped by the least signifiant bit at address $0007 and pixel at (15,7) is mapped by the least signifiant bit at address $000F ! How to clear bitmap With defaults settings (i.e after a C64 reset), VIC II is using addresses $0000-$1FFF for its bitmap. As a lot of data in the first memory page ($0000,$00FF) are needed by the operating system and basic interpreter, we can’t simply erase bitmap memory to clear the screen. Moreover, as the VIC II ‘sees’ character rom at $1000-$1FFF, we can’t erase this area of the screen with the CPU. In sum, we’d better modify the bitmap location if we want to clear screen in our game. And its definitely one role of the VIC Memory Control Register at address $D018 : Memory setup register. Bits: Bits #1-#3: In bitmap mode, pointer to bitmap memory (bit #13), relative to VIC bank, memory address $DD00. Values: %0xx, 0: $0000-$1FFF, 0-8191. %1xx, 4: $2000-$3FFF, 8192-16383. Bits #4-#7: Pointer to screen memory (bits #10-#13), relative to VIC bank, memory address $DD00. Values: %0000, 0: $0000-$03FF, 0-1023. %0001, 1: $0400-$07FF, 1024-2047. %0010, 2: $0800-$0BFF, 2048-3071. %0011, 3: $0C00-$0FFF, 3072-4095. %0100, 4: $1000-$13FF, 4096-5119. %0101, 5: $1400-$17FF, 5120-6143. %0110, 6: $1800-$1BFF, 6144-7167. %0111, 7: $1C00-$1FFF, 7168-8191. %1000, 8: $2000-$23FF, 8192-9215. %1001, 9: $2400-$27FF, 9216-10239. %1010, 10: $2800-$2BFF, 10240-11263. %1011, 11: $2C00-$2FFF, 11264-12287. %1100, 12: $3000-$33FF, 12288-13311. %1101, 13: $3400-$37FF, 13312-14335. %1110, 14: $3800-$3BFF, 14336-15359. %1111, 15: $3C00-$3FFF, 15360-16383. If you read the default control register value after a reset, you will get value ’21’ = %10101. According to register description, this means : • bitmap memory at $0000-$1FFF • screen RAM at $0400-$07FF (1024-2047) Let’s modify this value to display bitmap at $2000-$3FFF : POKE 53272,PEEK(53272)OR8 : POKE 53265,PEEK(53265)OR32 Figure 6. Bitmap at $2000-$3FFFF Figure 6. Bitmap at $2000-$3FFFF VIC II now displays an area of RAM reserved for BASIC programms. But as nothing has been written yet in these locations, default values of $00 or $FF are displayed on screen. It results in horizontal alterning bands of empty or full 8×8 blocks. But wait, I didn’t tell you anything about this display mode colors… At first sight, one could believe that HiRes bitmap display is limited to 2 colors (one for background, one for foreground) and only the bitmap memory determines the pixel state on screen. Actually, the background color (unlit pixels) and foreground color (lit pixels) are defined by the lower nibble (4 least signifiant bits) and upper nibble (4 most signifiant bits) of … screen RAM ! Indeed, on one hand the memory area at $0400-$07FF (default) is used to store characters code in character display mode and, on the other hand, the same locations are used in bitmap mode to define colors of each 8×8 pixels blocks. This explains why, when turning on bitmap mode from BASIC, some blocks have distinctive colors. In figure 6, if we consider line 9, we should read the basic prompt ‘READY.’ in character mode. This means that screen ram is filled with values $12,$05,$01,$04,$19,$2E. If we keep only the upper nibble of each values, we get : $1,$0,$0,$0,$1,$2. And if we get the corresponding colors from the table below, we obtain WHITE, BLACK, BLACK, BLACK, WHITE, RED Black 0 White 1 Red 2 Cyan 3 Violet 4 Green 5 Blue 6 Yellow 7 Orange 8 Brown 9 Lightred 10 Grey 1 11 Grey 2 12 Lightgreen 13 Lightblue 14 Grey 3 15 Knowing that bitmap values for pixels located in the 8×8 blocks of the ‘READY.’ characters are set to $FF, VIC II displays foreground color in each of theses 6 blocks. If you are still a bit confused on how VIC II display colors pixels in bitmap mode, let’s try to fill a bitmap with a 4×4 checker pattern with light grey foreground on dark grey background : 1. turn bitmap mode ON 2. for each 8×8 pixel block draw on matrix with a sub-4×4 checker pattern 3. for each block location in screen RAM, set nibbles according to colors (15 & 11) 20 FORI=8192TO16191 STEP 8 30 POKEI,240:POKEI+1,240:POKEI+2,240:POKEI+3,240 40 POKEI+4,15:POKEI+5,15:POKEI+6,15:POKEI+7,15 60 FORI=1024TO2034:POKEI,251:NEXT 70 GOTO 70 Then you shoud get the following screen : Figure 7. HiRes checkers We can observe the obvious slowness of BASIC when dealing with bitmap graphics ! There are too many memory addresses to change if you have the modify the entire screen on each frame refresh… This will end our session on C64 display modes. Next time, we will rewrite the last program in 6510 assembly to compare execution speed ! Main menu workflow In the first serie of articles on Maze Master reengineering, we will rewrite the main menu management code in 6510 assembly language. The following tools will be used : Relauch64 IDE supports color highlightment and direct execution of output code in Vice emulator. Once all code is implemented, we should have a menu screen similar to this one Each step in implementation should match an action of this activities diagram Main menu activity Diagram This seems rather easy but there is an enormous amount of work still to be done. We will learn how to clear bitmap, draw a char at a given location on screen, read keyboard input, generate random numbers and deal with data structure in memory to store characteristics of our heroes ! Maze Master general design Game media This game was released in 1983. As far as I remember, it was available as a cartridge and tape. Thus, the binary code and data are limited to 16KB of ROM, overlaping basic ROM and basic upper RAM at addresses $8000-$BFFF. Maze master uses ALL these 16KB. Michael did not use data cruncher and it must have been tedious to fit all data in so few memory. However, we can store today much more complexe games in a 16KB cartridge. Have a look at the C64 16KB Cartridge Game Development Competition. In next articles, we will rewrite parts of the game, ignoring the cartridge limitations… In spite of it all, I will avoid self-modifying code. A cartridge is generally a Read Only memory, and this impact the way we implement routines… The game is divided into three different views : • The menu screen where player manages his party and buy items. • The maze 3D view where player moves from square to square in a 20×20 area. • The encounter view where player select his characters actions during fight. Even if these screen are using standard characters to display text, all is done in hi-res bitmap mode ! Actually, Michael created his own minimal charset with custom characters for the ‘maze master’ logo in header. All characters are 8×8 blocks drawn in hi-res bitmap mode by CPU. A subroutine copies 8 bytes from custom charset at $4000-$431F to default bitmap memory at $2000. Here is the charset used in all screens : maze master charset Remaining graphics are monsters pictures, displayed only during encounters. There is a limited set of pictures, matching a total of 40 different monsters. if you play the game, you can notice that a lot of monsters share the same graphics, using a modified color palette. Humanoids always have the same legs and head/torse choosen among 7 variants. There are specific graphics for dragons. Michael used multicolor sprites to draw your ennemies. Each creature is composed of 4 sprites, drawn in double size to fill a 96×84 pixels area on top of the 3D view. maze master sprites In next article, I will write an article about the flow of activities in the game. Disassembling Maze Master I’ve spent a lot of time playing this game in the mid-80’s. Maze Master is rather simple RPG, kind of 3D rogue game, where player must create a party of 3 characters and defeat monsters through a 5 levels dungeon. A fine review has been posted on This game has been coded by Michael Cranford, famous creator of “The Bard’s tale” serie of games. I’ve always wondered how this ‘high resolution’ 3D view of maze was done on the commodore 64. Thus, I’ve enterily disassembled and commented the binary code to figure out… In a following serie of articles, we will see how this game has been designed and implemented ! But for now, you can try out this game using the great commodore 64 emulator Jac64. Welcome to Coding64 After many years leaving my old Commodore 64 computer taking dust in the family house, I decided to resurrect it and start coding 6510 assembly. This site will details some software and hardware technics used in various games that have left their mark on my childhood.
