Fin d'année: rétrospective exclusive        

Auto_______________________________

Plus que quelques jours, et 2009 appartiendra au passé. Rétrospective des évènements marquants de l'automobile mondiale au cours de cette année 2009.

 

I. MITSUBISHI LANCER GTS 2009

 

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Cette année, le moteur est un 2,4 litres de 168 chevaux. On ne peut pas l’accuser de trop en faire mais ses performances sont tout à fait adéquates. La boîte manuelle à cinq rapports bénéficie d'un fonctionnement beaucoup plus précis et agréable, même si l’embrayage est un peu trop mou à mon goût.  Les amateurs de la technique du talon-pointe devront s'entraîner passablement avant de trouver une façon efficace de donner un coup d’accélérateur tout en freinant du même pied tant les pédales sont éloignées.  D’un autre côté, la marche arrière était souvent difficile à enclencher.  Même si les pneus sont des 19 pouces à taille basse (des Dunlop SP Sport P215/45R18) et les suspensions plus fermes que sur les modèles plus basiques, le confort n’est pas trop diminué. La GTS présente, comme toute traction, un comportement sous-vireur mais un peu de jugement vient régler ce problème.  Par contre, on ne retrouve aucun système de contrôle de la traction et de la stabilité latérale ce qui permettra aux plus courageux de se faire plaisirs.

Outre le comportement équilibré de la voiture, nous avons pu remarquer que l’insonorisation, surtout à l’arrière, n’est pas terrible.  La finition extérieure de notre exemplaire était très réussie mais à l’intérieur, il y avait place à de l’amélioration.  Les différents panneaux formant le tableau de bord n’étaient pas parfaitement alignés et la bande de plastique imitant une espèce de fibre de carbone qui court sur toute la longueur ne faisait pas sérieux.  Parmi les autres points irritants, mentionnons que le tissu des sièges semble attirer toutes les poussières de l’Univers et que l’aileron arrière s’avère quelquefois juste assez élevé pour bien bloquer la visibilité.  Heureusement, le niveau de sécurité est élevé grâce à sept coussins gonflables (frontaux, latéraux, rideaux et genoux du conducteur).

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II. AUDI Q5 V6 TDi 240

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Développant 240ch à 4000trs/mn, avec un couple de semi pointant le 50,9 à 1 500 (mkg à tr/min), muni d'une boîte à 7 rapports à transmission intégrale, l'Audi Q5 ne fait pas dans la demi mesure!

Qualité des matériaux, sérieux d'assemblage, finition soignée, insonorisation de haut niveau, performances adéquates, Audi démontre une fois de plus son savoir faire et ce sur toute une gamme de voiture, de la compacte au 4x4 de luxe en passant par la berline.

Et avec une vitesse de pointe de 225Km/h et 6,5sec pour atteindre la barre des 100Km/h, on ne se croirait vraiment pas dans un 4x4... vos poursuivants ne verront que vos beaux feux à LED arrières dans 90% des cas...

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III. BMW Série 7 09'

800px-Bmw-f01-wiki-paultan.org

 

Les BMW F01 / F02 sont la cinquième génération des BMW Série 7. Les premiers modèles disponibles sont les 750i, 750li, 740i, 740li et 730d. Les 750i et 750li utilisent le nouveau V8 injection direct à Twin turbo (aussi utilisé pour le X6 5.0), développant 407ch/300kW. Les 740i et 740li troquent par rapport à l'ancienne version leur V8 pour un 6 cylindre en ligne lui aussi doté du Twin turbo, développant 326ch/240kW. La 730d a quant à elle droit à un nouveau 6 cylindres en ligne de 245ch/180kW.

La nouvelle génération du système de commande iDrive qui équipe ce modèle comprend un écran de 10,2 pouces haute définition ainsi qu'une structure des menus améliorée, un nouveau bouton iDrive pour sélectionner et gérer les fonctions plus petit que l'ancien. Des touches d’accès direct aux menus ont aussi été ajoutées pour faciliter l'utilisation du système. De plus, le système audio dispose d'un disque dur pour pouvoir stocker de la musique. Enfin, le système ConnectedDrive disponible en option, donne accès à internet directement depuis l'écran de la voiture.

Pour ce qui est des systèmes d'aides à la conduite, la nouvelle série 7 est dotée d'un équipement très vaste. Le système BMW Night Vision peut compléter la panoplie. Pour la première fois il est doté d'une fonction de reconnaissance des piétons et avertit lorsque cela est nécessaire le conducteur par des clignotements lumineux. Un système de reconnaissance des panneaux de limitation de vitesse est aussi disponible en complément du système d'aide à la tenue de cap.

Par la suite, la série 7 nouvelle génération sera accompagnée d'un nouveau 12 cylindres essence ainsi que du 6 cylindres diesel bi-turbo de 306 ch.

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IV. NOUVELLE FORD FIESTA

fiesta

La nouvelle Fiesta, conçue sur la plateforme de la récente Mazda 2, séduit de visu par ses lignes et sur le papier par ses caractéristiques.

Afin de convaincre partout, elle adopte le "Kinetic Design" des S-Max et Kuga. Autant la ligne de sa devancière était conservatrice, voire insipide, autant la nouvelle petite à l’ovale attire l’attention et affiche une ligne dynamique, en trois comme en 5 portes. Tout comme la récente Mazda 2 commercialisée depuis un an et la nouvelle Seat Ibiza elle donne un coup de vieux à la plupart des autres berlines du segment B.

En essence, la palette de motorisations va du 1.25 en 60 ch ou 82 ch au nouveau 1.6 Ti-VCT 120 ch, en passant par le 1.4 96 ch, cette dernière étant la seule à proposer l’alternative boîte automatique.

Le 1.6 TDCi constitue toujours l’offre haute en Diesel. Il s’agit toujours du 16V de 90 ch issu de la collaboration Ford/PSA. D’un fonctionnement plutôt discret, volontaire à bas régime et assez performant avec un maximum de 212 Nm, il est disponible sans ou avec filtre à particules (supplément de 600 €).

Si les tarifs gonflent d’une dizaine de pourcent par rapport à la Fiesta sortante, ils ne s’alignent pas pour autant sur le haut de la catégorie (les petites françaises). Ils se calquent plutôt sur ceux des Fiat Grande Punto, Opel Corsa et Toyota Yaris. Soit un peu plus cher que la Mazda 2. Bref, une petite qui mérite de figurer sur la shopping-list des cinq modèles les plus recommandable du segment.

 

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V. NOUVELLE VOLKSWAGEN POLO

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C'est la petite citadine bourgeoise du moment. Le constructeur allemand propose sa 5ème génération dans une version plus technologique et un look très proche de la Golf.

Ne l’appelez plus fourmi. Depuis la campagne de publicité des années 90, la citadine de Volkswagen a bien changé. De longue date, la Polo a laissé son look atypique de petit break trois portes, au bénéfice d’un style beaucoup plus conventionnel. Affichant clairement sa parenté avec la Golf6, cette nouvelle génération, lancée en septembre, affiche un design bon chic bon genre, rassurant et sobre – trop au goût de certains – est fait pour passer à travers les modes.

La bonne nouvelle vient du prix, particulièrement compétitif, ce qui est inhabituel pour une Volkswagen. Le constructeur veut clairement concurrencer les Renault Clio et Peugeot 207 et du coup sa Polo s’affiche moins chère à équipement équivalent. Jusqu’à 10% dans le cas de la Peugeot. Dans sa version de base Trendline 3 portes avec le moteur 1,2 l essence 60 chevaux, elle s’affiche à 11.990 € pour culminer à 19.090 € en finition Sportline 5 portes avec le moteur diesel 1,6 l 90 chevaux. Au cœur de la gamme la 1,4 l 85 essayée en finition Confortline peut déjà faire valoir un équipement riche: climatisation semi-automatique, régulateur de vitesse (de série dès la première finition), radio CD, contrôle de la pression de pneus, ordinateur de bord... Elle a tout d'une grande, comme disait la Clio en 1992. Quand la Polo était encore une fourmi.

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VI. VOLKSWAGEN SCIROCCO R'

scirocco

Après avoir frappé un grand coup avec le style de sa nouvelle Scirocco fin 2008, Volkswagen nous sort courant 2009 une version protéinée de sa Scirocco baptisée Scirocco R! (rrrrr....).

Doté du quatre cylindres 2.0 TSI de 265 ch et 350 Nm, le Scirocco R aura des sensations à revendre : un 0 à 100 km/h en 6,5 secondes et une vitesse maximale de 250 km/h. Il n'y avait pas de complexe à avoir, pourtant Volkswagen a préféré décliner l'appellation R20 qui aurait paru logique après les Golf R32 ou Passat R36. C'est qu'il faut préserver l'ego de certains conducteurs...

Ce coupé Volkswagen reprend le moteur de l'Audi S3, tout en lui laissant la transmission intégrale. Le Scirocco R bénéficiera en revanche d'un différentiel électronique baptisé XDS. Sur le plan esthétique, le style du Scirocco R est largement inspiré de la GT24, une version compétition du coupé de Wolfsburg.

Au programme, une large prise d'air et des feux de jour à LED intégrés au bouclier avant. La proue bénéficie aussi de phares bixénon. Quant au bouclier arrière, il incorpore un diffuseur noir brillant ainsi qu'une double sortie d'échappement.

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VII. FORD FOCUS RS'

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Inspirée de la WRC de rallye, mais avec deux roues motrices seulement, la Focus RS établit une référence qu’il sera difficile de supplanter.

Sa dernière création, magistrale, conduit à réviser les a priori sur la traction avant. Deux chiffres pour fixer d'entrée les idées : 305 chevaux et 33 650 €. 110 € le cheval-vapeur, faites le calcul avec votre propre voiture et vous mesurerez l'exploit signé par Ford sur cette Focus RS.

La Focus RS transmet parfaitement bien sa puissance au sol. Bien sur, le fait d'écraser comme une brute l'accélérateur au feu rouge entraîne fatalement un patinage des roues, mais force est de constater que la motricité demeure bluffante.

Cette maxi-GTI s'extrait en force des virages lents et repart comme un obus. Il faut qu'avec le cinq cylindres turbo d'origine Volvo, elle possède un drôle de moteur.
Plein à tous les régimes et efficace dès 2.000 tr/min, son turbo assène ensuite un uppercut qui vous ébranle jusqu'à 7.000 tr/min. Un punch et un brio dignes d'une ambiance de Rallye, sans parler de la sonorité rauque à souhait... et des sifflements de la fameuse turbine !

Difficile alors de ne pas se prendre au jeu d'autant plus que le châssis est au diapason. Bien aidée par une direction consistante, la Focus RS enfile les difficultés comme des perles. Profitant d'un bon freinage et d'un châssis remarquablement équilibré, la voiture se place idéalement dans les courbes rapides grâce à une poupe qui ne rechigne pas à enrouler lors d'une décélération appuyée, avant de ressortir en force grâce à un train avant très précis et au brio du 5-cylindres.

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VIII. SEAT IBIZA "BOCANEGRA" 09'

bocanegra

Pour sa quatrième génération, la version sportive de l'Ibiza se dote d'un petit 1.4l doublement suralimenté de 180 chevaux accouplé à une boîte DSG à 7 rapports.
Par ailleurs, la marque espagnole rend hommage à la 1200 Sport des années 70 avec une série spéciale « Bocanegra » limitée à 1 000 exemplaires par an et reconnaissable à sa face avant noire.

Ce moteur joue parfaitement sa partition. Souple et silencieux à bas régime, il ne rechigne pas à la tâche à haut régime, même s'il n'y est pas aussi à l'aise qu'un V-TEC Honda. Il offre également ce petit plus qui attise la curiosité de ceux qui s'intéressent encore à la technique.
On entend ainsi clairement le compresseur à bas régime et on peut s'amuser à "écouter" le passage de relais entre 2.400 et 3.500 tr/min lorsque le turbo s'enclenche.

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IX. NOUVELLE MERCEDES CLASSE E

classe e 2010

Esthétiquement, la nouvelle Mercedes Classe E se démarque de sa devancière par des optiques rectangulaires séparés. On retrouve néanmoins la mythique calandre chromée et la fameuse étoile cerclée. Le style inspiré du concept Fascination se retrouve jusqu'aux antibrouillards à diodes.

Gavée de systèmes électronique, la nouvelle Classe E veut maitriser la route comme jamais et garantir une sécurité sans faille à ses passagers. En effet, on trouvera sept airbags, un système de détection de somnolence (Attention Assist) de série, le système de protection Pre-Safe (qui anticipe les accidents et prépare certains équipements de sécurité à intervenir) et le capot actif (il se lève de 50 mm afin d’amortir l’impact avec piéton) en série. Selon Mercedes, la partie avant comprend quatre niveaux de déformation et la cellule centrale se compose de panneaux en acier 30% plus rigides.

D'un point de vu technique, la marque allemande proposera également une suspension pneumatique avec des amortisseurs électrique adaptatifs (en option sur la E 500).

Sous le capot, on trouvera de nouveaux moteurs à quatre cylindres diesel. La E 250 CDI développera 204 ch et un couple de 500 Nm (soit 25% de plus que l’ancien V6) et consommera 5,3 l aux 100km (soit 23% de moins que le V6) tout en émettant que 139g/km de CO2. La E 200 CDI développera 136 ch et la E 220 CDI 170 ch. Un système Stop/Start sera disponible sur la E200.

Un seul bloc V6 diesel sera disponible et c'est la E350 CDI qui l'accueillera. Ce moteur développera 231 ch et économise 0,5 l aux 100km par rapport à la E 320 CDI. A l’automne, une version BlueTec de 211ch sera commercialisée, celle-ci respectera les normes Euro 6 qui entreront en vigueur en 2014 !

En essence, la gamme débutera avec un 4 cylindres 1,8 l turbo à injection directe et distribution variable développant 184 ch accouplé à une boîte manuelle à six rapports. Il s'agira de la E 200 CGI. La consommation ne devrait pas dépasser 6,8 l aux 100 km en moyenne (soit 159 g/km de CO2).
La E250 CGI développera 204 ch et un couple de 310 Nm (+26%) et sera accouplée à une boite automatique à 5 rapports. La consommation baisse de 20% pour s'établir à 7,4 l aux 100km (soit 175 g/km de CO2). Enfin, il y aura également les versions E350 CGI et E500 CGI développant respectivement 292ch et 388ch. Ces deux dernières devraient consommer 0,6 l de carburant en moins aux 100 km par rapport aux modèles qu'elles remplacent.

La version E63 AMG devrait quant à elle développer la bagatelle de 525ch.

Seuls les E350 CDI, E350 CGI et E500 CGI pourront être équipées de la transmission intégrale.

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X. RENAULT MEGANE COUPE

 

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La Mégane Coupé est plus encore que la simple version à trois portes de la Mégane Berline, même si les deux voitures partagent l’entièreté des composants techniques tant pour les moteurs que pour les organes du châssis. C’est donc essentiellement le style extérieur qui distingue ces deux versions de carrosserie qui n’ont, en matière de style, aucun point commun hormis le dessin du capot, les ailes et les projecteurs. La face avant de la Mégane Coupé est plus dynamique.

Autre point fort de ce coupé, sa ligne plutôt réussie mais disons-le, pas aussi expressive que celle d'une Scirocco. Pour en arriver là, les designers de Renault ont du en revanche sacrifier la surface des vitres latérales arrière. Résultat, la visibilité latérale prend un sérieux coup et les passagers arrière devront voyager dans un espace très sombre, mais heureusement l’espace offert dans cette partie de l’habitacle est relativement confortable. Le volume du coffre est lui aussi généreux, une qualité héritée de la berline. On retrouve également la même finition, soignée, dégageant une bonne impression. Le nouveau compteur de vitesse analogique qu’on a pu apprécier lors de l’essai de la berline est bien là, il se montre clair et pratique grâce à son jeu de couleurs asservi au régulateur de vitesse.

Homogène, sécurisante, cette nouvelle Renault Mégane Coupé propulsée par son deux litres turbo de 180 chevaux semble bien armée pour contrarier la concurrence allemande sur le segment en friche des coupés généralistes.

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          Kinetic Sand        
Make a little… INGREDIENTS 5 cups sand 1c+ 1/8 cup corn starch 1 teaspoon dish soap (e.g. Dawn Dishwashing Liquid) water (about 1 cup) optional: 1 teaspoon Tea Tree Oil (for antibacterial properties) DIRECTIONS Put sand in a container Add corn starch and mix thoroughly Mix water & dish soap, then add to sand Mix […]
          Michael Lavagnino        
Mechanical Engineering
PhD Engineering Mechanics, Michigan State University, 2007
MS Biomedical Engineering, University of Michigan, 1998
MSE Mechanical Engineering, University of Michigan, 1998
BS Biomedical Engineering, Rensselaer Polytechnic Institute, 1996
T. David Sisk Award for Best Original Research Paper, Sports Health Journal, 2011 “Infrapatellar Straps Decrease Patellar Tendon Strain at the Site of the Jumper’s Knee Lesion: A Computational Analysis Based on Radiographic Measurements”
New Investigator Recognition Awards Finalist, Orthopaedic Research Society, 2011 “In situ deflection of tendon cell cilia in response to tensile loading: An in vitro study.”
Cabaud Memorial Award, The American Orthopaedic Society for Sports Medicine, 2008 “Patellar tendon strain is increased at the site of the jumper’s knee lesion during knee flexion and tendon loading: Results and cadaveric testing of a computational model.”