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Presentation: Engaging with Clinical Commissioning Groups (CCGs) CCG imageThis annotated presentation accompanies our Practical guide to engaging with Clinical Commissioning Groups which we produced in partnership with Regional Voices The information in this presentation is based on the experiences of a range of organisations who have established strong links with Clinical Commissioning Groups in their areas. It highlights a number of steps organisations can follow if they wish to build better links themselves. The presentation is part of a series that accompany our practical guides aimed at supporting voluntary organisations to work better with local commissioning bodies: Engaging with CCGs.pptx4.31 MB Back to top © Compact Voice 2006–2018 | Charity registration 225922 Charity web development by Pedalo
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Epic Failures – Episode 81 We don't want to brag, but when we mess things up, we go all out. Go big or go home with your failures! We're not perfect at relationships, our finances, parenting, or friendships. We're letting it all hang out on this week's pod.  Become a patron of Girl's Girls Podcast! Support Brittany Gibbons and Meredith Soleau by visiting patreon.com/girlsgirlspodcast. A monthly Patreon donation of $2 or more gets you access to the Girl's Girls Podcast Facebook Group, Newsletter, and special Patreon-Only content (like extra podcasts, webcam feeds, and blooper reels). Today's episode is brought to you by: POSHMARK: Time to clean out our closet thanks to @Poshmark! Download the Poshmark app and shop or sell! Find us at http://bit.ly/PoshXGirlsgirlspod ! Use Promo code: @girlsgirlspod! #PoshPartner Untitled design (45).png
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Monday, December 5, 2011 Buddy Edelen- One of America's Best Distance Runners You Never Heard Of OK so maybe you have heard of Buddy Edelen, and if so, then you can appreciate what a special talent this guy was. How can it be that an American who set the world best time in the marathon (In 1963 he ran 2:14:38) does not get mentioned among the greats? Edelen was also the first American under 30 minutes in the 10K and 2hr 20min in the marathon- two very significant distance running milestones. Edelen won the 1960 US Olympic Marthon Trials in 90 plus degree heat by THREE MILES! Perhaps as a result of that race or not allowing a proper recovery, a bad case of sciatica prevented him from competing for a medal in Tokyo, yet he still managed to capture 6th. Check out his training diary prior to his marathon world best- amazing! (from South Dakota Runner) June 1: 3 sets of 10 x 110-120 yard sprints (30 in all), followed by a swim June 2: 10-11 miles steady, followed by a swim June 3: 22-23 miles in 2:03-2:04, followed by a swim June 4: 3.5 miles; 7 x sprint series of 55-110-150-220; 3.5 miles June 5: 10.5-11 miles in 54-55 minutes. June 6: A.M.-6 miles hard; P.M.-4 sets of 5 x 440 in 64.8, with 220 to 440 jog recovery between: "Tremendous workout." June 7: 20 x 440 in 70-71, with a 45-second jog recovery between June 8: Club track meet: mile in 4:23; 880 in 2:07; 110 leg on sprint relay June 9: 22-23 miles in 2:01, followed by swim: "I am less stiff after today's run than I have been in ages." June 10: 4.5 miles from school, then swim June 11: A.M.-4.5 miles to school fast; P.M.-25 x 440 in 67.4, with 60-second jog recovery June 12: A.M.-4.5 miles to school fast; P.M.-11 miles in 55-56 minutes, then swim June 13: No running June 14: No running June 15: Marathon Note: June 6,7,8 is an incredible string of workouts. No hard easy program for Buddy. Edelen's autobiography, A Cold Clear Day by Frank Murphy, is a captivating account of this great American runner. Sadly, Edelen succumed to cancer in 1997 at age 59. 1. Orville Atkins thinks that the Yonkers Marathon Trials Race was the beginning of the end for Buddy. Bob Wildes 2. According to the book he went right back into hard training just a few days after. 3. I did not remember that. At some point before the Tokyo Olympic Marathon he was supposed to be suffering from sciatica, which I thought was something that he never recovered from. I am pretty certain that he was employed at Adams State by the time of the 1968 US Olympic Trial marathon. I do not think he participated in those trials, so he must have been having some pretty severe physical problems. Bob Wildes
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On Hadith Authentication How do hadith scholars grade ahadith? Do they all share the same criteria or are there different views? Have they restricted their efforts to scrutiny of the chain of narration (isnad), or did they take the content (matn) into consideration too? What should I do if I am troubled by the content of a particular hadith? There is general agreement amongst hadith scholars on the criteria for hadith authentication. Some criteria relate to the transmission (isnad), and others to the content (matn). Transmission Criteria There are five principal conditions which must be satisfied for the isnad. Lack of any of these conditions generally implies weakness in the narration. (However, weakness does not necessarily imply uselessness or total rejection of the narration. There are different grades of weak narration. As in a court of law, even a dubious witness’ testimony, though not totally credible, might still cast some light on matters.) Read more Please follow and like us: Mutawatir and Ahad Hadiths Authority of Ahad and Mutawatir Hadith A mutawatir narration is one which is: narrated by a multitude of narrators Please follow and like us: Ibn Hazm on Authority of the Sunnah The Authority of the Sunnah selections from Al-Ihkam fi Usul al-Ahkam vol I, pp. 96-108, Dar al-Afaq al-Jadidah, Beirut, 2nd ed., 1983/1402. by Imam `Ali Ibn Hazm (d. 456 H) “Since we have clarified [in the previous section] that the Qur’an is the source of reference for laws, we looked into it, and found therein the obligation of obedience to what the Messenger of Allah (peace and blessings be upon him) has ordered us, and we found [Allah] the Mighty, the Majestic therein describing His messenger (peace and blessings be upon him), [translated], “He does not speak of his own desire. It is only an inspiration with which he is inspired.” Q[53:3-4] Thus, it is proved for us thereby that inspiration from Allah, the Mighty the Majestic, to His Messenger, can be divided into two categories: one of them [being] recited inspiration compiled in a miraculous form, which is the Qur’an, and the second [being] narrated inspiration, neither compiled [into a single book] nor of miraculous composition, and that is the narrations which have come from the Messenger of Allah (peace and blessings be upon him), his being the explainer on behalf of Allah, the Mighty the Majestic. Allah, the Exalted, says, [translated], “…in order that you may explain to people what has been sent down to them.” Q[16:44] We found [Allah] the Exalted obligating obedience to this second category as He obliged obedience to the first category, without any difference, for [Allah] the Exalted, has said, [translated], “Obey Allah and obey the Messenger.” Q[5:92 and others] Read more Please follow and like us:
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What is Sickle Cell Anemia? Sickle cell disease is a form of anemia in which the red blood cells become misshapen. This can present a problem because normally the red blood cells are flexible and round which move easily through your blood vessels. In sickle cell anemia, the red blood cells can become rigid and sticky because they are shaped like sickles or crescent moons. These cells can end up disrupting blood flow and can be susceptible to breaking down more easily than normal red blood cells. If you’ve seen my videos on genetics you might be wondering if this is really a genetic disease and in this case, this condition is actually one of the few truly genetic conditions, however, many doctors are now starting to discover that this condition might actually be an intelligent adaptive response rather than a genetic disease. It turns out that people with sickle cell anemia are protected against malaria which makes sense because this condition occurs in people who live in malaria infested environments or people whos ancestors live in these areas. Even the Centers for Disease Control and Prevention (CDC) have looked into this, here’s a link to their website: And here’s a quote from the CDC: “…Individuals who are carriers for the sickle cell disease (with one sickle gene and one normal hemoglobin gene, also known as sickle cell trait) have some protective advantage against malaria. As a result, the frequencies of sickle cell carriers are high in malaria-endemic areas. Most earlier studies of the relationship between sickle cell trait and malaria were cross-sectional, and therefore some important data relevant to the protective effects of sickle cell trait were