Effective teaching, Curriculum development, Tendon mechanobiology, biomechanics, orthopaedics

Lavagnino M, Brooks AE, Oslapas AN, Gardner KL, Arnoczky SP. Crimp Length Decreases in Lax Tendons due to Cytoskeletal Tension, but is Restored with Tensional Homeostasis. 2016 Nov 23. doi: 10.1002/jor.23489. [Epub ahead of print]
Lavagnino M, Oslapas AN, Gardner KL, Arnoczky SP. Hypoxia Inhibits Primary Cilia Formation and Reduces Cell-Mediated Contraction in Stress-Deprived Rat Tail Tendon Fascicles Muscles Ligaments Tendons J. 6(2):193-197, 2016.
Rashmir-Raven AM, Lavagnino M, Sedlak A, Gardner KL, Arnoczky SP. Increased susceptibility of skin from HERDA (Hereditary Equine Regional Dermal Asthenia)-affected horses to bacterial collagenase degradation: a potential contributing factor to the clinical signs of HERDA. Vet Dermatol. 26(6):476-80, 2015.
Lavagnino M, Madison J, Williams MR, Arnoczky SP. The Equine Suspensory Ligament Exhibits a Heterogeneous Strain Pattern under Tensile Load. Vet Comp Orthop Traumatol. 28(5):306-11, 2015.
Lavagnino M, Gardner KL, Arnoczky SP. High magnitude, in vitro, biaxial, cyclic tensile strain induces actin depolymerization in tendon cells. Muscles Ligaments Tendons J. 5(2):124-128, 2015.
Lavagnino M, Malek K, Gardner KL, Arnoczky SP. Thermal energy enhances cell-mediated contraction of lax rat tail tendon fascicles following exercise. Muscles Ligaments Tendons J. 5(1):51-55, 2015.
Lavagnino M, Wall ME, Little D, Banes AJ, Guilak F, Arnoczky SP. Tendon mechanobiology: Current knowledge and future research opportunities. J Orthop Res. 33(6):813-822, 2015.
Lavagnino M, Bedi A, Walsh CP, Sibilsky Enselman ER, Sheibani-Rad S, Arnoczky SP. Tendon Contraction After Cyclic Elongation Is an Age-Dependent Phenomenon: In Vitro and In Vivo Comparisons. Am J Sports Med 42(6):1471-1477, 2014.
Brown S, Stubbs NC, Kaiser LJ, Lavagnino M, Clayton HM. Swing phase kinematics of horses trotting over poles. Equine Vet J. 47(1):107-112, 2015.
Clayton HM, Stubbs NC, Lavagnino M. Stance phase kinematics and kinetics of horses trotting over poles. Equine Vet J. 47(1):113-118, 2015.
Lavagnino M, Gardner K, Sedlak AM, Arnoczky SP. Tendon cell ciliary length as a biomarker of in situ cytoskeletal tensional homeostasis. Muscles Ligaments Tendons J 11;3(3):118-121, 2013.
Halley SE, Bey MJ, Haladik JA, Lavagnino M, Arnoczky SP: Three dimensional, radiosteriometric analysis (RSA) of equine stifle kinematics and articular surface contact: A cadaveric study. Equine Vet J 46(3):364-369, 2014.
Lavagnino M, Gardner K, Arnoczky SP: Age Related Changes in the Cellular, Mechanical, and Contractile Properties of Rat Tail Tendons. Connect Tissue Res 54(1):70-75, 2013.
Wintz LR, Lavagnino M, Gardner KL, Sedlak AM, Arnoczky SP: Age-dependent effects of systemic administration of oxytetracycline on the viscoelastic properties of rat tail tendons as a mechanistic basis for pharmacological treatment of flexural limb deformities in foals. Am J Vet Res 73(12):1951-1956, 2012.
Clayton HM, Kaiser LJ, Lavagnino M, Stubbs NC: Evaluation of intersegmental vertebral motion during performance of dynamic mobilization exercises in cervical lateral bending in horses. Am J Vet Res 73(8):1153-1159, 2012.
Clayton HM, Belock B, Lavagnino M, Kaiser LJ: Forces and pressures on the horse's back during bareback riding. Vet J 195(1):48-52, 2013.
Gardner KL, Lavagnino M, Egerbacher M, Arnoczky SP: Re-establishment of cytoskeletal tensional homeostasis in lax tendons occurs through an actin-mediated cellular contraction of the extracellular matrix. J Orthop Res 30(11):1695-1701, 2012.
Belock B, Kaiser LJ, Lavagnino M, Clayton HM: Comparison of pressure distribution under a conventional saddle and a treeless saddle at sitting trot. Vet J 193(1):87-91, 2012.
Fowlie JG, Arnoczky SP, Lavagnino M, Stick JA: Stifle extension results in differential tensile forces developing between abaxial and axial components of the cranial meniscotibial ligament of the equine medial meniscus: A mechanistic explanation for meniscal tear patterns. Equine Vet J 44(5):554-558, 2012.
Fowlie J, Arnoczky S, Lavagnino M, Maerz T, Stick J: Resection of Grade III cranial horn tears of the equine medial meniscus alter the contact forces on medial tibial condyle at full extension: an in-vitro cadaveric study. Vet Surg 40(8):957-965, 2011.
Clayton HM, Lavagnino M, Kaiser LJ, Stubbs NC: Evaluation of biomechanical effects of four stimulation devices placed on the hind feet of trotting horses. Am J Vet Res 72(11):1489-1495, 2011.
Clayton HM, Lavagnino M, Kaiser LJ, Stubbs NC: Swing phase kinematic and kinetic response to weighting the hind pasterns. Equine Vet J 43(2):210-215, 2011.
Lavagnino M, Dodds J, Arnoczky S, Elvin N: Infrapatellar Straps Decrease Patellar Tendon Strain at the Site of the Jumper's Knee Lesion: A Computational Analysis Based on Radiographic Measurements.. Sports Health: A Multidisciplinary Approach 3:296-302, 2011
Lavagnino M, Arnoczky SP, Gardner K: In situ deflection of tendon cell-cilia in response to tensile loading: an in vitro study. J Orthop Res 29(6):925-930, 2011.
Gardner KL, Arnoczky SP, Lavagnino M: The Effect of In vitro Stress Deprivation and Cyclic Loading on the Length of Tendon Cell Cilia in situ. J Orthop Res 29(4):582-587, 2011.
Clayton HM, Larson B, Kaiser LJ, Lavagnino M.: Length and elasticity of side reins affect rein tension at trot. Vet J 188(3):291-294, 2011.
Degree Programs: 
Mechanical Engineering

          Mobius Bionics и DARPA начали выпуск протезов руки LUKE        
Это можно назвать свершившимся. Хоть и крайне ограниченный, но все же конвейерный выпуск механических протезов рук начался. DARPA в сотрудничестве с Mobius Bionics начали достаточно большой выпуск протезов рук, предназначенных для солдат США, потерявших конечности в ходе военных действий. Модель протеза получила название LUKE (Life Under Kinetic Evolution). Не трудно понять, что создатели данного монархического […]
          Siga launches clinical study for TPOXX IV formulation        

Siga Technologies Inc., a company that focuses on the creation and sale of solutions for biodefense and medical needs with unmet problems, recently launched its phase-one single ascending dose clinical study for TPOXX in an intravenous (IV) formulation.

TPOXX is the top drug candidate at the company. It is designed to treat orthopoxvirus diseases. To conduct the study, Siga collaborated with the Biomedical Research and Development Authority (BARDA).

The purpose of the study is to determine the safety and pharmacokinetic value of developing a protocol for the company’s next phase-one clinical trial within its IV program. The next phase is a multiple ascending dose safety as well as pharmacokinetic trial.

“This collaboration with BARDA on an IV formulation is an important step toward realizing the full capability of TPOXX,” Siga CEO Eric Rose said. “This trial advances our efforts to ensure better protection of Americans from a smallpox outbreak.”

Siga’s ultimate goal within its IV program is to develop formulations of IVs that can be used as alternative treatments for people who have dysphagia. It will also be useful for patients who are seriously sick, hospitalized or cannot swallow the traditional oral capsules.


          Connect Your Summer With Scary Movies        

Love scary movies? Use one to earn your eLectrified badge this summer! These horror flicks are available on DVD at the library or streaming through Hoopla. 

Animal Lover

A friendly St. Bernard named "Cujo" contracts rabies and conducts a reign of terror on a small American town. --imdb.com.

A group of people unite in a fight against a great white shark that has come to terrorize the residents of a formerly peaceful summer community on the New York coast.

College students visit a friend's remote cabin on a lake, unaware that locals have imported sharks in hopes of filming their attacks.

Be Creative

Young Dorian Gray arrives fresh on the London social scene and is taken under the wing of corrupt, devilish Lord Henry Wotton who introduces him to the seedy pleasures of London life. Desperate to protect the youth and beauty captured in his portrait, Dorian swears he would give anything to stay as he is-- even his soul. Slipping deeper and deeper into a world of sin, sex and celebrity, his deeds grow ever more evil in an attempt to hide his secret.

Jean-Baptiste Grenouille is born under his mother's table at the fish market, onto a pile of muddy fish guts, establishing from the beginning his repulsion for putrid scents. A childhood of neglect and, later, a job at a tannery, encourage Jean-Baptiste to develop his olfactory sense rather than his verbal skills. When an opportunity to prove his worth to Parisian perfumist, Giuseppe Baldini, it results in his immediate hire into a promising new career. His successes in perfume mixing are negated by a blinding obsession for capturing the sublime beauty of human soul, which in his twisted logic requires the killing of young women to reduce their body fats to essential oils for the ultimate perfume.

Late one night on a country road, Tun and Jane accidentally run down a mysterious pedestrian. Fleeing the scene, they return to their lives in Bangkok, but soon discover things have changed. Nightmares haunt Jane's dreams while Tun, a photographer, begins to see odd spectral figures at work. Returning to investigate the site of the accident, they find neither rumor nor report of the victim. When one by one, Tun's closest friends begin to die, he and Jane know they must unravel this mystery before it unravels their very lives.

Chow Down

A celebrity chef turns the tables on his harshest critic. Peter Grey (James Le Gros), an overly zealous television chef kidnaps J.T. Franks (Joshua Leonard), an influential and notoriously snarky food blogger after a particularly nasty review deals the final blow to Grey's already plummeting career. Grey keeps Franks chained up in a basement, presenting him with a series of deceptively simple cooking challenges - from preparing a perfect egg over easy, to grilling a steak precisely medium rare & accepting nothing less than total perfection. BITTER FEAST is a tense thrill-ride served up with wicked wit and culinary flair.

A young female FBI agent is sent to interview notorious killer, Dr. Hannibal Lecter, in hope of obtaining information that will help the Bureau catch another killer.

Returning to London after being wrongfully imprisoned, a barber seeking revenge upon those who sent him away provides a local baker with meat for her pies.

When the patriarch of a secretive cannibalistic family dies, his daughters are forced to hunt for food as a storm closes in and the local law enforcement officers investigate the family.

Explore History

During the Spanish Civil War, young Carlos is abandoned at a completely isolated orphanage. The tensions therein have been building for years, exacerbated by the unexploded bomb resting menacingly in the courtyard. Bullies scheme, tempers flare, and a ghost that visits Carlos's bed seems to be the key to it all.

The five Bennet sisters cope with the pressure to marry while fighting an increasing zombie presence in the English countryside.

"Greatest horror film of the year."--Entertainment Weekly.

While on business in Yorkshire, young lawyer and single father Arthur Kipps encounters the malevolent spirit of a woman.

Game On

Based on true events, The Ouija Experiment tells the story of five friends who decide to record their experiments with a Ouija board. This found footage film follows the five friends as they reach out to the spirits, but when they break the first rule of Ouija boards and leave without saying goodbye, they inadvertently invite the spirits into their lives. As the spirits hunt down them one by one, the remaining friends must uncover the truth behind the spirits' deaths and destroy the board before it destroys them.

Alice, joining forces with a group of survivors trying to get to a safe haven known as Arcadia, continues in her quest to destroy the Umbrella Corporation, fighting zombie hordes along the way.

Geek Out

When ghosts go on a rampage, only three men can save the world. Soon every spook in the city is loose and our heroes face the supreme challenge If you want your spirits raised, who you gonna call? Ghostbusters!.

A scientist, obsessed with perfecting a virtual reality computer, experiments on a slow-witted gardener, turning him into a superhuman, whom members of "The Shop" want to capture to create a war machine.

A group of young friends are rocked by the sudden suicide of one of their own and his subsequent ghostly reappearance in grainy computer and video images. More deaths follow as the world is slowly being drained of life.

A group of online chat room friends find themselves haunted by a mysterious, supernatural force using the account of their dead friend.

Great Outdoors

Five college friends head for cabin in a remote forest and through a tattered diary left behind by a former inhabitant, begin to discover the deadly truth behind their lodging.

On an annual extreme outdoor adventure, six women friends meet in a remote part of the Appalachians to explore a cave hidden deep in the woods. Far below the surface of the earth, disaster strikes when a rock fall blocks their exit and there is no way out. The women push on, praying for another exit, but there is something else lurking under the earth. The friends are now prey, forced to unleash their most primal instincts in an all-out war against an unspeakable horror that attacks without warning.

Susan and Daniel are a happily married couple who are taking a much needed vacation to the islands. They are hoping for a memorable trip. However, their vacation turns tragic when their scuba diving party leaves them in the middle of the ocean by the careless diving boat crew. As the reality of isolation sets in, they turn to one another for support. Unable to flag down passing boats, they begin to panic as encircling sharks begin to appear.

Jeff and Amy are an American couples who goes to Mexico for a vacation. They find themselves in the most brutal struggle when, on an archaeological dig into the jungle, they are ambushed by hostile Mayans and forced to the top of an ancient temple. There, a monstrous and diabolically clever entity awaits them among the ruins.

Hit The Road

Christine is an auto possessed by an evil vengeance that will destroy anyone in her way. She demands the unquestioned devotion of Arnie and attacks outsiders who try to interfere.

A deranged stuntman stalks his victims from the safety of his killer car, but when he picks on the wrong group of babes, all bets are off. He becomes involved in an automotive duel of epic proportions.

A tire named Robert, who has destructive telekinetic powers. becomes obsessed with a woman living in a desert town.

After zombies have overrun the world, a mismatched group of two men and two sisters head for an amusement park that is reportedly safe.

Keep It Real

Three student filmmakers set out into the forest to film a documentary on a legend known as The Blair Witch. As they become lost in the woods, an unseen evil begins to stalk and harass them. They soon realize that what they are filming is not a legend, but their own descent into a horrifying encounter with the supernatural.

A hard hitting docu-drama about two ex-cons who ruthlessly murder a Kansas family in 1959 in order to steal their non-existent stash of money.

From Rodney Ascher, the director of ROOM 237, comes a documentary-horror film exploring the phenomenon of 'Sleep Paralysis' through the eyes of eight very different people. These people (and a surprisingly large number of others) often find themselves trapped between the sleeping and waking worlds, totally unable to move but aware of their surroundings while being subject to frequently disturbing sights and sounds. A strange element to these visions is that despite the fact that they know nothing of one another, (and had never heard of sleep paralysis before it happened to them), many see similar ghostly 'shadow men.' This is one of many reasons many people insist this is more than just a sleep disorder. THE NIGHTMARE digs deep into not only the particulars of these eight people's uncanny experiences (through elaborate, sometimes surreal dramatizations), but it also explores their search to understand what they've gone through and how it's changed their lives.

In 1980 Stanley Kubrick released his masterpiece of modern horror, The Shining. Over 30 years later we're still struggling to understand its hidden meanings. Rodney Ascher's wry and provocative documentary fuses fact and fiction through interviews with both fanatics and scholars, creating a kaleidoscopic deconstruction of Kubrick's still-controversial classic.

Laugh It Up

It all starts with a meteorite falling to earth near Glen Canyon, Arizona. The next day, biology teacher Dr. Ira Kane and geology teacher Harry Block from Glen Canyon Community College go to investigate. While taking a sample, they discover a slimy blue fluid ozzing from the meteorite. Kane finds myriad single-celled life-forms in the fluid, evolving at an incredible rate, even while he's watching. What seemed like a sure ticket to Sweden for the Nobel Prize soon develops into a nightmare: by evolving and adapting at an unbelievably fast rate, the aliens start spreading out, and the military comes in. Will humanity save the day?.

"When flesh-eating zombies go on the hunt for a bite to eat, it's up to slacker Shaun (Simon Pegg) and his best pal Ed (Nick Frost) to save their friends and family from becoming the next entree"--Container label.

Sci-fi comedy about two country handymen who are about to leave their desolate Nevada town when they discover the town is infested with gigantic man-eating creatures that live below the ground.

Vulvus, Viago, and Deacon are vampires who live here, among us. They are real vampires; undead, immortal creatures who stalk the night and search for human blood, preferably virgins. Witness the many horrid, abominable aspects of vampire life, such as hunting and feeding, vampire rivalry and fighting with werewolves, as well as normal night to night aspects that make them not so different from us like keeping the flat clean, jobs, shopping, meeting people and trying to fit in.

My Mitten

In the much-anticipated remake of the 1981 cult-hit horror film, five twenty-something friends become holed up in a remote cabin. When they discover a Book of the Dead, they unwittingly summon up dormant demons living in the nearby woods, which possess the youngsters in succession until only one is left intact to fight for survival.

For nineteen-year-old Jay, the fall should be about school, boys and weekends at the lake. Yet, after a seemingly innocent sexual encounter she suddenly finds herself plagued by nightmarish visions; she can't shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.

You Choose (Staff Picks)

"...squirm-inducing stuff."--Hollywood Reporter.

Jadon sedated in ICU on his 3rd birthday - decorations thanks to big sister Rykauna
Today, everyone was all smiles.  Jadon knew his birthday was today and this morning he 'made' himself a cake out of kinetic sand and put on a candle.
This evening his eyes were full of sparkles as we sang happy birthday to him and he got to open a few gifts.

Here's to many more birthdays with this wonderful bundle of joys and smiles!


          More steps in the right direction        
This has been another eventful week.  It has been determined by the cardiac team that the changes seen on the last echocardiogram indicate that the improvement in Jadon's heart function is substantial and that his heart is not really a big issue anymore.  It seems likely that the cardiac artery bypass graft (CABG) surgery performed in June has had some effects.  We were told it may take up to 6 months to show improvement and here we are!  His function has moved from moderate/severe dysfunction to only mild dysfunction.  As a result, late this past week he was transferred out of the Cardiac critical care unit (CCCU) and into the Pediatric intensive care unit (PICU).
The three bros sharing smiles!
On Friday they removed his replogle (the tube providing constant suction) to see how he would be able to manage his secretions, given he has been on the prokinetic drug for 2 weeks now.  He is still being suctioned every 3 hours but is doing well.  We are hoping and praying that he will start to be able to fully manage his saliva on his own.  The plan is to transfer him to the general pediatric floor as they continue to manage this.  He is in really good spirits and has been pulling himself up in his bed and even taking a few steps - something he really hasn't had the strength and energy to do for several months.
Standing in his crib!
We are once again cautiously optimistic that he may finally be on the mend.
Mischief!

          Heading in the right direction once again!        
Well it has been another eventful few weeks.  Jason has been in the CCCU for two weeks.  He has gone through stages of extreme lethargy, to discomfort to agitation.  He has had days and nights of almost constant sleeping to days and nights with hardly any sleep. He's gone through another round of multiple medications.  He has been NPO'ed (no food through mouth, or for him, gtube), and had feeds started once again.  He has gone through intessusception and pancreatitis.
Yet here he is once again smiling.  The last few days have been pretty good.  We've seen the rascally Jadon come out again.  He's squirted several staff members with water from syringe during rounds.  He's taken to playing on a mattress on the floor, even napping there at times, prompting the head of the ICU to take his picture and send it to the CEO as 'proof' that they need more critical care bed space at Sick Kid's! ;-)
We are currently waiting to see how the new prokinetic drug they started about a week ago is working to increase his esophagus motility.   If this works it would be great.  If not we are likely looking at another surgery to undo the fundoplication.  We are desperately praying that this works and we can continue heading in the right direction.
          ORACLE Teaser: First Two Chapters        


 With the release of ORACLE only a week away, it seems like time to give folks a small taste of what to expect in this duology. Unlike most of my previous work, this story is told in multiple third-person points-of-view. There's no magic, but there is the magic of science and scientific theory, as well as some pretty nifty psi-abilities. Action, adventure, breaking-and-entering, sarcasm, and an android--what more could you want?

I hope you enjoy!


Chapter One

The straining engine of the approaching Ames moving van sputtered and hissed, barely making forty miles an hour on the winding mountain roads, and announcing its arrival long before white metal flashed in the trees below. Olivia Gellar braced her feet on the asphalt, adrenaline already spiking as the van drew closer, trundling its way up the mountain.

This job will be child’s play.

“Sixty seconds, Olivia.” Nick’s voice crackled in her ear. She’d left her partner higher up the west side of the mountain with binoculars and an excellent vantage point.

“Check,” she said. “Come on down.”

She took the earbud out, snapped it into an insulated case, and then tossed the case toward the side of the road. It hit the shoulder and bounced into a patch of grass, out of harm’s way. 

Time to work her magic. 

Olivia stretched her arms out to either side, palms forward, fingers splayed. She closed her eyes and concentrated. The orange behind-the-eyelid sun glare disappeared, replaced by a gray mist. She harnessed it to use with her unique talent. 

The short hairs on her arms and the back of her neck stood to attention, teased by the static field coalescing around her body. A sharp, familiar pain struck, as if a hypodermic needle had been shoved between her eyes. She pushed the pain and the gray mist forward, out in front of her like a negatively charged brick wall waiting for its opposing force on four wheels.

An engine roared and a horn blared. Scorching air blasted the bare skin on her neck, face and hands.

Olivia opened her eyes and saw the front end of the Ames van crumple as it hit the invisible wall, absorbing the brunt of its own kinetic energy. The van had barreled around the bend faster than Olivia expected and the remaining kinetic force slammed into her.. She flew backward several feet and struck the pavement ass first. The impact drove a shock up her spine, the air from her lungs, and the static field collapsed. 

The world tilted and looped, and she coughed until she could breathe again.

“Ouch.”

She forced her body to roll over so she could observe her handiwork. The wounded van stood sideways across the middle of the road, smoke rising from its mangled front end. The windshield had spider webbed, but not shattered. Acrid odors of burned rubber and motor oil tingled her nostrils and amplified the throbbing headache that only time would dispel.

“Olivia?” 

Nick sprinted out of the woods with a handful of broken twigs stuck comically in his wavy brown hair. He paused briefly to snag her earbud case out of the grass as he dashed toward her, barely sparing a careless glance at the van.

“I’m fine,” she said. Sort of. “Check the driver.”

He jerked left and slowed as he approached the van. Olivia kept her eyes on him as she struggled first to her knees, then feet, blindly picking a piece of gravel out of her throbbing elbow. Her stomach lurched, and she willed it away. An impact like that deserved a little upchucking, but she had a job to complete. 

Work now, side effects later.

Nick peered inside of the open passenger window. “Driver’s unconscious. His mind is pretty deep inside. He won’t be bothering us.”

“Good.” Olivia approached slowly, a bit unsteady, as if she was walking underwater. She crouched and peered beneath the van. “No gas leaks, so just leave him there. He’ll be fine. Until Mitchell gets his hands on him, anyway.”

Nick grunted. 

They met at the back of the van. Olivia wrapped her hand around the padlock securing the rear door. Nick’s hand drifted to her lower back, the simple touch centering her addled mind. Through the haze of pain, she pulled from the mist and her own inner reserves. The metal lock heated. Hotter, hotter, until it snapped and hit the pavement with a soft clatter. Nick tugged the lever. The door scrolled up.

Unventilated air wafted out and sunlight poured in, illuminating the interior. Reinforced with aluminum sheeting the walls resembled a Jiffy Pop popcorn pan. A hospital gurney stood bolted to the floor in the center of the storage space.

Olivia climbed inside, pulse racing. McGreary’s information had been correct about the time and place of transport. She just wished that his knowledge of the cargo had been wrong.

A teenage girl was strapped to the gurney, her narrow body covered by a thin, white sheet. Shorn close, her hair color was impossible to discern. Cheekbones protruded sharply beneath translucent skin, an awkward contrast to her thick, overdeveloped brow ridge, giving her youthful face a hawk-like appearance. Her chest rose and fell in a steady, sleep-induced rhythm.

“Is she drugged?” Olivia asked. Her voice echoed painfully in the metal cocoon.

Nick stepped to the opposite side of the gurney. He touched her cheek, concentrating with his own unique talent. “Yes. She’s deeply unconscious, O, I can’t reach her.”

“God damn them.” Olivia unsnapped the buckles on the gurney. “Drugging her up and stuffing her into the back of a van for disposal. I guess Wilderness got tired of storing their mistakes and decided to start getting rid of them.”

“We don’t know that.” He tucked the sheet around the girl’s supine form, and then picked her up with little more effort than in years past. They both struggled a bit more these days. “McGreary knew she’d be here, but he didn’t know why. Maybe she was being delivered to a satellite lab.”

Olivia followed him out of the van. “Please. If this were a secured transport, there would have been at least one agent. They didn’t even have someone in the back guarding her.”

“Can we table the argument for now? Like after we’ve given McGreary his sister back and he’s paid us for our work?”

“Fine.” 

She followed him into the woods, to the short trail that would lead them up to their waiting SUV. Agents would be on the scene in a few hours. They likely already knew the van was compromised. No agents in the van did not mean there was no security measures in place. Olivia knew Wilderness, and she knew their tactics. If the girl, Brooke McGreary, was still an Active Project, they would put Mitchell on the case.
Gary Mitchell specialized in retrieving lost Projects. After all, he had been trying to retrieve Olivia and Nick for eighteen years.

#
Brooke remained unconscious for the two-hour drive to the rendezvous spot, a rest stop along I-77, just over the Ohio state line. She showed signs of waking during the last five minutes of the trip, so Olivia kept close watch. She didn’t know if the girl’s powers were dormant or active, and she didn’t want to find out the hard way. 

Been there, done that, with no intention of going there again.

Nick steered the SUV toward a wooded area a few hundred feet from the brick restrooms and information building. A blue pickup truck was parked in front of a cluster of picnic tables, and a figure emerged as Nick pulled into a neighboring space.

Olivia climbed out of the passenger side, her stiff back resisting movement after being still for so long. The ungraceful landing on her ass had definitely left its mark, and she wouldn’t be surprised to find some black and blue down there later. 

She joined Nick on the other side of the vehicle. Patrick McGreary approached them, hands at his sides, deep-set eyes wide with silent questions. His thick frame and sunburned appearance bore little resemblance to the girl in the back of their vehicle—not surprising given how Wilderness tended to treat their Projects. 

“Did you find her?” McGreary asked.

“Yes,” Olivia replied. “She’s still asleep, but we found her. Exactly as you said we would.”

McGreary expelled a deep breath. “Thank you both. You don’t know what this means to me. When they took her, I didn’t think I’d ever see her again.”

Nick opened the rear door. McGreary leaned inside and stroked Brooke’s bald head. His shoulders started to shake, and Olivia looked away. Gave him some privacy with his emotions.

“You’re lucky,” Nick said. “Most of the time, when Wilderness takes something, you don’t get it back. I just hope we weren’t too late to make a difference.”

“Look what they did to her,” McGreary whispered. “My pretty little sister.”

Olivia busied herself watching the small rest stop crowd, his genuine gratitude both overwhelming and embarrassing. This was why she hated meeting clients face to face. It made the jobs personal when she wanted them to remain professional. Getting emotional led to thinking about the past, and she couldn’t do that and remain objective.

Do the job and reap the rewards. 

Watching Wilderness occasionally take one up the ass was purely a bonus. 

Once McGreary regained his composure, they gently transferred Brooke to his truck and buckled her into the passenger seat. She stirred, but didn’t wake, and thank God for that. Olivia didn’t need to see their joyous reunion.

“I have a doctor friend who’s waiting for us,” McGreary said as he closed the truck door. 

“You should get going,” Olivia said. “Disappear before they start hunting for her.”

“If they hunt for her. But even if they try, being a precognitive has its advantages. I never have to ask who’s at the door, and I always know if the train’s running late.”

“Just keep her away from Wilderness. Get out of the country, move to Istanbul, I don’t care. Keep her safe. And yourself, too.”

“I appreciate the concern, but it’s not necessary. You did what I paid you to do, and I thank you for that.”

Olivia shrugged. They would take on any job that insulted or damaged Wilderness. A tenuous truce prevented her and Nick from attacking the scientific research organization outright, and they abided by those unspoken rules. But these sorts of odd jobs were fun. Something she would have done for free if the interested party couldn’t pay. Fortunately for them, McGreary had created his independent wealth betting on football games. 

Precognition definitely had its financial advantages.

“Our concern is free,” Nick said. “We’ve been dealing with Wilderness most of our lives. We know what they’re capable of, and we don’t take unnecessary risks when they’re involved.”

McGreary nodded. “I understand. At least let me read you. A sneak peek at your future.”

“I know my future, thanks.”

“How about this week then? What can it hurt?”

Olivia stole a glance Nick, whose gaze had shifted to the ground. She had a good idea of their future, as well, thanks to their biology, but that future was in three to five years. Not the events of the upcoming week. Moreover, McGreary seemed eager to provide them with some sort of parting gift.

“What the hell?” she said. “Give it your best shot.”

McGreary took her right hand in his and held it loosely. She expected him to close his eyes or start to hum or something equally cliché. Like television psychics who only pretend to have the kind of talent that truly existed in people like him. Instead, he stared at her. His dark brown eyes dilated and seemed to look right through her head. She visualized a hamster running on its wheel and couldn’t imagine what he saw in there. Seconds passed. He blinked and released her hand. His eyebrows furrowed into a knot.

“What?” she asked.

He tilted his head to the left, seeming to debate his reply, and that made her kind of nervous. “I saw two strangers coming into your life. I’m not sure who they are, but one is mundane and the other powerful. Unique. They’ll help unlock a secret.”

Olivia bit back a sharp retort. Two strangers had already come into her life this week, and she was staring at one of them. He’d tried, but perhaps his power went on the fritz occasionally.

Then again, he’d said one was mundane, and both McGreary and his sister had talents.

“Well, that was enlightening,” Nick said. “But seriously, you should get going.”

Patrick nodded, seeming distracted. 

They waited for him to drive away, hopefully taking Brooke as far from Wilderness and West Virginia as possible, before they climbed back into their borrowed SUV. 

Olivia pulled the safety belt across her lap. “Well, whoever this mystery pair is, I hope one of them’s cute.”
“What if they’re both girls?” Nick turned the key and the engine roared to life.

“Still hope one of them’s cute, because Nicolas, my friend, you have no sex life.”

He put the gear into reverse. “And you do?”

“Well, not at this very moment, but I hope to have one tonight. After a hot shower, some ibuprofen, and a long nap.” She settled against the seat, shifting until she found a comfortable position for the long ride home.







Chapter Two

“Dr. Frey! Open the door!”

The urgent, muffled voice spurred Dean Frey away from his chaotic desk. The computer’s hard drive lay smashed into dozens of pieces, the hardware inside completely exposed. He’d tossed in a handful of refrigerator magnets for good measure. His few remaining paper files and two thumb drives were secured in the pack strapped onto his back. 

His life’s work reduced to an old backpack. 

He darted to the lone sixth floor window. His already rolling stomach bottomed out at the sight of it. He rarely looked out the window; he never used the rusty fire escape. Living on the top story had never bothered his agoraphobia until the moment that three-by-five hole in the wall became his only escape route.
He would not go willingly with the men shouting outside his door. Doing so signed his own death warrant.

“Open it!”

Dean pulled, the window’s swollen frame squealing in protest. He managed a space of maybe nine or ten inches before it refused to rise further. He shoved the pack out first, and then squeezed through the tight space. It occurred to him in a mad panic that all of his middle school suffering, of being called “bean pole” and “arrow man” wasn’t so bad. His tall, skinny build had probably just saved his life. 

His hard landing on the iron fire escape rattled its entire frame. A wave of vertigo swept over him. The ground blurred and his head spun wildly. He gripped the rail, inhaled deeply, and then blinked hard.

I can do this. I have to do this.

He shouldered the pack, swung around and descended the ladder. Hand over hand, foot over foot, down the rusted rungs. One level at a time. Not thinking about how far down to the ground it was.

Wood crashed above, probably the front door being smashed in. Men were talking, some shouting, and the loudest of whom Dean recognized. He had a very distinctive voice. Gary Mitchell, head of security at Wilderness. 

The man had left the office just for him.

Guess that makes me special.

Dean hurried his descent, dropping floors as quickly as he could without looking down. Above him, the fire escape clattered with sharp squeals and clangs. Someone was following him, but Dean concentrated on going down and nothing else. Third story to the second. Almost there. 

He hit the ground and bolted toward the street. Men shouted his name. The building wall spat brick and mortar as he ran past. He registered that he was being shot at, but did not stop or slow down. If he did, he would be killed. Even running toward daytime traffic, he couldn’t be sure he wouldn’t be caught. He would not go gently. Not by a long shot.

Dean emerged from the alley and melted into the bustling lunchtime crowd. Pedestrians carried briefcases and takeout bags, rushing to meetings in their business suits and silk ties. Dean had thrown on a pair of blue jeans and an old sweater, and he carried a faded backpack on one shoulder. He was certainly the only one in the crowd running from the people he worked for. 

Used to work for.

He looked straight ahead, always searching. Public phone booths were insanely hard to find nowadays, but they still existed. His cell was in the apartment, as smashed to bits as his computer, useless even if he’d kept it. Wilderness could have traced the phone.

A block down, he spotted the Holy Grail attached to the side of a gas station. He clamped his hand down over the pack strap and made a beeline for the payphone. No one noticed him. Here he was anonymous for a while.

 â€œFor a good time, call Alice” was scrawled in black marker across the top of the pay phone, right above a number. Dean grabbed the grimy handset, then took a moment to look around, searching the faces of the passersby for anyone he recognized. 

No one. Not yet, anyway. 

He fished into his pocket for change and tossed a few coins into the phone. His fingers flew over the keypad; punching in the number he’d burned into his memory last night. Probably the only person who could help him out of this mess.

“The number you have dialed is not available,” a mechanical operator voice said. “If you require assistance—.”

Damn it.

Dean slammed the handset back into the receiver. His money clinked. He turned and looked back down the street toward his apartment building. Less than twenty feet away, he spotted a familiar face. Daryl Yates, a tall, thin man with a hooked nose who always reminded Dean of a younger, uglier Jimmy Stewart, was Mitchell’s second-in-command.

Yates met his gaze. Both men froze. Dean’s heart slammed against his ribs. Yates’s hand slid toward the front of his jacket.

Dean bolted, intent on running until he was hit by a car or was shot in the back. He raced toward the street, bolted through the nearest lane, and almost slammed right into a sheriff’s cruiser, paused in traffic in the far lane. Dean wasn’t sure if he wanted to cheer or weep.  

The deputy rolled down the window. Sunlight glinted off his nametag: Porter. 

“Problem, son?” Deputy Porter asked.

“Um, yeah.” Dean glanced behind him. Yates stood stiffly near the abandoned payphone. Mitchell approached, his eyes glued on Dean. Dean turned back to the officer. “Yes, sir. I really need to get to the bus station. You see, my wife is in Wheeling and she’s about to give birth to our first son, but I don’t have a car and—”

“Hop on in, son,” Deputy Porter said. “I’ll give you a lift. You’ll have to ride in the back, though. Rules and such.”

“Thank you so much. You have no idea.” He opened the door behind the deputy and slid inside, slamming it shut.

“You mind the siren? It’ll get us there faster.”

“The siren is fine,” Dean replied.

Porter flipped a switch on his dashboard and the cruiser’s siren wailed to life. Dean looked out the window at the street. Mitchell and Yates were gone. 

Thank God.

He leaned into the seat, shifting his pack around to rest in his lap, and tried to get his heart rate back under control. This was simply a diversion. A quick rest before the next sprint. They were being followed for sure, but there was no way to turn around and check without being obvious. A suspicious deputy was the last thing Dean needed.

“First kid, eh?” Porter asked. He adjusted his rearview for a better look, and Dean glanced up into curious eyes.

“Yeah.” Dean fidgeted a little. Lying was not something he did well. “It’s been hard, a lot of miscarriages. I had to come out here for business, and left poor Sally home alone. She isn’t due for two more weeks, but I guess you can’t plan these things.” 

Sally? Of all the names he could have picked, he came up with Sally? He didn’t even know a Sally, except for the blond girl in the Peanuts comics.

“I’ve got three kids myself,” Porter said, smiling broadly. “All girls and every one of them looks like their mama.”

That was probably a good thing. The deputy was chubby and balding, with mud-brown hair and a pointed chin. Not ugly, but not someone you’d want a girl to take after. 

“Wouldn’t have minded a son,” Porter went on. “But my wife decided three was enough and had that operation. Wouldn’t trade my girls for anything, though. You’ll know what I mean pretty soon, I think.”

Dean nodded along, content to let Porter do all the talking. Then he wouldn’t ask questions Dean didn’t want to answer. Thankfully, it wasn’t far to the bus station. He was half-afraid that the chatty deputy would start telling him stories about potty training and diaper rash, all subjects Dean had no interest in. Not today, and not anytime in the near future. 