missing. CDC’s birth cohort studies (Asembo Bay Cohort Project in western Kenya ) conducted in collaboration with the Kenya Medical Research Institute allowed us to investigate this issue in depth. We determined that the sickle cell trait provides 60% protection against overall mortality. Most of this protection occurs between 2-16 months of life, before the onset of clinical immunity in areas with intense transmission of malaria.” Even though sickle cell anemia is a brilliant adaptive response to a malaria infested environment we still can’t ignored the possible health problems associated with this condition. The best option would be to incorporate all the dietary and lifestyle changes necessary to promote healthy blood production and blood flow. Here’s a video to help you get started: Here’s a detailed video about juicing if you’d like to learn more: If you’d like to learn more ways to improve your cardiovascular system, check out the videos below: Pin It on Pinterest
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Making the Most of 360° Feedback Feb 2011 If your 360° feedback hasn’t confirmed your own perception as an exceptional leader then what can you do especially when similar feedback is echoed by several people across your organisation. How you react to an unsettling 360 is far more important than the content itself. So here are three tips for turning your experience around:
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area under curves, JAVA Programming The area under a curve between two points can be found by doing a definite integral between the two points. Posted Date: 8/30/2012 2:22:00 AM | Location : United States Related Discussions:- area under curves, Assignment Help, Ask Question on area under curves, Get Answer, Expert's Help, area under curves Discussions Write discussion on area under curves Your posts are moderated Related Questions Question: (a) Explain the importance of abstract classes in Java with an appropriate example. (b) Explain what is meant by an interface in Java? Use a simple example to il State the Java Programmer Efficiency Faster Development Building an application in Java takes about 50% less time than in C or C++. So, faster time to market Java is said to Describe Inner Classes in java? An inner class is a class whose body is described inside another class, referred to as the top-level class. For instance: public class Queue { What is the basic difference among Publish Subscribe model and P2P model? Ans) Publish Subscribe model is typically used in one-to-many situation. It is unreliable but very quic Development of an Android app urgent Project Description: I am searching for some good android developer who has depth in knowledge of making an app. I am focusing on a certa I need Android Kiosk Mode Project Description: I need an Android platform developer to develop an app when device start it start into kiosk mode. Only browser window open a c What is the Data Normalization? Also define its goal. Data normalization is to sort out complex data within easy form. It uses to simplify the complex information to form it mo iam trying to build an application that store information like name mobile age in a file its like a registration form everytime i enter a new person data i want the applicaion mak This work assesses the following Outcomes: • Build robust, secure distributed systems using advanced programming techniques Use RMI to build a distributed application accessing
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Guardian name generator This name generator will give you 10 random names with the meaning "guardian", as well as a title for each of them. Guardians come in many different forms, they could be a powerful mage, a guardian angel, a guard of a tomb or a simple town guard. In many cases these positions come with a title, one either given and earned, or passed down from one guardian cycle to the next. This generator focuses primarily on such titles, but I've also included personal names from all sorts of cultures, all of these names either mean guardian or have a meaning closely related to guardian. Of course anybody could be a guardian, and their name will depend heavily upon whichever culture they come from, so the names in this generator might not fit those specific cases, fortunately there are plenty of other name generators on here to help with that after you've found a guardian title. Share this generator facebook share tweet google plus Your art here? Click here to find out more!