Assuming he had a future. He’d heard stories about the security team at Wilderness, and the things that those men were willing and able to do. 

If Dean didn’t get real help soon, he would be dead.

#

Dean talked fast to prevent Deputy Porter from following him to the ticket window. The aged man seemed to take it upon himself to see to Dean’s welfare, concern that may have touched Dean if he wasn’t running for his life. The longer Porter was around him, the stronger the likelihood of him getting hurt. Or his family getting hurt. Either way, not something Dean wanted on his conscience.

The bus station bustled with life. Young couples searching for their buses, families juggling luggage of all sizes, single men off on business trips, one or two poorly dressed kids that might have been runaways. If Dean hadn’t been looking so hard for familiar faces, he probably wouldn’t have noticed any of them. They would have been as anonymous to him as he was to them.

Anonymity was a good thing. 

He was also in luck for a change. A direct route to Wheeling was scheduled to leave in less than ten minutes. Dean paid for a ticket, relieved he had enough cash in his wallet to cover the bill. Security tapes or not, he didn’t need his credit cards traced or attached to his destination. If they even worked. Wilderness knew people. It was likely that they were wiping out his entire life as he stood there, waiting for a young woman with blue-streaked hair to print out his bus ticket.

She slid the ticket under the glass partition and offered him a half-assed smile. “Have a nice trip,” she said with the enthusiasm of someone resigned to saying that ten thousand times a day for the rest of her life.

Dean mumbled a hurried thank you, grabbed the precious slip of paper and turned. He almost crashed into the man in line behind him. He muttered an apology and moved to the left, studying the station lobby, automatically searching for black suits. Anyone in a black suit was immediately suspicious, whether they were a lawyer, a tax attorney or one of Wilderness’s security agents. Spotting no one who seemed overtly interested in him, Dean walked toward the outer doors.

Once he exited the depot, he felt a fraction better. He inhaled the semi-fresh air, almost choking on the strong odors of oil and exhaust fumes. Six buses were lined up, in various states of readiness. Four had their sides raised, and uniformed men tossed luggage into the underside compartments with all the care of circus jugglers. The first two buses in line were loading passengers. Dean checked the numbers. His bus was first.

No way is this good luck going to keep up forever.

He glanced back at the depot, and his hand jerked. Yates and Mitchell stood at the ticket booth, only their profiles visible. The blue-haired girl snapped her gum, but didn’t seem terribly interested in answering their questions. Mitchell flashed a badge at her. Dean had seen those badges, identifying the wearer as part of a private security firm. They worked well as an intimidation tactic. 

In most cases. The ticket girl just shrugged.

Yates turned. His dark eyes met Dean’s, and Dean’s stomach churned. Yates nudged Mitchell. Dean didn’t wait to see how Mitchell reacted. He walked toward the row of buses, moving quickly without drawing too much attention. He went around the front of the fourth bus and back down along the other side. A chain link fence topped with razor wire prevented him from abandoning the bus station altogether. If more agents showed up, he was completely screwed.

Dean dropped to his knees and peered under the bus. Two sets of shiny leather shoes walked quickly in his direction. They paused, and then split up. One went left, the other right. Dean swallowed. They were going to trap him from either end of the bus.

His feet moved on their own, instinct carrying Dean to the luggage carriers. He looked inside, expecting it to be stuffed full. A clear path cut through to the other side of the bus. Only half loaded. He offered a silent thank you to whoever was looking out for him today and climbed inside. His hands slid on the surface of a leather suitcase, and he was certain he heard something crack. Strong cologne bit his nostrils. His left eye twitched, but he prevented the sneeze from escaping. 

He peeked out of the other side of the compartment in time to see Mitchell disappear around the back of the bus. Dean slid out, landed on his hands and pulled himself out the rest of the way, uncaring who saw or what they thought. His feet hit the pavement with a soft thump, and he ran toward his own bus. He didn’t stop until he was inside and up the three steps to where the driver waited to punch his ticket. Dean handed it over, amazed that his hand didn’t shake. The driver glanced at it, punched it absently and handed it back.

Dean found an empty seat halfway down the aisle, glad the bus was only half-full. He imagined he looked pale and scared, and he didn’t need a lot of people staring at him. He slouched low in his seat, hugging the pack to his chest, afraid everyone around him could hear his pounding heartbeat. The bus rumbled around him, that familiar, soothing engine sound. He vaguely registered the driver making an announcement, or the hiss of the closing doors.

I did it.

It wasn’t until the bus jerked forward that Dean dared sit up and glance out the window. As they pulled away from the station, he spotted a cluster of black-suited men standing amid the waiting buses. Dean flopped back into his seat, relief hitting him like a sledgehammer and leaving him boneless. His head lolled side to side in time with the lurching of the bus. The trip should take about three hours.

Three hours to try and plan the rest of his life, short though it might be.

Pre-Order on Amazon!
Other retailers coming soon!
          Cover Reveal: Oracle        
One of these days I will figure out this whole self-publishing thing so I can manage an actual cover reveal/promotion with more than ten days before the publication date. But because of reasons, here's the cover for ORACLE: The Project Files Part 1. 

I really do love this. Robin Ludwig Designs did a great job, and I couldn't be happier.

Pre-order at Amazon here.




Blurb:



Dr. Dean Frey is a man of science. His lifelong desire to create a better future for mankind has led him to the prestigious, and highly mysterious, Wilderness Institute of Scientific Research & Technology, as the head of their Robotics Engineering department. Building on the research and designs of others before him, Dean’s own genius culminates in the successful creation of Anthony—the first fully-automated, free-thinking android prototype. And now Wilderness wants to sell Anthony to the military.

Unwilling to allow his achievement to become weaponized, Dean reaches out to a former Wilderness employee with the resources to help him steal Anthony and relocate them both to safety. He’s put into contact with the very secretive Nick and Olivia, who ask for one simple thing in return: trust us, no matter what you see or hear. Blind trust isn’t in Dean’s cautious nature, but he has no other choice.

For telekinetic Olivia, rescuing a fellow Psion from a life of imprisonment and experimentation is one of her favorite things. Being paid is nice, but she’ll do the job for free, if it means giving Wilderness the finger. When Olivia’s reclusive mentor solicits her and her telepathic partner Nick’s help in smuggling a very special Project out of Wilderness, they jump at the chance to infiltrate their former home and do some internal damage to the institute that created them.

With their combined knowledge of the facility, breaking Anthony out of Wilderness should have been easy—but Olivia learned a long time ago to never underestimate her enemies, or the lengths they’ll go to retrieve what’s theirs. And this time, the price for stealing the Project may be more than she’s willing to pay.

*

Other vendor links coming soon.

          I HAVE BOOK NEWS        
I've been somewhat vague about upcoming projects, because I'm still getting the hang of this self-publishing thing, and I'm always afraid I'll jinx myself if I speak before I have my ducks in a row.

Right now, my ducks are all at least in the same pond, so here's what's cooking, by way of a long story: way back in college, when I was still considering a career as a screenwriter, I began working on what was then a pilot for a TV show featuring characters with telepathic/telekinetic abilities. I wrote two episodes, and then put them away because what was someone from Delaware going to do with TV show scripts, right?

Not long after that, I got back into writing prose fiction, thanks to participating in fanfiction forums online. So I pulled those scripts out of the drawer and rewrote them as novels. First they were two long novels. Then three short novels. Then one long novel. Over the years, they've been rewritten, because my writing skills have vastly improved in the last 13-odd years. I removed unnecessary flashbacks. Killed a small subplot. Tightened what was actually happening.

And now they're ready for you guys. As a complete duology, with book one releasing this summer, and book two in the fall. Don't worry, there are no major cliffhangers at the end of book one. I wouldn't do that to you guys.
 
 

ORACLE: The Project Files Part 1 is scheduled for release on July 18th. I will have early paperback copies for sale at the Meet the Pros event at Shore Leave 38 that weekend, for folks who attend. I've long described the books as "The A-Team with superpowers," if that piques your interest at all.

I'm super-excited to be working with the very talented Robin Ludwig Design Inc. on my cover art. She did the artwork for Requiem for the Dead and The Night Before Dead, and she killed it both times.

And to give you an idea of what to expect from this book, the finalized back cover blurb is below.
 
 

#

Dr. Dean Frey is a man of science. His lifelong desire to create a better future for mankind has led him to the prestigious, and highly mysterious, Wilderness Institute of Scientific Research & Technology, as the head of their Robotics Engineering department. Building on the research and designs of others before him, Dean’s own genius culminates in the successful creation of Anthony—the first fully-automated, free-thinking android prototype. And now Wilderness wants to sell Anthony to the military.

Unwilling to allow his achievement to become weaponized, Dean reaches out to a former Wilderness employee with the resources to help him steal Anthony and relocate them both to safety. He’s put into contact with the very secretive Nick and Olivia, who ask for one simple thing in return: trust us, no matter what you see or hear. Blind trust isn’t in Dean’s cautious nature, but he has no other choice.

For telekinetic Olivia, rescuing a fellow Psion from a life of imprisonment and experimentation is one of her favorite things. Being paid is nice, but she’ll do the job for free, if it means giving Wilderness the finger. When Olivia’s reclusive mentor solicits her and her telepathic partner Nick’s help in smuggling a very special Project out of Wilderness, they jump at the chance to infiltrate their former home and do some internal damage to the institute that created them.

With their combined knowledge of the facility, breaking Anthony out of Wilderness should have been easy—but Olivia learned a long time ago to never underestimate her enemies, or the lengths they’ll go to retrieve what’s theirs. And this time, the price for stealing the Project may be more than she’s willing to pay.

          Jesus: True and Better        
After a good start to the week? Enlarge your vision of Christ and watch this brilliant kinetic typography clip accompanying Tim Keller explaining how Jesus is the ‘true and better’ Adam, Abel, Abraham, Isaac, Jacob, Joseph, Moses, Rock of Moses, Job, David, Esther, Jonah, temple, lamb, life, bread (I may have missed a couple). [HT: […]
          Brooks + Scarpa completes forest-like kinetic sculpture ringed with rain gardens        
Public art should do more than decorate. Brooks + Scarpa targeted a triple bottom line with their design of the recently completed Gateway Sculpture at Pembroke Pines City Center in southern Florida. Constructed to enhance user experience, the sculpture is made up of four yellow stainless-steel tree columns topped with kinetic canopies that create the effect of dappled light as visitors walk beneath. Environmental and economic sustainability were considered for the project, which is designed for...
          Memphis and Nashville lay claim to the King’s legacy.        

As Memphians often see it, there is a certain amount of disingenuousness in the way Nashville, the rival sister city up the road, presents its relationship to Elvis Presley. In 2012, the 35th anniversary of the King’s passing right here at Graceland, Tennessee’s capital city was not about to play, er, second fiddle in its appreciation of such an icon. “Music City,” as it styles itself, organized a bigger than usual week-long festival in Elvis’ honor from August 10 to August 18 of that year, calling it simply “Elvis Week,”in the mode of the simultaneous rites held annually in Memphis.

A book by one Don Cuso was released in sync with the festival. Promotional material for the volume, called simply “Elvis and Nashville,” defined the relationship between the two honorees of its title as follows:
”Elvis Presley and Nashville were connected from his the earliest days of his career. In 1954 he appeared on the Grand Ole Opry and recorded his first number one hit, "Heartbreak Hotel" in Nashville in 1956. Elvis' manager, Colonel Tom Parker, lived in Nashville and Elvis' fan club activities and merchandising were headquartered in Parker's office. Elvis recorded 260 songs in RCA Studio B and performed several concerts in the area. "Elvis and Nashville" documents the connection between Elvis and the city known as ‘Music City U.S.A.’”

Fair enough, but it is also fair to fill in some of the blanks implicit in that description — a couple of them in a single sentence. Yes, the 19-year-old Elvis, fresh on the fame of his first recording for Sam Phillips’ Sun Records back home, did manage to get booked on the Opry, but his experience was less glorious than traumatic.

In its listing of the legendary Ryman Auditorium among other Elvis-related sites available to tourists during that 2012 Elvis Week, the tourist-oriented web page visitmusiccity.com described things this way: “After Elvis sang the great Bill Monroe hit, ‘Blue Moon of Kentucky,’ Opry manager Jim Denny reported that Elvis was ‘not bad’ but did not fit the program; therefore he was not invited back.”

More forthcoming historical sources call it less daintily: Denny told the blues-inflected, kinetically active young singer to go back to his former day job, driving trucks. Instead Elvis returned to Phillips’ Union Avenue studio in home-town Memphis, determined to keep on evolving a style under the master. Just as importantly, he hooked up with the Opry’s main competitor, the Louisiana Hayride, out of Shreveport, doing weekly broadcasts that built his reputation as a performer and led to tours that expanded both his audience and his geometrically increasing regional fame.

Along the way, Elvis picked up a canny, self-serving manager — one “Colonel” Tom Parker, as he called himself, a Dutch-born former carny who had settled in Nashville as a talent manager for acts like Eddy Arnold, the “Tennessee Plowboy,” and was far-sighted enough to see in Elvis a rough diamond bigger than the Ritz. Soon enough, Parker had engineered the sale of Elvis’ contract from Sun to RCA, the giant record company that had national clout and recording studios in Nashville.

And soon enough, too, Elvis had the aforementioned “Heartbreak Hotel” out under RCA auspices and with backing on the track from such Nashville luminaries as guitarist Chet Atkins and pianist Floyd Cramer. The song was more alt-country than the rawer multi-sourced rockabilly Presley had done at Sun, though it kept to an eight-bar blues progression, like so many of the Memphis studio sides..

A sidelight to that historical moment: in 1981 the two back-to-back speakers at the annual Elvis seminar at Memphis State University were Mae Axton of Nashville, author of “Heartbreak Hotel,” and the great Phillips, author of Elvis Presley and, by near consensus, of rock and roll itself. Axton’s account of the importance of her song in launching Elvis as a world-wide phenomenon must have seemed to Phillips nothing less than an undue appropriation,

In any case, when he took the stage in her wake, he was in something of a rage. “Goddamn!” he kept saying, alternatingly with none-too-fond mentions of Axton’s name, until finally he was able to settle into his own remarks.

It should be said that, in his later years, Phillips expressed himself more equably about Axton’s — and Nashville’s — contribution to Elvis’ canon and his legend, even as Presley’s (and Phillips’) preeminent biographer, Peter Guralnick, who recently concluded 12 years as writer-in-residence at Vanderbilt, acknowledges that his focus on the Sun sides in his classic, oft-reprinted article on Elvis in the 1976 edition of The Rolling Stone Illustrated History of Rock & Roll had evolved into an enhanced appreciation of the King’s later recordings in Nashville — notably in the post-Army years of 1960 to 1962. Those sides, like many others recorded by Elvis at Chips Moman’s American Studio, are collected in the box set From Nashville to Memphis: the Essential ‘60s Masters.

Sibling rivalries notwithstanding, the two musically notable Tennessee cities each have a just claim to the legacy of Elvis Presley, and each is entitled to trumpet the fact during this week of commemorating the King in the 40th anniversary year of his passing.

But we all know where Graceland is, now, don’t we? And the newest box set of Elvis’ music, A Boy from Tupelo: the Complete 1953-1955 Recordings, reviewed in this issue by Alex Greene, is what you might call the Ur-Elvis. And it’s on our end of the road.



          Kinetic Exhibit | Patterns, Dreams & Withdrawal        


NEW VIDEO FROM MY FIRST GALLERY APPEARANCE! -- Kinetic Exhibit | Patterns, Dreams & Withdrawal
          Amon Carter Museum of American Art Announces 2017 Exhibition Schedule         
Release date: 
January 9, 2017

FEATURED EXHIBITIONS

Invented Worlds of Valton Tyler
February 11–April 30, 2017

For more than 40 years, Texas artist Valton Tyler (b. 1944) has depicted unparalleled worlds from his imagination. His captivating artworks feature unique interplays of identifiable, organic, mechanistic and surreal shapes, which often rise from mountain, desert or arctic landscapes. One of the only etching series he ever created, along with graphite drawings and large-scale paintings, are brought together for the first time in this rare exhibition of a local talent whose work defies artistic categorization.

The Polaroid Project: At the Intersection of Art and Technology
June 3–September 3, 2017

The Polaroid Project surveys the history of the innovative photographic company Polaroid and its intersection with art, science and technology during the second-half of the 20th century. Featuring a wide-ranging group of artists, the exhibition showcases the diversity of works produced over several decades. Organized by the Foundation for the Exhibition of Photography, The Polaroid Project displays a variety of image sizes and formats produced over the years and the rich legacy of technological and artistic experimentation that the company enabled prior to its obsolescence.

Wild Spaces, Open Seasons: Hunting and Fishing in American Art
October 7, 2017–January 7, 2018

Wild Spaces, Open Seasons: Hunting and Fishing in American Art is the first major exhibition to explore the multifaceted meanings of such outdoor subjects in both painting and sculpture from the early 19th century to World War II. These aesthetically rich and culturally important works play an influential role in the history of American art.

American artists’ fascination with depicting hunting and fishing was often informed by their own experiences as practitioners and was more than merely a way of commemorating outdoor traditions. Approximately 60 paintings and sculptures—some of the finest examples of American art—illuminate changing ideas about place, national identity, community, wildlife and the environment, offering compelling insights into socioeconomic issues and cultural concerns. Capturing a communion with nature that was becoming increasingly scarce, many artists alluded to the country’s burgeoning industrialization and urbanization.

The exhibition has been organized by the Amon Carter Museum of American Art, Joslyn Art Museum, Dixon Gallery and Gardens, and the Shelburne Museum.

ALSO ON VIEW

Between the Lines: Gego as Printmaker
February 11–August 6, 2017

From zigzags and curves to diagonals and scribbles, this small exhibition of prints by abstract artist Gego (1912–1994) celebrates the vibrant diversity of line. While primarily known as a kinetic sculptor, Gego explored the printing process’s potential for creating intricate linear patterns while working at the Tamarind Lithography Workshop in Los Angeles in 1966.

Drawn from the Amon Carter’s collection, these richly saturated lithographs reflect Gego’s interest in the intersection between line and space. Her choice of dramatic blacks and reds, contrasted with the lightly colored paper sheet, highlights the images generated by negative space, or what Gego called, “the nothing between the lines.”

Avedon in Texas: Selections from In the American West
February 25–July 2, 2017

When renowned New York City fashion and portrait photographer Richard Avedon (1923–2004) agreed in late 1978 to take on a commission from the Amon Carter to create a portrait of the American West through its people, he was filled with uncertainty about whether the project would succeed. The following spring he went to the Rattlesnake Round-Up in Sweetwater, Texas. That weekend he created six evocative portraits that would set the tone and bar for five more years of photographing. In these sittings, he discovered people who conveyed through their faces, clothes and postures, not merely hard living but the full embrace of existence. This selection of 17 of the project’s Texas images makes abundantly clear why In the American West has become a touchstone in photographic history.

Homer and Remington in Black and White
March 4–July 2, 2017

Winslow Homer (1836–1910) and Frederic Remington (1861–1909) were among the most accomplished American artists of their day. While they both personally measured the success of their careers by the recognition they received from critics and patrons for their oil paintings, they likely would never have obtained the status of American greats without their mutual involvement in the world of illustration. Wide distribution in the leading periodicals of the day assured that they became household names. Both artists learned how to communicate clearly and concisely in black and white, distilling the essence of a scene into a few sharp elements. This exhibition features works from the Amon Carter’s permanent collection that represent the variety of their creations in black and white.

Fluid Expressions: The Prints of Helen Frankenthaler
March 18–September 10, 2017

Although widely known for her iconic “soak-stain” canvases, Helen Frankenthaler (1928–2011) was an equally inventive printmaker who took risks in a medium not frequently explored by abstract expressionists. Fluid Expressions: The Prints of Helen Frankenthaler highlights the artist’s often-overlooked, yet highly original and whimsical print production.

Drawn from the collections of Jordan D. Schnitzer and his Family Foundation, this exhibition includes more than 25 prints made from a diverse range of techniques, including lithographs, etchings, aquatints, screen prints and woodcuts.

Darryl Lauster: Trace
March 25, 2017–March 25, 2018

For his sculptural installation Trace, Texas-based artist Darryl Lauster (b. 1969) created 10 fragmentary Carrara marble tablets and carved phrases in them using a font reminiscent of monuments. The blocks of stone seemingly speak essential truths—such as language from American founding documents, various militia and splinter group manifestos, and parts of the inscription on the Statue of Liberty—uniting fundamental phrases intended for entirely different purposes and obscuring their original meanings. Because the stones appear to be broken pieces of a full inscription, any overarching meaning is difficult to discern, much as many of the texts in their entirety are subject to differing interpretations. Trace asks us to wonder whether what we are reading is from a separatist group, Darwin, or the Bill of Rights. His work engages with contemporary society while using historical language.

Nature/Culture
July 15–December 10, 2017

We often think of nature as that which stands beyond humanity and culture as that which reflects people’s achievements. But rarely is the matter so simple. This exhibition explores different facets of the dichotomy. Besides reflecting on how nature counterpoints and enlivens our built environment, the show recognizes the more problematic use of the term, and its cousin “natural,” when applied to snapshots, portraits and Native American cultures.

Dornith Doherty: Archiving Eden
August 12, 2017–January 14, 2018

Over the last nine years, North Texas photographer Dornith Doherty has traveled the globe to construct a visual meditation on the planet’s botanical diversity by showcasing the work of international seed banks and sharing the pure aesthetic pleasure of seeds and their transformations into plants. This exhibition celebrates the completion of that project. At a time when some ecologists are suggesting that we are losing more than 10 animal and plant species each day, the display provides eloquent confirmation of the close relationship between botany and biophilia.

Caught on Paper
September 23, 2017–February 11, 2018

From giving something your “best shot” to feeling like a “fish out of water,” metaphors and imagery from the sport of hunting and fishing permeate American culture. Inspired by the coinciding exhibition of painting and sculpture Wild Spaces Open Seasons: Hunting and Fishing in American Art, this selection of works on paper explores the popular outdoor subjects that have captivated American artists for centuries.

Caught on Paper brings together more than 30 works on paper from the Amon Carter’s permanent collection. With watercolors and prints by artists such as Winslow Homer, Buffalo Meat, Frederic Remington, Charles M. Russell and Arthur Fitzwilliam Tait, this show is truly a rare catch.

End


          Fourteen Hills/John Somerville/Bonnie ZoBell/ Short Story Review        
Nominating Editor: Amy Glasenapp

Fourteen Hills is a journal with a perpetually evolving aesthetic. Work published in its pages is not too pretty and never convenient; in fact it is jarring, evocative, and unpredictable, like the world in which we live.

"Headland" is the story of a man subdued, drawn away all too easily from his life by the spellbinding rhythm of the sea. He is an outsider watching his family slowly disappear. He himself is a shadowy figure passing in and out of rooms, his desperate family representing nothing more than a vague obligation. Their pull will never be as strong as the current’s. Reminiscent of The Stranger with its themes of isolation and apathy, "Headland" zooms in on a man meeting his downfall as he wanders a kinetic ocean landscape.

Nominated Short Story: "Headland" - John Somerville


Reviewed: by Bonnie ZoBell


The lush prose in John Somerville's "Headland" is enough to make a language lover's heart sing. The plot is a good one, complex and engaging, but what makes this story are the words that deliver the beauty of human existence, as well as the pain.

The narrator's wife is leaving him, we learn in the first sentence. But that's only an outward manifestation of something far more serious going on deep within Somerville's main character. He's worn out. If it weren't for the descriptions and personifications of setting, we might never know what is going on inside this man. He's not very good at saying. There are a few lighter moments: "When I walked down into the waves the water crowded around my feet like excited animals, burrowing my toes into the sand then running away." But not many. "At intervals along the beach beds of rocks clung to the shore desperately, like creatures that had dragged themselves from the ocean and were clinging there, exhausted and beaten."

This trip starts as a vacation with the man and his wife and two children, but the narrator admits to himself early on he can't go back. "On long walks I tried to reach an end, somewhere where I had to stop, walking on into the mist or the blinding sunshine. But around each corner or headland the ocean seemed to lead me on with a promise, only presenting me with more emptiness and the long walk back."

The wife is patient at first, flicking a fly off herself here and there, first one annoyance and then another. She keeps asking, "When, then?" It is she who seems always to be in the light—under bulbs in the house, sitting in the sun—while her husband tends to gravitate towards the black sea. Hordes of flies and gnats soon press into the screens to get at the light, what's left of the wife's hopes and dreams, until she is finally so exhausted about what is going on with her husband that she's unable to fight them anymore.

The wife wants more from him, a lot more. She has trouble accepting that it's not a question of when he will go back to the town with her, but that he's already gone. She wants her husband to participate more physically in family life. Why doesn't he build sand castles with their sons? He tries but can't follow through when they build a long trench and their castles begin to sink like lost worlds. The wife wants her husband to bring physical tokens back from his long walks alone. He brings back a puffer fish, which his sons promptly impale on a stick.

Finally the wife can't stand it anymore and starts "killing the insects . . . swinging and swatting . . . as if she’d gone mad," swatting at her own hopes and dreams until finally he gives her some unsatisfying particulars of their life he's tired of. She takes the sons and leaves him in the deserted encampment.

The husband turns even more inward. A horrible incident involving a young woman happens one night on the beach that forces the man to have to try to physically get out of himself and help. We watch the aftermath. We are strangely more concerned about what will happen to him after the incident than we are the young woman.

Finally he does make a decision of sorts, as the story works to a startling ending.

Thank goodness there are still writers in the world like John Somerville for whom the act of writing isn't about strip-mining language of its words, for whom a well-placed adjective or adverb is still a thing of beauty that can live alongside the stark reality of minimalism. Thank goodness there are still stories like this where a man can bare his soul, exploring with language, and go all the way to the end of where it takes him.


Reviewer's Bio:


Bonnie ZoBell has received an NEA Creative Writing Fellowship, a PEN Syndicated Fiction Award, and the Capricorn Novel Award. Recently included on Wigleaf's 2009 Top 50 list for very short fiction, she has work included or forthcoming in The Los Angeles Review, Night Train, Storyglossia, American Fiction, The Greensboro Review, dcomP, Rumble, and LITSNACK. She received an MFA from Columbia, teaches at San Diego Mesa College, and can be reached at www.bonniezobell.com.


Thanks for visiting Five Star Literary Stories and reading about this short story.
          'DETROIT' CLOSE TO '60s-ERA GUERILLA-THEATER        

DAILY HERALD CRITIC COMPARES CENTERPIECE OF BIGELOW'S FILM TO THAT OF DE PALMA'S 'HI, MOM!'
The Daily Herald's Robert Horton mentions Brian De Palma's Hi, Mom! in his insightful review of Kathryn Bigelow's Detroit:
Kathryn Bigelow is the only woman to win the Best Director Oscar (for “The Hurt Locker”), and her reputation is largely associated with the formidable kinetic skills she brings to action pictures such as “Strange Days” and “Point Break.”

What’s less known about Bigelow is that she came of age in the conceptual-art scene in New York in the 1970s, and that her master of fine arts thesis film for Columbia University consisted of two men pummeling each other while a professorial observer spouted French theory about the nature of violence.

In short, Bigelow brings a lot to the table. This is truer than ever in “Detroit,” a hot-button horror show that returns Bigelow to her roots in a way that is both fascinating and difficult to watch.

The film begins in patchwork fashion: Detroit racial tension escalates in July 1967. For its first 20 minutes, the movie is a mosaic, complete with archival footage of President Lyndon Johnson and Michigan Gov. George Romney.

In a slow, sneaky way — I can’t think of many movies that have edged toward disaster quite this sinuously — a musical interlude (singers denied their moment on stage when the theater is evacuated because of the violence outside) gradually lead us into what turns out to be the main subject of the film. Lead singer Larry (a remarkable performance by Algee Smith) and buddy Fred (Jacob Latimore) escape the dangerous streets by checking in at the Algiers Motel.

Before long, they’re swept up in police action, as a group of young black men and two white women are beaten and threatened by white policemen. This nerve-shredding situation (based on fact) occupies the long center section of the film.

Detroit” is written by reporter Mark Boal, who also scripted Bigelow’s “Zero Dark Thirty” and “The Hurt Locker.” Part of the goal here is journalistic, an observational look at how racial violence explodes — one never doubts that the movie is being made now because of the Black Lives Matter movement and the violence that birthed it. But it seems to me that what Bigelow does with the premise dates back to her conceptual-art days.

The shakedown sequence in “Detroit” goes on so long and contains so much excruciating punishment that it turns into something close to ’60s-era guerrilla-theater, where an unsuspecting audience is put through the wringer. (Brian De Palma used this technique, while simultaneously satirizing it, in his 1970 film “Hi Mom!”)

The sequence is too much, a depiction of cruelty that becomes almost sadistic itself. It’s almost nauseating at times. But Bigelow is trying to get us to feel something — what it’s like to be terrorized by the forces that are supposed to be protecting us, for one thing — and she will violate our assumptions about movie-watching in order to do it.

Bigelow and Boal have brilliantly created a bitter pill. We want oppressed characters to fight back and triumph, and there’s no triumph here. There is only one, strangely magical interlude, when Larry and Fred get loose from the terror for a moment — but just for a moment.


          Project Nightmare        
Project Nightmare
author: Robert A. Heinlein
name: Jeff
average rating: 3.36
book published: 1953
rating: 3
read at: 2017/03/31
date added: 2017/03/31
shelves: audio-collection, read-in-2009, read-in-2004, read-in-2011, read-in-2014, read-in-2017
review:
This is a charming little story wherein immediately after discovering telekinetics in the world, they're used to avoid nuclear bombs being exploded in the United States. It's a typical Heinlein short story, but with surprisingly little re-readability.

          Thermal physics and thermal analysis: from macro to micro, highlighting thermodynamics, kinetics and nanomaterials        
none
          Descartes & Mme La Marquise du Chatelet And The Elastic Collision of Two Bodies        
Descartes & Mme La Marquise du Chatelet And The Elastic Collision of Two Bodies

                                                             ABSTRACT

The Marquise
du Chatelet in her book " Les Institutions Physiques" published in 1740, stated on page 36, that Descartes, when formulating his laws of motion in an elastic collision of two bodies B & C (B being more massive than C) having the same speed v, said that the smaller one C will reverse its course while the more massive body B will continue its course in the same direction as before and both will have again the same speed v.

Mme du Chatelet, basing her judgment on theoretical considerations using the principle of continuity , declared that Descartes was wrong in his statement. For Mme du Chatelet the larger mass B should reverse its course and move in the opposite direction. She mentioned nothing about both bodies B & C as having the same velocity after collision as Descartes did.

At the time of Descartes, some 300 years ago, the concept of kinetic energy & momentum as we know today was not yet well defined, let alone considered in any physical problem.

Actually both Descartes & Mme du Chatelet may have been right in some special cases but not in general as the discussion that follows  will show.


           Kinetic stabilization of N,N-dimethyl-2-propyn-1-amine N-oxide by encapsulation         
Galán, Albano and Gil-Ramírez, Guzmán and Ballester, Pablo (2013) Kinetic stabilization of N,N-dimethyl-2-propyn-1-amine N-oxide by encapsulation. Organic Letters, 15 (19). pp. 4976-4979. ISSN 1523-7060
           Kinetic pathways of sphere-to-cylinder transition in diblock copolymer melt under electric field         
Ly, D. Q. and Pinna, Marco and Honda, T. and Kawakatsu, T. and Zvelindovsky, Andrei (2013) Kinetic pathways of sphere-to-cylinder transition in diblock copolymer melt under electric field. Journal of Chemical Physics, 138 (7). ISSN 0021-9606
           Probing the pharmacokinetics of cucurbit[7, 8 and 10]uril: and a dinuclear ruthenium antimicrobial complex encapsulated in cucurbit[10]uril         
Li, Fangfei, Gorle, Anil K., Ranson, Marie, Vine, Kara L., Kinobe, Robert, Feterl, Marshall, Warner, Jeffrey M., Keene, F. Richard, Collins, J. Grant, and Day, Anthony I. (2017) Probing the pharmacokinetics of cucurbit[7, 8 and 10]uril: and a dinuclear ruthenium antimicrobial complex encapsulated in cucurbit[10]uril. Organic and Biomolecular Chemistry, 15 (19). pp. 4172-4179.
           Kinetic and equilibria studies of the aquation of the trinuclear platinum phase II anticancer agent [{trans-PtCl(NH3)2}2{μ-trans-Pt(NH3)2(NH2(CH2)6NH2)2}]4+ (BBR3464)         
Daviees, Murray S., Thomas, Donald S., Hegmans, Alexander, Berners-Price, Susan J., and Farrell, Nicholas (2002) Kinetic and equilibria studies of the aquation of the trinuclear platinum phase II anticancer agent [{trans-PtCl(NH3)2}2{μ-trans-Pt(NH3)2(NH2(CH2)6NH2)2}]4+ (BBR3464). Inorganic Chemistry, 41 (5). pp. 1101-1109.
           Long range 1,4 and 1,6-interstrand cross-links formed by a trinuclear platinum complex. Minor groove preassociation affects kinetics and mechanism of cross-link formation as well as adduct structure         
Hegmans, Alexander, Berners-Price, Susan J., Davies, Murray S., Thomas, Donald S., Humphreys, Anthony S., and Farrell, Nicholas (2004) Long range 1,4 and 1,6-interstrand cross-links formed by a trinuclear platinum complex. Minor groove preassociation affects kinetics and mechanism of cross-link formation as well as adduct structure. Journal of the American Chemical Society, 126 (7). pp. 2166-2180.
           A microdose study of 14C-AR-709 in healthy men: pharmacokinetics, absolute bioavailability and concentrations in key compartments of the lung         
Lappin, G. and Boyce, M. J. and Matzow, T. and Lociuro, S. and Seymour, M. and Warrington, S. J. (2013) A microdose study of 14C-AR-709 in healthy men: pharmacokinetics, absolute bioavailability and concentrations in key compartments of the lung. European Journal of Clinical Pharmacology, 69 (9). pp. 1673-1682. ISSN 0031-6970
           Determining the kinetics of paper degradation in low oxygen atmospheres         
Pass, Ami and Colston, Belinda and Knight, Barry (2013) Determining the kinetics of paper degradation in low oxygen atmospheres. In: Eastern Analytical Symposium and Exposition, 18-20 November 2013, New Jersey, USA.
          Systems in Action Exploration        
Inquire what the following terms mean: Textbook chapters: chapter 4 chapter 5 chapter 6 Machine (examples of everyday machines) Mechanical systems (examples) Input Output Friction Gravity Forces Mechanical advantage Efficiency Work Productivity Energy Kinetic energy Potential energy
           The kinetic body: foot, memory and dispositions of the body in performance         
Madhavan, Arya and Nair, Sreenath (2013) The kinetic body: foot, memory and dispositions of the body in performance. In: Body and performance. Ways of being a body . Triarchy Press, Devon. ISBN 9781909470163
          Museums and Art in Public Spaces (2 of 3)        
And so, our visit to the Ayala Museum was a rich experience of Philippine art, culture and history. The affordable fees allowed me and my daughter to view permanent exhibits with new additions in multi-media format and current ones that are relevant and accessible to visitors of all ages. An ongoing exhibit is Revolutionary, showcasing the talents and masterpieces of Julio Nakpil and Nick Joaquin. Don't miss it if you are in the neighborhood. Entrance is free for this exhibit in the Ayala Museum.

And now, we go to Quezon City.

Our visit to the Ateneo Art Gallety was accidental. We went to the Rizal Library in the Ateneo de Manila University campus (ADMU) for a different reason all together. Our walk to Gonzaga Hall at lunch time led us to the Gallery. That day, Manga Hokusai was on display! Zoe reads manga and watches anime. How can we resist this opportunity? 


Katsushika Hokusai created manga using block prints and the pages were stitched together by hand. His prints of the wave over Mt. Fuji is already an iconic image not only in Japanese manga but also in pop culture. Known as The Great Wave, it is a piece of work that is both magnetic and kinetic. The wave has a character of its own, like a water monster with claws ready to seize anyone and anything on its path. 

Before leaving ADMU, Zoe and I took pictures of the installation art in the campus. She particularly liked the cluster of bamboo poles. It looked perfect for a game of hide and seek. I liked the animal sculptures and the bench in between them. It seemed to invite me to sit down, to play with my imagination and to wonder. But, I didn't. 