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Flow around a (volley)ball (II) at medium Reynolds number Computational details Short description and remarks Short description and remarks Flow around a (volley)ball in a channel at medium Reynolds number (see the Computational details). The aim of this study by students was to demonstrate the influence of the rotation of a volleyball with respect to different techniques of service. The values to be controlled were the drag and lift forces which mainly determine the length and speed of a service, and the difficulty for the contrary player to control the service ("flatter service"). The following diagrams show the resulting drag and lift coefficients in time. While the speed of the (volley)ball was assumed to be 1.5, the rotational speeds were 0 (no rotation!), 0.1, 1 and 5. While the first three configurations (rotation speed less or almost equal the speed of the ball) are very similar, the fourth leads to non-comparable results. As can be seen, the additional rotation leads to more negative lift coefficients (that means the ball will "come down sooner"), and the drag forces increase! For a comparison, see the corresponding results for the higher Reynolds number configuration. It might be interesting to perform the same tests for an even more realistic Reynolds number, without a channel configuration, and to examine the effect of additional 3D effets. So, this pre-study is only a first attempt in applying the FEATFLOW software in sports sciences, with qualitative results only, but more realistic simulations should and can be performed! • Distribution of temperature/concentration via Boussinesq model Visualization via tracing of concentration, starting from the inlet. Each row contains the videos for a zoomed representation with two different color maps (all about 1.1 MB, resp., 1.5 MB), and the video for the complete domain (about 0.9 MB each). The first row is for rotational speed 0 (no rotation), then followed by 0.1 (second), 1 (third) and finally for rotational speed 5 (fourth row). • Pressure Visualization via pressure plots, shaded (first column, about 1.1 MB each) and via isolines (second column, about 8 MB). The rows correspond again to the different rotational speeds. • Streamfunction Visualization via streamline plots, shaded (first column, about 1.2 MB each) and via isolines (second column, about 10 MB). The rows correspond again to the different rotational speeds. • Velocity Visualization via vector plots (vectors, each about 8 MB). Please send any comments and suggestions to:
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Job Search Use the search tool below to find opportunities that match your background and interests. You can search multiple locations and job categories by pressing the Ctrl button and clicking on the items you would like selected. You are able to complete any or all of the fields to narrow your search or leave all of the fields blank to display every open position.    Search GD Careers
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Is it proper to speak in tongues during the preaching? Submitted: 8/4/2009 Post a comment or ask a follow-up question Question: Is it appropriate for the church to speak in tongues aloud during the pastor's sermon. I can't hear the pastor. Answer: We would say that, in general, this is not appropriate. It sounds like something that someone started doing and over time has become an accepted pratice. We acknowledge that there could be a moving of the Spirit which might ingite such a thing, but this would be an occasioanl occurance, not the norm. If this is happening all the time, then we believe it should be stopped.
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best digital camera brands in india? Answer :The brand of the digital camera has something to do with its quality. Of course, it is still very important to know the different brands of digital cameras for us to know which device is good to purchase. These are the best digital camera brands in India. [b]Nikon Canon Samsung Fujifilm Casio Olympus Sony Panasonic Kodak[/b] The quality output of any camera from these brands depends on the model. The higher the model the better the quality output but the more expensive. No comments: Post a Comment Thanks for your Interest. We will get back to you shortly on this. Blog Archive
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What is the difference between an lcd and led technology?Who were the main inventors of both.Please give as much details as possible. ? Answer :In case of LCD and LED tv, lcd do not produce light by self,but through external source i.e. CCFL which cold cathode fluorescent lamps and that in led displays it is done through led(Light Emitting Diode).led displays are more efficient as they are modified version of lcd displays and requires less light to produce pictures on display screen.Many people made inventions and lots of experiments of lcd some of them are Charles Mauguin in1911 first experiments on liquid crystals in yhin plates.Then the effect of lcd technology was brought in notice in1927 by Vsevolod Frederiks.his invention was called as Frederiks\'s transition.George Gray invented both LCD &LED in 1970. No comments: Post a Comment Thanks for your Interest. We will get back to you shortly on this. Blog Archive