Looking back, I think that is the whole point of the art works. I have been to the ADMU campus many times and I always get that feeling of youthful abandon each time I see these art pieces. Pause. Sit down. Breathe. Imagine. Wonder. Live.

Plet Bolipata Borlongan, thank you!

When I visit the ADMU campus again, I will take the artist's invitation to simply be. 

          Stranger Things Review         

I didn’t expect to see this, as I don’t usually watch a lot of Netflix originals, but my wife decided to spend a full day binging this show. I didn’t hear anything about it until it started playing and realized that a lot of people online were talking about it. No one in my circle was, and I follow sites like Fangoria. Whatever the case was, this show pulled me in through the premise, and didn’t let go until the end credits of the final episode came through.

The premise of “Stranger Things” is simple. A 12 year old boy goes missing from an Indiana town. The boy’s name is Will and his mother, and friends go on a quest to find him. Along the way, the friends meet up with a young girl that has been the victim of science experiments in the facilities nearby. On the other hand, no one believes Will’s mother who swears the boy is alive. Along the way a skeptical sheriff fights back, the FBI comes through, and a nod to all things 1980s Hollywood and horror comes flying at you right away.

How much do you love horror? “Stranger Things” tests you in everything that you know about horror, meanwhile creating a new lavish scenario that is quite good. Every episode ties together so well, and the visual design flow from the credits through the actual events and story, remind you of something else. It’s a homage at times, it’s a rip off to others, it’s fascinating honestly. There are moments where you swear you’re trapped in an alternate universe where “Stand By Me” meets “Needful Things” and gets tossed around in “Alien” and “The Thing”. If you aren’t a horror fan, you will miss all of these things. There’s so much paid tribute to through the episodes that it’s almost as if the show is a love letter to horror movie fans that have been jaded by so many trivial releases.

“Stranger Things” puts on a showcase of creativity at every turn. The story of a young boy’s death or kidnapping is pushed through every emotional query. A science fiction element similar to “Creature” by John Saul is pushed forward too. There’s so much going on here, that you’ll be swimming in a sea of references that you either get, or you just don’t understand. Alone, this is a seriously good thriller and horror movie. However, the sum of its parts makes you feel that you’re reading a Robin Cook novel, let alone a television program that was made outside of the television landscape.

At the end of the day, “Stranger Things” puts you in the 1980s horror movie world. With a telekinetic girl, a group of friends coming of age, aliens, monsters, and even a little bit of “Signs” for good measure. I didn’t love ever single moment of this series. However, I loved enough of the parts to say that this is one hell of a show, and definitely worth your month’s subscription to Netflix. Color me impressed. Color me interested in seeing more. A stellar showcase, and yet, it feels all so familiar somehow.
          Does the sub-atomic world provide a proof for creation?        


Out of the three famous papers that Albert Einstein published in 1905, On a Heuristic Point of View Concerning the Production and Transformation of Light explicitly stated the quantum hypothesis for electromagnetic radiation, and On the Movement of Small Particles Suspended in Stationary Liquids Required by the Molecular-Kinetic Theory of Heat developed the theory that led to the establishment of the sub-atomic nature of matter.

Following the classical Newtonian physics and under the spell of developments in science, physicists of the 19th century claimed that they could explain every phenomenon in the universe. E. Dubois Reymond, at a meeting held in memory of Leibniz in the Prussian Academy in 1880 was a bit humbler: ‘There have remained seven enigmas in the universe, three of which we are unable to solve yet: The essential nature of matter and force, the essence and origin of movement and the nature of consciousness. The three of the rest that we can solve although with great difficulties are: The origin of life, the order in the universe and the apparent purpose for it and the origin of thought and language. As for the seventh, we can say nothing about it. It is the individual free will’ (quoted in A. Adivar, Ilim ve Din (‘Science and Religion’), Istanbul 1980, p.282).

The sub-atomic world threw all scientists into confusion. This world and the ‘quantum cosmology’ which it introduces, rather than being a heap or assemblage of concrete things, is made up of five elements: the mass of the electron in the field where an action occurs (M), the mass of the proton (m), the electrical charge which these two elements carry, the energy quanta (h)—the amount of the energy remaining during the occurrence of the action—and the unchanging speed of light (c). These five elements or the universe can even be reduced to action or energy waves traveling through space in tiny packets or quanta. Since the quanta required for an action are special to it and exist independently of the quanta required for the previous action, it becomes impossible to predict the exact state of the universe. If the universe is in t1 state now, it cannot be predicted that it will be the same in t2 state. Paul Renteln, assistant professor of physics at California State University, writes (American Scientist, Nov.-Dec., 1991, p.508):

Modern physicists live in two different worlds. In one world we can predict the future position and momentum of a particle if we know its present position and momentum. This is the world of classical physics, including the physics described by Einstein’s theory of gravity, the general theory of relativity. In the second world it is impossible to predict the exact position and momentum of a particle. This is the probabilistic, subatomic world of quantum mechanics. General relativity and quantum mechanics are the two great pillars that form the foundation of 20th-century physics, and yet their precepts assume two different kinds of universe.

The real nature of this sub-atomic world and the events taking place in it make it impossible to construct a theory to describe them, because they cannot be observed. One reason for their unobservability is that, as Renteln writes in an attempt to propose a theory which he calls quantum gravity to reconcile the two different worlds of classical and quantum physics, ‘the events take place at a scale far smaller than any realm yet explored by experimental physics. It is only when particles approach to within about 10-35 meter that their gravitational interactions have to be described in the same quantum-mechanical terms that we adopt to understand the other forces of nature. This distance is 1024 times smaller than the diameter of an atom—which means that the characteristic scale of quantum gravity bears the same relation to the size of an atom as an atom bears to the size of the solar system. To probe such small distances would require a particle accelerator 1015 times more powerful than the proposed Superconducting Supercollider.’

At the outset of this century, electrons surrounding the nucleus of an atom were thought to orbit the nucleus like planets in a miniature solar system. However, later researches modified that view. The electron is now understood to be more of an energy field cloud fluctuating around a nucleus.

The nucleus itself seemed to be composed of two smaller constituents—protons and neutrons. However, in the 1960s, physicists Murray Gell-Mann and George Zweig confirmed by experiments that protons and neutrons were made up of even more elementary particles, which Gell-Mann called ‘quarks’. Quarks cannot be seen, not just because they are too small but also because they do not seem to be quite ‘all there’.

Quarks are better described as swirls of dynamic energy, which means that solid matter is not, at its fundamental level, solid at all. Anything you hold in your hand and which seems solid, is really a quivering, shimmering, lacy lattice of energy, pulsating millions of times every second as billions of fundamental particles gyrate and spin in an eternal dance. At its most fundamental level, everything is energy held together by forces of incredible power.

This is not all that makes us unable to predict even the nearest future of the universe. According to Werner Heisenberg’s theories, at just the time when we can know either where a particle is or how fast it is traveling, we cannot know both. This is because the very act of measuring the particle alters its behavior. Measuring the particle’s speed changes its position, and measuring its position changes its speed.

However, the unpredictability in the sub-atomic world does not change anything in our everyday, predictable world. Everything works according to the basic laws of classical Newtonian physics. (Groping in the Light, 1990, pp. 11-17).

Why is this so and how should our view of the world and events be?

Scientists who believe in the existence of God and His creation of the universe suggest that creation was not a single event. That is, God did not create the universe as a single act and then leave it to operate according to the laws He established. Rather, creation is a continuous act (creatio continua). In other words, roughly like the movement of energy or electricity and its illuminating our world by means of bulbs, existence continuously comes from God and returns to and perishes in Him. Through the manifestation of all His Names, God continuously creates, annihilates and re-creates the universe. Some medieval Muslim scholarly saints such as Muhy al-Din ibn al-’Arabi and Mawlana Jalal al-Din al-Rumi called these pairs of acts as the continuous cycle of coming into existence and dying. Because of the incredible speed of this movement, the universe appears to be uniform and continuous. Rumi likens this to the fast spinning of a staff on one end of which there is fixed a light. When spun at speed, the light on the end of the staff appears as if a circle of light.

Unable to explain the extreme complexity of existence and the events taking place, some scientists assert that everything is in chaos and attribute the formation of universe as it is to mere chance. According to them, other universes could have formed, they simply did not, and there is no reason that the universe is the way it is. Given that it is impossible for even three or more unconscious things moving at random to come together by themselves to form even the simplest entity, it is highly questionable whether a rational person can accept that the wonderful order prevailing in the universe according to which we can direct our lives can be explained without attributing it to a supernatural intellect. A. Cressy Morrison writes (Man Does Not Stand Alone, New York, pp.98-9.):

The proverbial penny may turn up heads ten times running and the chance of an eleventh is not expected but is still one in two, but the chance of a run of ten heads is very small. Suppose you have a bag containing one hundred marbles, ninety-nine black and one white. Shake the bag and let out one. The chance that the first marble out is the white one is exactly one in one hundred. Now put the marbles back and start over again. The chance of the white coming out is still one in a hundred, but the chance of the white coming out first twice in succession is one in ten thousand.

Now try a third time, and the chance of the white coming out three times in succession is one hundred times ten thousand or one in a billion. Try another time or two and the figures become astronomical.

The results of chance are as closely bound by law as the fact that two and two make four.

All the nearly exact requirements of life could not be brought about on one planet at one time by chance. The size of the earth, the distance from the sun, the thickness of the earth’s crust, the quantity of water, the amount of carbon dioxide, the volume of nitrogen, the emergence of man and his survival—all point to order out of chaos, to design and purpose, and to the fact that, according to the inexorable laws of mathematics, all these could not occur by chance simultaneously on one planet once in a billion times. It could so occur, but it did not so occur.

Attributing the impossible to chance is a trick of the human mind, its stubborn resistance, which confuses a theoretical possibility with the actual facts. For example, it is possible that the Pacific Ocean has now changed into milk, but actually it has not.

As it is impossible to construct a building on a flowing stream, God Almighty spread over the unpredictability of the sub-atomic world the veil of the speed of its movement and made the universe dependent on what we call laws. It is for this reason that everything in the outer face of nature works according to the basic laws of classical Newtonian physics. However, it is a matter of controversy between the two schools of Ahl al-Sunna wa l-Jama’a whether the universe has a continuous existence working according to established laws and things accordingly have perpetual properties or God continuously creates the universe and orders each component of it what to do at every moment. The followers of the Maturidi School assert that God created the universe and set it to operate according to certain laws which He established, giving each thing certain properties. For example, fire burns because God gave it the quality of burning. Whereas, the followers of the Ash’ari School maintain that the universe does not have a perpetual, established existence and reality. Nor do things have essential qualities of themselves. God creates the universe anew each ‘moment’ and directs it continuously by ordering each thing to do what it must do. For example, fire does not essentially have the quality of burning, rather, God gives it the order to burn and it burns. Since according to the dictates of life in the universe, He usually orders it to burn, we think that fire essentially has the quality of burning.

As we accept the ‘relative’ truth of both Newtonian and quantum physics at the same time, we can also accept the truth of the views of both schools. As a matter of belief and as life at the most fundamental level of existence as in the sub-atomic world points out, God is continuously active, creating the universe anew and directly administering it. While at practical level, life will be impossible for us if we do not accept or assume the uniform continuity or stability of existence. What would life be if we were conscious that the sun would not rise tomorrow morning or that we might not live a second longer, although it is theoretically conceivable both that the sun might not rise tomorrow and that we might not survive a second longer?


          WSH&E Executive - Singapore Technologies Kinetics Ltd - Singapore        
Competencies in Work-At-Height Assessor/ Manager, Lifting Supervisor, Fire Safety Manager, Confined Space Assessor, Noise Monitoring and other WSH related...
From ST Engineering - Wed, 26 Jul 2017 12:20:34 GMT - View all Singapore jobs
          Sparkles and Wine - Opale        

OPALE "L'incandescent" 2013

NOTE: music video has been created entirely without the assistance of any kind of animation software or 3D technique. What you see has been generated on real time thanks to the lighting system and the kinetic optical feedback, and then mixed together.

Music Video Directed and Produced by http://www.nachoguzman.net
Cinematography and Co-Producer http://www.pataleta.es
Band Website - http://soundcloud.com/opaleopale http://facebook.com/opalopaleopale

Talent stellastocker.com

MakeUp - https://www.facebook.com/SariannaSormunenMakeUpArtist

Director - Nacho Guzman
Cinematographer - Clara Muñoz
Assistant Director - Olly Johnson
Focus Puller - Sacha GVL
Art Director - Rocìo Ortiz
Creative Department - Melina Curi

Music by Opale - 2013
"Sparkles and Wine" FROM "L'incandescent".
Release Date: May 25, 2013.
https://soundcloud.com/opaleopale/sets/incandescent

Vinyl LP Limited to 300 copies : http://stellarkinematics.tictail.com/product/opale-lincandescent

Digital Edition available on Bandcamp:
http://stellarkinematics.bandcamp.com/album/lincandescent

Produced by Stellar Kinematics and Heia Sun
http://www.stellarkinematics.com/
http://heiasun.com/

Thanks to Clouzot and my fantastic team for inspire me.
follow me on Twitter http://twitter.com/NachoGuzman84

Special Thanks to Angel Esteban, for introduce us to a new world of magic, please check his website
http://www.kottomfilms.com/

Cast: Nacho Guzman, Pataleta Films, Melina Curi, Sacha Glastra van Loon and Oliver Johnson

Tags: sparkles, wine, nacho, guzman, pataleta, clara, muñoz, ibiza, clouzot, kinetic, optical, feedback, l'enfer, opale, stellar, cinematics, incandescent, dark, electronic and music


          THE GAP by Ira Glass        

I think it was in the time of spring 2012, when I came across David Shiyang Liu's lovely piece of work about Ira Glass. It was the most inspiring and motivating video I had ever seen in my life. I watched it over and over again, listened to Ira Glass' voice, and told myself, that I am not the only person who is constantly disappointed about the gap between one's taste and one's skills. Later in 2012, I decided to do my own filmed version of Ira's interview - using my own language to tell his message. It took me about a year from concept to upload.

I made it for myself and for anybody who is in doubt about his/her creative career. I also think that Ira Glass' message isn't only limited to the creative industry. It can be applied to everyone who starts out in a new environment and is willing to improve.

THANK YOU
Ira Glass, whom I've never met in real life, but who had such a big influence on my development. Thank you for telling beginners what nobody else does.

David Shiyang Liu for the video that inspired me to start the project. You all should watch his awesome kineticTypo-version here: vimeo.com/24715531

The people from current.tv who originally recorded the interview with Ira Glass. See the relevant part here: youtube.com/watch?v=BI23U7U2aUY

The people from Magic Lantern who gave DSLR videography a new dimension (I chose this project to be a test run with the RAW plugin)!

Steven Sasseville for painting the "taste" painting for me.
Pedro Sousa for his advice and working his ass off at the "creative work" chalkboard.
Wolfgang Kraus for letting me borrow his sound equipment.
Kai Löhnert for working out on his birthday in the "fight" take.
Wolfgang Hendrik Schnabel for giving me the museum-like atmosphere and his silhouette in the painting takes.
Hermiyas Ötztürk for his hairy "good enough" hand.
Orange Hive Studio for light equipment and location.
Mima and Heinz Sax-Schmitz for the location of the "ambitions" take and finding me the "finish 1 story" typewriter.

Joyce Chen (vimeo.com/clownmori), Soufiane Mabrouki (vimeo.com/user21466567), Damien Tsenkoff (behance.net/damtsnkff), Nikita Samutin (baselinedesign.ru) and Andrej Mikula (amara.org/en/profiles/profile/65015/) for taking the time and patience to create Chinese, Arabic, French, Russian and Slovak subtitles and dissolving language barriers to make even more people understand Ira's words.

A SPECIAL THANK YOU
Solveig Gold for being the most patient and supporting person in my life. She appears in a lot of scenes in this video.
Jutta and Uwe Sax for several pieces of equipment and their support.

Cast: Daniel Sax

Tags: Ira Glass, Creativity, Storytelling, doubt, process, taste, beginners, creative work, the gap, gap, people, disappointment, quit, years, special and personal


          First Official Photos of Josh Brolin as Cable in Deadpool 2        
With production on Deadpool 2 currently underway in Vancouver this summer, Ryan Reynolds has been slowly starting to tease some hints of the upcoming sequel via his Twitter account. Last week he revealed the first photo of Zazie Beetz as the telekinetic mutant Domino and now this week he has unveiled a first look at […]
           Transformation kinetics of framboidal vaterite aggregates into calcite         
Conference -Talk Nehrke, G. , Van Cappellen, P. and van der Weijden, C. H. (2005) Transformation kinetics of framboidal vaterite aggregates into calcite , 16th American Conference on Crystal Growth, 10-15 July, Big Sky, Montana. . hdl:10013/epic.24315
           Calcite growth kinetics: Modeling the effect of solution stoichiometry         
Article Wolthers, M. , Nehrke, G. , Gustafsson, J. P. and Van Cappellen, P. (2012) Calcite growth kinetics: Modeling the effect of solution stoichiometry , Geochimica et Cosmochimica Acta, (77), pp. 121-134 . doi:10.1016/j.gca.2011.11.003 , hdl:10013/epic.38548
          Is there such a thing as a "girls' throw"?        
Does exercise lead to a more muscular heart? Why can an unfit cyclist cycle faster than an olympic runner runs? How do kinetic watches work? We answer your questions in this week's Naked Scientists Podcast, and find out why so many dead bugs end up on their backs, how salmonella gets into an egg, and if it's more efficient to fill your freezer than run it half empty? In the news we hear how farming migrated across Europe, why distant stars might have influenced life on Earth, and why rogue DNA can cause heart failure. Plus, we home in on the parts of the pigeon brain that respond to magnetic fields...
          Oil, Fuel Cells and Alternative Energy        
Powering the generators for the show this week is Nicky White who describes how oil is formed, how we find and extract oil and how long oil supplies will last, Lynne Macaskie discusses how fuel cells can be run on hydrogen gas created by bacteria and sugary waste, and Peter Hughes explains how his Electro-Kinetic Road Ramp could soon be powering your street lamps. In Science Update, Bob and Chelsea reveal how llama spit can be used to spot the ultimate power-up, caffeine, and in Kitchen Science Derek Thorne and Chris Muirhead reveal a cool way to chop your vegetables...
          A Sequence of Events        

Brian is already waiting in the loading bay when I pull into the car park. It’s half seven in the morning, and he doesn’t look like he’s slept much. He might be wearing yesterday’s clothes. Who can remember? ‘I told you to get some rest last night,’ I say, manually locking the car door and crossing the blue morning twilight to the warehouse. ‘You’ll look like shit on film.’

‘Can I show you something?’ he asks as I haul myself onto the ramp. He gestures to the parcel leaning against his leg: something boxy covered with black plastic. I turn the warehouse key in the electric box and wait, staring at the parcel, as the door rolls upward. ‘Bring it inside, I guess.’ He picks it up easily and ducks under the rising barrier.

Brian plays the keyboard. He has a huge curly mass of dark hair, but other than that there is little to differentiate him from his bandmates. Out of all of them he’s been the most interested in the project, but it’s a scattered kind of interest. He appears to think almost exclusively in tangents. I am often frustrated by his input, but he’s come up with a few workable suggestions for the video. More than his wall-leaning colleagues, at any rate. But it’s too late for suggestions now.

Inside the warehouse it’s too dark to see, but I can sense the arrangement before me. Like the sitting room floor on Christmas morning before opening the curtains. I slap the light switch, and the florescent bars come noisily awake above us. The great machine is busily arranged before us, primed as we left it last night.

Brian has me hold one end of the parcel while he pulls the bin bag off his side. I pull the bag from my end and the object is revealed. He holds it up for my inspection. He’s built a metre-wide, three-dimensional model of the band’s logo. It resembles a square filled with random-looking smaller squares, like a simplified QR code. He looks to have used cardboard sheets and brass fasteners to put it together. He’s painted it pale pink. It’s actually quite impressive.

‘We can’t use this,’ I say, before he’s had a chance to say anything. ‘It’s too late.’
Brian, to his credit, at least looks prepared for my rejection. ‘It doesn’t matter where we put it,’ he says. ‘I was thinking it could replace the chair just after the halfway point. It would do the same job.’

I picture the chair tipping over, dragging the broom. ‘Absolutely not. It’s not the same weight.’

‘Let’s test it.’

I tell him we’re not testing anything. Not today.

It’s difficult to fully impress on people how precarious the machine is. Even though the whole delight of watching it go is its precariousness. Its absurd overcomplexity. It’s supposed to rattle, it’s suppose to shake. But people imagine that my appearance in a professional capacity brings me some control over the thing. This misunderstanding persists even after spending a week watching me fight with the parts. It’s barely controlled; that’s how it looks and that’s how it is.

From experience I’ve found it’s better to rule the site with complete implacability—not something that’s entirely in my nature. I pretend to be obsessively intransigent, an iron fist creative, whereas really I am just scared. Not scared of failure, because failure is an inevitability in this enterprise. More scared of the scale of the failure. Infinite, boring, expensive, never-ending failure. The machine that can never complete, not because any particular part can’t or won’t work, but because all the maybes conspire to reduce the chance of success to near zero.

Each individual component action is tested dozens of times, then you put them together into larger segments, test the segments. Eventually you line up the segments and test the whole sequence: once, twice, five times. At every stage reactions fail, and must be realigned or reweighted or entirely replaced. The most reliable physical actions will fail when you line them up with two-hundreds others and hope that they fire all in a row. I explain this to Brian as we stand under the warehouse lighting, looking out over two hundred square metres of primed whimsy.

In the end we agree that that Brian’s model will appear in the video, but without direct interaction. He is quite pleased when I offer to put it on the breakfast table behind the paint-filled balloons, where it will be showered with colours when they explode. ‘No guarantees,’ I said. ‘It may not really work, visually. There’s no time to test.’ He nods happily.

My first Rube Goldberg machine was made with office stationary, glass marbles and a few slats of timber. It was not an original idea; I’d been watching similar machines all morning on YouTube. Grainy, shaky videos of garage tabletops. Dominos, golf balls, marbles and string, all lined up to delight with their complexity and their ultimate lack of utility. It appeared to be a popular hobby, but then the Internet makes everything you search for apparently popular.

That morning I was debugging insurance software, but temporary technical difficulties had left me with nothing to do, and I watched dozens of these videos before casting around the empty office and coming up with the makings of a simple apparatus. I laid it out on my office desk, pushing aside my keyboard and monitor to make enough space. The machine was rudimentary, in that it did not move any single marble from one place to another, but instead ran through a series of reactions that each triggered the next, culminating in a butterknife flipping the page of a training manual. A Rube Goldberg machine must always have a function. A task to perform.

I ran it a few times, pausing between to reset the marbles and paperclips to their original positions. Then I filmed the whole sequence on my mobile phone, created a YouTube account, and uploaded it.

The building of such kinetic contraptions seemed to balance some unbalanced part of me, providing a tactile pleasure entirely absent from my working life. Over the following months I continued to create new models in a spare bedroom at home, slowly increasing the complexity of the machine and novelty of the individual reactions. Occasionally I went big, dragging in extra furniture for more variation in height, and once or twice extending through the spare bedroom door into the hallway and beyond. But more typically I preferred to keep the machines small and delightful, cramming as many unexpected interactions into as small an area as possible. The novelty of these components was what kept me interested. How a tea towel might react under weight. How a tethered cup might describe a predictable arc on a table. Each of the notable builders on YouTube was recognisable for their box of tricks, their library of reactions, and I was obsessed with adding new ones to mine. Ones I’d never seen used before. I never envision a machine before starting to build it. It’s at a component level that inspiration strikes.

I filmed every machine and uploaded the footage to YouTube. My channel became steadily more popular, until each new video received hundreds of thousands of views. It’s difficult to describe, but this relative popularity felt entirely inconsequential. It simply bubbled silently behind the computer screen, making no impact at all upon my real life. My coworkers never mentioned it. I was never recognised in the street. My phone never rang. Until suddenly, of course, it did.

My first professional gig was the creation of a machine for a mattress company. The money I demanded seemed to me a ridiculous sum, but they agreed without hesitation, and I took a week off from work to build the machine in their warehouses. The first thing I realised is that the components have to go large. Once you want to include mattresses, everything has to start big or scale up quickly. This has been an enduring feature of client work—small components have been replaced with large components, but the physics is mostly the same. In fact, many of my biggest, most popular contraptions for clients are less complex than my original spare room projects. It’s the spectacle, rather than true complexity, that impresses the viewer.

The mattress company assigned me two warehouse guys, who were more than enough to help move the components into place. I found a professional camerawoman on a freelance forum and hired her. Our working relationship continues to this day. Her name is Fiona. She’s great.

My nerves forced me to keep things relatively simple, and we had the machine pieced together within three days. We filmed on Thursday and, while I’ve never been fully happy with the result, it was a great success. Fiona’s camera and lighting showed my work with a clarity I had never been able to manage myself. The whole sequence was bright, polished, exciting. The video quickly amassed two million views, a good proportion of which was referred from my own channel. The mattress company was ecstatic, but who knows whether it ever sold any mattresses.

From there the jobs came frequently enough and the cheques were large enough to allow me to leave my software job. The clients I work for are typically larger corporations or music groups funded by a record label. Each one has a particular flavour they want brought to their machine, but each one also wants it basically the same. It’s a guaranteed hit. An advertisement most people can’t keep themselves from watching. I make ads, I know that. Sometimes it feels like they’re something else.

The saddest thing about client work is the obliteration of sound. One of my favourite aspects of the early projects was the wood and metal noises as cutlery chimed and snooker balls dropped into buckets. Occasionally I worked a series of moves that was almost musical. For me the aural was a big part of the experience. Most admen have jingles that they wish to play over the footage. A near silent forty-five-second advert would be too strange, they say. It would “interrupt the viewer’s attention”. And for music videos, of course, the song is the reason the machine exists. Often the noises of the machine are entirely absent, or run muted under the score of the piece. There’s little I can do about this. It’s just another thing to distance me from the work.

I spend ten minutes with Brian placing his model delicately in the machine, and by the time we’re done others begin to arrive. There are two-dozen people on set, most of whom we have sourced from “micro-entrepreneur” websites. Cheap labour, essentially. They build up the machine after it has run its course (or failed midway). They re-erect the dominos, reset the flags. Take the marbles and put them back in their slots. Stand up the chairs, wipe away paint, let out the pulleys. Replace the fireworks. The scale of machine we’ve built would take an individual many, many hours to reset. With a few half-trained labourers we can usually reset in less than an hour.

Eventually the other band members walk in. I take them into the warehouse office and spend an hour going over their positions. They are quite receptive today—during previous visits they were almost disinterested. The idea for the music video has been introduced to them by a creative at the record label. But today everything is finally happening, and everyone is engaged.

By mid-morning we’re ready to film. I never expect the first take to be the final one, but Fiona is filming everything today. While she has a small crew managing lights, she operates a single camera herself. The video must be one single take—that goes without saying.

The first run is a dud—a swinging guitar fails to switch on a lamp in the first minute—so we reset and get ready to go again. The sequence begins with the lead singer pulling a euro coin from behind his ear and placing it on a weighing scales. From there the machine continues through its fraught lifespan, the band members moving on cue to appear at key moments in the background. Fiona glides smoothly, holding the self-balancing steadicam with her eye to the glass. The rest of us just hold our breaths.

The components must be recognisable to the viewer. That’s the obvious secret of Heath Robinson contraptions, but one I must explain to many clients. If I were to build a large, overly-complex kinetic machine from anonymous industrial parts, there would be no joy in it. The delight comes from kettles, soup spoons, armchairs, umbrellas. ‘I could build this,’ the viewer must think. ‘This is not industry.’

Two minutes and six seconds into the film and four wooden matts drop simultaneously, exploding four water balloons and showering Brian’s logo with colour. It looks excellent from the balcony, better than I’d hoped. The machine is designed to run for three minutes and eighteen seconds, the length of the studio cut of the band’s next single. The machine can’t be built to run to the second, there are too many jangly variables, but I can approximate to within ten.

I know there’s an endpoint to this kind of work. Audiences get saturated by it, the novelty wears thin. The popularity of such videos has already lasted longer than most Internet lifespans. It’s established now that you can film a production such as mine with minimum cost, minimum skilled labour, and it’s almost guaranteed to go viral (by whatever metric you apply to that word). It’s inoffensive, fun, it demands attention for its full duration. People will share it; the music doesn’t matter, the product doesn’t matter. Eventually everyone will have seen a video like this, a dozen of them, and my escalations in size and spectacle will experience a diminishing return on investment. I almost look forward to this. I can go back to my spare room.

The second take runs smoothly right to the end. The four band members take their position under the corrugated plastic overhang, holding their individual placards by the hinges. Bocce balls fall one by one from the grooves above, knocking the edge of their boards and spinning up the four individual letters to spell the band’s name. Confetti bombs detonate dramatically. Johnathan, the lead guitarist, is holding his letter upside-down. The balcony groans loudly.

We open the doors to dissipate the smoke from the fireworks while we review the footage with Fiona. As the labourers begin to reset I am beckoned into the office by one of the executive producers. An overseer from my true employer. ‘That one was great,’ he says. ‘Really impressive.’

‘Yes, I’m pleased. Except for that final mistake! We should get a clean run this afternoon.’ I want to seem in control. I always feel like I am pretending to be a professional in the presence of these self-assured men.

‘You know, we could fix that,’ he says. ‘Post production.’ He raises his hands in a supplicatory gesture, palms out, fingers flared.

‘Like, digitally?’

‘Digitally. It would save an awful lot of work. I really liked that take.’

‘The next one will be just as good. It’s a machine.’ I know this probably isn’t true, but I say it anyway.

The door opens and Brian sidles in holding up his model of the logo. It’s more than half covered with thick, dripping paint. ‘What do I do?’ he asks. ‘Can we clean it for the next take? Do I repaint it?’

‘What if we retain the mistake?’ I suggest to the executive. ‘It might be funny. A bit subversive.’

The producer gives it some thought. ‘Can’t. Would undermine the central goal of the whole video. No one knows who these guys are yet.’ Brian’s face takes this blankly. Paint is spattering softly on the grey carpet.

I should be objecting more strongly. Digital intervention is antithetical to the whole artform. But today I just don’t care enough. We call Brian’s bandmates into the office to confer. They shrug blandly. ‘Sure. Let’s get out of here. We can get lunch.’

We gather the taskrabbits together and have them do a false cheer, which they perform with surprising enthusiasm. This is to be edited in over the groan that first greeted the machine’s climax. These videos always end with an unconstrained cheer; it reinforces improbable success to the viewer.

The band and the film crew and the producers leave. Someone starts the labourers clearing the machine components into two large skips out the back of the warehouse. Anything they like, they can keep. The rest is sorted for recycling, or so I’m told.

It saves someone money to be out of the warehouse by the end of today. The machine disappears quickly as I watch from the balcony. Confetti is swept into boxes. Wet mops tackle the water-based paints. After two hours the construction exists only as footage. Fiona will send the raw film to the production company. From there it becomes something else, something beyond my control. It is already beyond my control. A sequence of events both ordered and inherently unreliable. I’m not sure I’ll cheer at the end.


          Poetry@The_Millennium: A Conversation with Jerome Rothenberg and Pierre Joris        
by
Chris Funkhouser
1997-04-15

This interview took place soon after the University of California Press published Volume One of Poems For The Millennium: The University of California Book of Modern amp; Postmodern Poetry, Vol. 1 (From Fin-de-Siecle to Negritude) [Rothenberg, Jerome and Joris, Pierre, eds. Berkeley: University of California Press, 1995]. Jerome Rothenberg is one of the world’s leading anthologists. Among his more than sixty books of poetry and numerous anthologies are Technicians of the Sacred, Revolution of the Word, and Shaking the Pumpkin. He is Professor of Visual Arts and Literature at the University of California, San Diego. Pierre Joris has published more than twenty books of poetry, several anthologies, and numerous volumes of translations. He is Professor of English at the University at Albany-SUNY. Rothenberg’s aamp; Joris’s previous collaboration pppppp: Selected Writings of Kurt Schwitters (Temple University Press, 1993) was awarded the 1994 PEN Center USA West Literary Award for Translation. The interview, conducted by Chris Funkhouser, took place at Pierre Joris’ home in Albany, New York, December 1995.

Chris Funkhouser: The reason I have some of these questions is because of the event a few nights ago, the EPCLIVE chat about your anthology, on the Internet Relay Channel (IRC). I have some questions about the anthology which I didn’t have a chance to ask you then. The first thing relates to the fact that my copy of the anthology came the week that Prime Minister Yitzhak Rabin was assassinated. I was thinking, through your book, you’re drawing the world’s literatures and cultures together through English, through the page. Yet it’s still really a greatly conflictive and angry world with a lot of division. Despite the destruction of such symbols as the Berlin Wall, we still have a popular media which celebrates divisions, perpetuates violence in a way which poetry laments. I’m wondering how the strife, and succession of diplomatic tragedies impinges upon work such as this anthology. Though it might seem like a naive question, I’m wondering if you see any role poetry might play in terms of some kind of international relations? Or, is poetry present to be just politely distantly “contrastive” to unfortunate “human” predicaments?

Jerome Rothenberg: Well, I don’t know if politely contrastive is right. Certainly, there’s a feeling that many of us have, that poetry is somehow “contrastive”: a way of being and speaking that marks a difference-and a resistance. In the second volume [of the anthology], even more than the first, we’ll be using terms like “resistance,” picking up from a [Charles] Olson essay on poetry as a form of resistance, post- World War Two, coming to it in that way. So the contrastive is a contrast by resistance. But, it’s very complicated out there, also, so in terms of the initial question, of whether things are brought together or are seen in their separate identities, obviously there’s a lot of fluctuation for any of us. That is, we presumably don’t want to bring things together into such a unanimous, single, entity that the individual differences (what makes for their distinctiveness) then disappear. To speak even in trite terms (as we often do) about the unity of all living beings (and so on) is, well, problematic. I mean, the real question is how to do that without imperializing it in some way or another, so that there are no longer differences, those differences which, of course, also have value? At the same time, one is both trying to stress difference and to somehow make it a difference that doesn’t end up in ethnic cleansing.

Pierre Joris: Ethnic cleansing is of course that totalitarian attempt to do away with difference, it is the One that pathologically refuses the many. Certainly poetry has some kind of role, however limited, to play, in pointing out, even in creating a place, a field - in Duncan’s sense, where the many can co-exist. You need difference to make it an interesting place- anything kinetic, i.e. any movement, anything negentropic happens only when there is a difference, a departure from equilibrium, from the same, thus a clinamen. That it always become something else: if you have only the one, you have only a kind of death, because you have no multiplication. You have nothing. I think in terms of poetry or poetics you could even, then, talk of, say, how poetry by field, composition by field, is a kind of map where this multiplicity, the many, can come in and be in a field that is not necessarily an arena of conflict. So that would be a kind of mapping of some of those questions. But poetry is not going to directly solve any of the questions.

Funkhouser: It’s like you can’t impose a heterogeneity, yet that’s sort of an over-arching project?

Rothenberg: Well, obviously, the kind of question that you raise could be raised about other forms of activity besides poetry. Or, it could be raised more generally as a great, extremely important political and social question. Even if one doesn’t bring art or poetry into it at all. What is a humanity in relation to which there can be crimes against it? What is a crime against humanity? It implies some notion of a humanity that can be abused in all of us-not as a generality but specifically in its particulars…as an individual but also as an ethnic entity. There’s no question that the book tries to emphasize, to foreground some of that as a tension that poetry also in some sense addresses. I don’t know if it sets itself off differently in the United States than elsewhere. This is a peculiar place, the United States: it’s a colonized place at its inception and grows out of that. It’s created at the expense of a given series of nations that lived here to start with.

Joris: But every place on the globe is like that. Is colonized by humans, who in their turn over time get invaded, displaced, wiped out, amalgamated, reconfigured and so on.

Rothenberg: But in the United States the Conquest-the colonization-was followed by a period of opening. The conquered land was opened to a multiplicity of peoples. Not always and not equally but with a lot of stops and starts. Obviously, at a certain point, there was open migration into the country, open borders. Around 1920, the borders were shut, you got a closed door policy. After the second world war, the borders were opened up again-or opened up a little more. Today there’s a strong movement to again close up the borders. But for some number of us, the openness to people’s cultures, multiplicities, is one of the terrific things about being here. And yet, for all of that, you still get these developing, these re-developing nativisms, and the sense that there are some within the country who are truly Americans, and there are some within that who are differently, or only secondarily…

Joris: When this reporter from the local newspaper interviewed me and I suggested that maybe there were no “true” Americans, that even the Indians had come here at some time from somewhere else, and that in that sense I was just as American or non-American as anyone else, he titled his article: “SUNY Poet is Fake American”!