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A Brighton based blogger sharing a candid tale of 20-something humanness Monday, 29 August 2011 I think it's about time you met my sidekick... This is Bella. :) I will blog properly at some point over the next few days! In the meantime, I thought you and Bella should be introduced.  Peace x 1. AW! Can I steal her? Katrina from theyoungbridgetjones.blogspot.com 2. Awwwweh! xD She is so damn adorable! I'd kidnap her but my Dogue de Bordeaux (a BEAST) is scared of little dogs! Baha, wimp! :P Bella is such a lovely name too! :) xx 3. cute cute cute! I look forward to hearing more about Bella! xxxx 4. Thank you girls! Bella is flattered by all of these lovely comments! I will definitely be keeping you all updated on her progress, and uploading a few videos very soon! :) Xx Related Posts Plugin for WordPress, Blogger... Blogger Template Created by pipdig
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All posts by ian Lego Millennium Falcon – Buy or Build? soloStar Wars has been very much in my thoughts lately. Like pretty much everyone in the world, probably, given the huge marketing push behind The Force Awakens. So I couldn’t help but stop and stare when, in the window of a sleepy toy shop in a quiet corner of the UK where my Dad lives, I saw a large, impressive-looking Lego Millennium Falcon. I peered closer, then recoiled in horror at the price tag: £189.99! Whoa. So like any sensible person, I turned to the internet to see if this beauty was available anywhere else at a more reasonable price. And that’s when I fell into the rabbit hole of Lego Millennium Falcons: rare ultimate collector editions, custom-builds, retired models, 10179s, BrickLinks and MOCs. Oh my. Continue reading Lego Millennium Falcon – Buy or Build? Bad UX and Stockholm Syndrome When we’re thinking about the impact of good and bad UX on the experience of using software there are a large group of people who are often overlooked. They’re not the discretionary consumers, who may be put off completing a purchase by requiring an extra click or form field, but a those who are forced to use in-house developed software required to complete their day-to-day work. These apps are often clunky, with awkward UX, interaction foibles and bugs. They’ve quite possibly been “”designed”” by programmers, rather than UX specialists. But people have no choice but to use them day-in and day-out. So how is this likely to affect their attitude to the application? An interaction can be so bad, so awkward to execute, that it feels almost painful. Maybe not when performed in isolation, but when repeated over and over it can become mentally (and even physically) wearing. The application has them captive, and sets about bending them to its will. But then a strange thing happens. The users start to think it’s OK. Maybe it doesn’t feel quite as bad as it used to. It’s not really so awkward that it works that way. In fact, it feels right to do it this way. Actually, why would it be done any other way!? Wait a second, what just happened? Despite the terrible treatment meted out, and partly due to the captor showing some small kindness – giving the ability to do their job, however awkwardly – the hostages have fallen in love with the application, their cruel, heartless captor. Continue reading Bad UX and Stockholm Syndrome I am sick of non-deterministic memory management. So sick. This was the big promise of .NET wasn’t it, way back in the 00s? No more having to worry about reference counting, double-frees or leaks. Well all we’ve done is switched it for worrying about event handlers, garbage collector pauses and weak dictionaries. If you don’t have to worry about memory in .NET applications, then why are there so many commercial tools for solving memory-related problems? I’m starting to yearn for the days of being able to put an instance on the stack for the length of a curly-bracketed scope, and knowing that after that, it’s gone. Continue reading Heisenmemory Dad Gaming Continue reading Dad Gaming iOS OpenGL ES compatibility gotcha self.context = [[EAGLContext alloc] initWithAPI: SpriteKit for Cocos2D developers Continue reading SpriteKit for Cocos2D developers Dynamic D3 with Knockout.js A couple of things happened recently that prompted me to write this blog post. Firstly, I’ve been playing around with HTML5/javascript based user interfaces and data visualisation. Secondly, I watched a fascinating presentation from UX guru Brett Victor, making me wonder if it was possible to create an interactive, data-drawing app like the one he demonstrates, purely with Javascript. There are 2 well established JS frameworks that we could combine to help us here: Knockout.js and D3. But can we make them work well together? Continue reading Dynamic D3 with Knockout.js A short (and round) history of the button Early MacOS OK and Cancel buttons Early MacOS OK and Cancel buttons The push button. It’s truly the blunt instrument of UI design. While most other controls provide some indication of the type of operation they’re performing – sliders are adjusting a value, a switch is moving between two states – buttons just mean “do something”. What? The only way to tell is to press it and see. But this shouldn’t be the case. Continue reading A short (and round) history of the button An iOS Lava Lamp using OpenGL ES shaders Screenshot of the finished lava lamp effect Catchy title, eh? This little experiment came about as I’ve been working on an iOS app where I decided to use an embedded OpenGL view, via GLKit, for a bit more flexibility than a plain-old UIView. This found me falling head-first down a rabbit-hole of OpenGL ES shaders. I ended up putting together a little demo that emulates a lava lamp using a nifty bit of GLSL code. Continue reading An iOS Lava Lamp using OpenGL ES shaders