Rothenberg: And I called you a “Luxembourg Yankee”…

Funkhouser: Along the same lines, and maybe this is more closely related to the book, I was thinking of how Nate Mackey, in his set of critical essays [ Discrepant Engagement: Dissonance, Cross- Culturality, and Experimental Writing ], coins the phrase discrepant engagement.” It’s a process by which he intermixes the work of writers which aren’t normally brought together under the same critical or creative lens, in a way of breaking down literary and cultural monoliths, which is what we are talking about. Your anthology is really outstanding because of its extensive cutting across genres and forms, cultures, in a way that no other collection of poetry in English has before. and there’s cuts and splices within the text which are delightfully surprising. So you have two different types of unusual editing going on. In the Introduction to the anthology, you talk a bit about this desire to tear down previously standing boundaries. I wanted to ask you about the radical postmodern editing that you do, and if you had any more to say about what were trying to trying to accomplish through the juxtapositions, what kind of discrepant engagement you might see this ethnopoetics project involved with. How much of it has to do with extending and livening up the anthology as a form?

Joris: You said it! [laughter by all]

Rothenberg: There’s a statement inherent in your question. I mean, yes - as you continued to unfold the question, I felt myself saying ‘yes, yes, yes.’ I didn’t know Nate Mackey’s term, but certainly his project is of particular interest. Not only because he’s an extraordinarily good poet and editor, but because he pulls off a really big poetry that precisely crosses genres and boundaries without at the same time losing its ‘Mackeyness.’ His openings are wonderful. There’s a big mind at work there. Unlike what one is fearful of in poets who base themselves in some particularly ethnic place but don’t cross over. Very often it closes them off, and ultimately all they talk about is that. I mean to say that there can be a narrowing. Sometimes that narrowing is so intense that something results from it and makes a poetry, and sometimes (most often, now that I think of it) it narrows into a sentimentality.

Joris: A closing down.

Rothenberg: When we saw [the Syrian poet] Adonis in Paris a few weeks ago, he was talking about the life of Arabic poetry and the obvious danger that the poetry there goes from being an instrument of exploration and vision (as it is for him and others) and becomes again an instrument for the perpetuation of fixed truths-in this case (as so often) of religious tradition. Those are two claims for poetry that are in necessary conflict.

Joris: Which is what, say, any fixed form poetry is still about. That is, anybody hanging on to, say, the sestina or trying to recover any other such fixed form-and that includes even the “fixed” form of the basic confessional creative writing class free verse poem. The desire in such work is for a bygone-or rather a fictitious-fixity in culture. The past is wet-dream from which you don’t want to wake up. When you look at any of those anthologies of either the new formalists I think they call themselves, or of the creative writing programs, what you are really confronted with is a kind of deep-seated fear, a tight-assedness about the very possibility of change-that the world is in an incredibly uncertain state, that you can’t make sense of it as it is, and have therefore to fall back on some supposed past cultural coherency. Now clearly, Nate’s sense, and our sense, is that we think the only way the world is going to cohere, or make it, rather, is if everything can be left in, in fact, has to be left in and any momentary form or formal coherence has to be made-up then and there, in situ with all the given. One has to create enough valences to make the dance possible.

Rothenberg: Nate’s project is, like ours, inherently intercultural. Which means that many things can interact, there’s an opening for the individual writer to move across boundaries. The “multicultural” thing- without an intercultural outlet-is trickier because in some ways “ethnic cleansing,” or apartheid, can also be based on a notion of the multicultural: this culture here, that culture there, this culture…

Funkhouser: That’s how it seems to work in many academic situations.

Joris: It’s identity politics, to define everything a certain way…

Rothenberg: It tends to split apart and separate and to never get to the other, the discrepant engagement.

Joris: It’s a truly useful term to think through these matters.

Funkhouser: I was wondering if you could say a few words specifically about the editing process. You have a big stack of pages here, you start with something, and you go somewhere. I know-since you’re separated geographically-you spend a lot of time talking on the phone, faxing, e- mailing texts, and so forth. The phone has been around for awhile, but the newer technologies are recently developed. We talked a little bit on- line the other night about that.

Rothenberg: We started to…

Funkhouser: I was wondering how that has all come to affect and play a role in your work as editors, and perhaps as poets, too.

Rothenberg: Well, I don’t know if I said it on-line, but I do sometimes have a feeling that if it were not for the ability we now have to communicate in all of these ways over this three thousand mile distance, that we would have ditched the project at some point. Maybe not, but we certainly would have had to handle it in another, more painful, probably less productive way. I think, really, to split the work up differently, where one of us, say, would have become totally responsible for each gallery…

Joris: One gallery each, or something of that order. The first volume was thought through and put together-at least the first editing-while we were together, while I was living on the west coast. The second one was put together at a distance. But it was the energy of the first one-we knew roughly what we wanted-and we certainly did get together on a number of occasions-like right now, the occasion is Jerry being here for a week-and he has come several times while I’ve gone to the West Coast on a number of occasions. Nothing replaces, in fact, the bull sessions, sitting around and looking and figuring out how we are going to do this. But indeed, the combination of the three, i.e. phone, fax, and e- mail…

Rothenberg: And almost no surface mail, “snail” mail…

Joris: Yes, indeed, there’s basically been no snail mail -

Rothenberg: We almost never put anything into an envelope. I think occasionally you may have sent me a package. I’ve got a fax machine, he’s got a fax machine…

Funkhouser: In a way it enables, just in the way that technology enables us to communicate with people instantaneously around the globe. It allows for things to be created in this new way. And although you’re probably mostly between the two of you dealing with the text, and maybe you have to deal with the publisher, and rights-through the phone and fax too-telecommunications seems to open up a more expedient method of getting things done.

Rothenberg: Dealing with publishers changes with fax. Part of the nitty-gritty in dealing with publishers is a question of setting prices for use of material, and there’s a certain amount of back and forth on that. If you have to do all of that by surface mail…

Joris: You’d be at it for years and years.

Rothenberg: This way, when a problem comes up, all publishers have fax, and increasingly we’re getting publishers who give their e-mail addresses, it can be addressed on the spot. In a day you can settle what would have taken weeks of negotiation back and forth.

Joris: I can’t be absolutely sure, but I’m relatively certain that the medium, however, has not in any profound way influenced the kind of book that we have generated. I think the anthology would be roughly the same if we had sat together in California these last three years.

Rothenberg: Yes. But even if we sat together in California, we would be using-or at least you would, because you’re much ahead of me on this- the net or the web as what it also is: an information gathering device. Even sitting together, in terms of reaching out, of finding what books by an author are available, of making contact with people to ask questions as they come up… On the spot.

Joris: In terms again, of speed and availability, yes, the OCLC’s WorldCat-the world wide on-line library search facility-has been a very useful tool. Having found what I need, I can use inter-library loan, and fill in at midnight my inter-library loan forms on the net, and have the book arrive in Albany ten days later. Yes, indeed, as an information gathering tool it has been fairly good. Not perfect, because a lot of the kind of material we are looking for is, of course, not material that is available in the various institutions of instruction. So there is also a fair amount of-what do you call it, footwork, that remains to be done- contacting people, getting contacted by people who knew of our project.

Rothenberg: But we pull in things like the Library of Congress, the big repositories are available. Books at least that have been registered and copyrighted.

Funkhouser: I’ve seen a couple of publications lately where I know the editors made extensive use of on-line file exchanges. It’s phenomenal, as many editors have e-mail, have the telecommunications, things comes together quickly, efficiently. It’s that sort of thing that makes me want to say to the people who resist it: ‘some really amazing human things can happen from using these tools.’

Joris: It goes both ways. You can do a lot of interesting things, but you can also lose a lot of time. Some study for basic computer in the workplace has also shown that traditionally a letter was written by a secretary once, then corrected by the boss, and that was it. Now, with the ease of computers and printers, most letters are re-written and printed out six times before they’re sent out. So, there’s also much redundancy here-and much paper wasting. But those are things that need getting used to. When I first used the machina, I was subscribing to so many lists that I could have spent twenty-four hours a day on-line, going into the RN [the Internet’s system of Usenet bulletin boards], looking at all the stuff that was happening. One could have gotten completely lost up there-and finally I think there’s more noise than info going on.

Rothenberg: Another interesting thing, particularly while some large part of the net remains free, or virtually free, to the individual user, is the global nature of the communication; that is to say, letters in the conventional sense can go between countries but also with electronic mail you can have something like real-time conversation that is simultaneously a written exchange with people across cultural and national boundaries. As long, that is, as there’s a language in common. So, getting on the POETICS list [an Internet discussion group, moderated by Charles Bernstein] was of immediate interest in that you had link-ups as a starter to the entire English-speaking world, between the States and New Zealand, Australia, England.

Funkhouser: At first, there were some Russian poets too, but they seem to have backed off. Arkadii Dragomoshenko was on the list. He said it was too much for him! But back to the anthology-and we did talk about this a bit the other night-what forms you see this global anthology opening up into?

Rothenberg: Do you mean if one were to go electronic with it?

Joris: Ideally, remember, we thought what we would have liked was for the first volume to open with a color fold-out of what is now reproduced in black-and-white inside- The [Prose Of The] Trans-Siberian [And Of Little Jeanne Of France], the [Sonia] Delaunay amp; Blaise Cendrars work originally conceived amp; done as a fold-out…

Rothenberg: It was a professional publication for the print trade [FINE PRINT] that in one issue had a nice fold out of The Trans-Siberian. We went to UC Press and said, ‘look, let’s have this fold-out.’ And they gave some consideration to it, but it would have cost such and such, and I guess they couldn’t or they wouldn’t raise the extra money specifically to do that. But foldouts are still within the book format.

Joris: But then adding to, expanding the book-format, we would have liked to see a CD-ROM at the end of the second volume. That would have been a way of pointing to this century’s technologies, and where they’re going.

Rothenberg: But publishing people, certainly in relation to this anthology (or looking back to Technicians of the Sacred), have spoken the word CD-ROM or recognized that as an alternative means of publication. And if one were doing a CD-ROM, or multimedia version of Millennium, there would be a whole range of things to do or show: the performance and sounding of poetry, the contemporary experiments with hypertext, the things that we were speaking about just now, like the use of color and other forms of visualization as part of poetry’s extended means. All of this is built into the medium itself, so what what’s irregular in a book (and what the press won’t therefore do) is simply there with CD-ROM-like color.

Funkhouser: There’s that great [John] Cage text, DIARY: How to Improve the World (You Will Only Make Matters Worse)…

Rothenberg: Yes, that original color version that [Dick] Higgins put out when he was doing Something Else Press. Although that goes into Wesleyan’s A Year From Monday in black, white and grey, screened.

Funkhouser: So, you see multimedia applications for the work.

Rothenberg: A multimedia version would be terrific.

Joris: It would be wonderful.

Rothenberg: The one problem I’ve always had with multimedia versions of things is that the text itself becomes difficult to read. I find it hard to read text off of a computer screen. But that’s to quibble, and the other things-to see figures and movements, to get a reasonable amount of background on a poet, to be able to see poets performing their own poetry, or whatever-would really be terrific. And as for the other problem, of reading poetry off the screen, you can always download and make a paper copy. Or you can publish the CD-ROM with an accompanying book, a printed text, the way you now have a compact disc with a printed insert.

Joris: I don’t think that the CD-ROM is going to supplant the book in any way. We need the book, and we need the CD-ROM too. It’s not either/or. It’s both/and.

Funkhouser: I agree. That seems to be a sensible way to approach it anyway. I don’t know if the industry is really going to embrace it quite like that, but poets probably will.

I had a couple specific questions about the anthology, and a couple of questions about anthologies in general way. The first one is, what isn’t in the anthology that you would like to have put in?

Rothenberg: The [Blaise] Cendrars Trans-Siberian (as we’ve been talking about it), and other things in color. The Blake was of course going to be in color also. He did his plates in color. David Jones, all things being equal, would have been in there with an actual excerpt, in this case from In Parenthesis, rather than the commentary (as we have it) minus the work itself.

Joris: But then Faber amp; Faber asked for just extortionary amounts of money for that, and couldn’t be budged, so we had to cut the text out but leaving in the commentary to create the sense that ‘Here, David Jones should be’-a sort of tombeau. So, that kind of thing happened, but not too often, just with two famous patriarchs.

Rothenberg: There were a number of other authors that would have been good to have, but there were questions of money and, more positively, of wanting to or needing to be global, so that we couldn’t overdo it in any one region. That would have been great, say if we had 2,000 pages to work with, but barring that, then clearly you have to draw lines.

Joris: Both volumes, at one point in their stage were much bigger. We had to cut them down to size. They already wound up being bigger than what the initial contract stipulated, and even in a way what in our minds the initial book was supposed to be…

Rothenberg: But in another sense (and to be perfectly honest) some of the cutting can really make a better book of it. To keep expanding it makes it valuable as a repository, but sometimes when you shrink it, you get a corresponding intensity. It gets sharper in the process.

Joris: Sometimes we show a few of the individual works at a longer stretch, given that the long poem is something that interests us very much.

Rothenberg: We were going to do the complete Trans-Siberian of Cendrars, for example. Instead we did three or four big chunks of it, but not the complete thing. With Mallarmé’s Un Coup dés…

Joris: It really cannot be excerpted, and so we decided to do the whole thing, to make, in fact, the point from the start, that poems have a certain size, and that this century is not the century of the small, lyric poem as the only possible, or best, or even most central mode. We try, I think, to show this in a number of ways, even if we only get six or nine pages from a poet in at a time. Certainly it would have been nice…

Funkhouser: To stretch it out a bit…

Rothenberg: I know there are other things that ideally one would do that practically aren’t feasible.

Joris: Among other things of that order, we would have liked to travel to those parts of the world that we don’t know very well to gather materials. We’re certain that in India, say, there is interesting work happening that we don’t know about. It would be great to actually go there and search it out. But unhappily that kind of fieldwork is not possible.

Funkhouser: I was wondering if you had any symbolism in mind with the cover image of the first volume of the anthology? I was thinking of the irony, the fact that the word zenith emerges, the name of a future television giant, out of this 1914 painting.

Rothenberg: That will become even clearer, won’t it, over the next few years?

Funkhouser: And then how, this pair of anthologies really is a zenith of twentieth century poetry, in print, in English. So, you have two sides of that. As far as anthologies go, it really is the biggest collection, with the widest scope. I didn’t think of it as coincidental…

Rothenberg: The cover isn’t coincidental; it means something too, both what you’re pointing out in this particular instance and that for the first time with the cover image (unlike the inside of the book) we were offered full-color reproduction. In working that out with the designer we were digging out various images and I think we had it narrowed down to three…

Joris: There was an [Guillaume] Apollinaire, there was a [Kurt] Schwitters, and I think there was a [Max] Ernst. Clearly we were looking for someone from that part of the century in whose work intersections happened, specifically where art intersected with poetry. We didn’t want an “illustration,” just a nice picture on the cover to sell the book. We wanted it to be an indication of its content. Thus all our choices were somewhere connected with the kind of poetic moves the book chronicles.

Rothenberg: The Apollinaire was the only full-color of his and done by hand. It contains a nice green color. Apollinaire, Ernst, and Schwitters were all in there as poets, and we didn’t want to do part of The Trans Siberian again, seeing that [Marjorie] Perloff has it on the cover of her Futurist Movement, but I found a catalog of Delaunay’s work with the Zenith painting, so given the title and the content of the Cendrars poem and as another instance of the Cendrars/Delaunay collaboration, it seemed the right one for our purposes. And so far, if it matters, the one typo, or mistake that I’ve come across in the whole book is in the cover credit, which mentions Delaunay all right but not Cendrars. They’re supposed to fix that up for the second printing.

Funkhouser: Is the same image going to be on the second volume, too?

Rothenberg: No. For the second volume we’ll have to find something from a later time.

Joris: We have not figured it out.

Funkhouser: These things emerge…

Joris: This will be in a year’s time, roughly.

Rothenberg: Tom Phillips…

Joris: Yes, Tom Phillips is a good possibility…

Funkhouser: It almost makes me think of what will be, a century hence, the zenith. I’m wondering if it’s going to be more visual, the form such an anthology will take now that people are working with computers. It seems like it will be different. The anthology of twenty-first century poetry…

Rothenberg: We assert that this is a preliminary to the twenty-first century, yes. But I can’t tell you what the twenty-first century will be. It’s one I expect I will have very little to do with…

Joris: You’re going to have printed matter, too. People have had print/writing around for three or four thousand years. Again, it’s not an either/or question, but a both/and situation. They may have the book and they may have the videocassette, or however the technology will pan-out. Have the CD-ROM and the laserdisc or the hologram…

Funkhouser: VR [virtual reality] goggles…

Rothenberg: Also, within the next few years we will see the commercial, big-time version of all of this coming out. We’re just first getting into it, but it won’t take more than two or three years and the industry will have made its imprint on all of these thing that we’re talking about. Obviously, that will then reflect back on the presentation of poetry and so on.

Funkhouser: Now that Microsoft and NBC have partially merged…

Joris: There are some number of ways and reasons in that. Whatever the iconoclastic, the sabotage edge of poetry has to be, it may very well have to go back to some other form of dissemination.

Rothenberg: Yeah, but there’s television, and people do video…even where they lack the means for distribution. It’s just that the early promise of-I remember when video was first coming in and hadn’t yet been made into a major public vehicle, various artist friends were saying, “Ok, we have this new medium (amp; largely unused) medium where we can disseminate art and poetry, and so forth,’ and then suddenly you realized that around it, this mammoth new entertainment industry was growing up. How many years has that been going on? Twenty?

Joris: In the late sixties, video became hot. I still have the first issue of Radical Software. Which is, I think, sixty-nine. Maybe early seventy. Yes, that promise has not been kept. If you look at the video art of that period, it’s very static. One thing was, you didn’t have the editing possibilities you had with filming. I know friends who experimented feverishly with video-only to go back to making movies. editing made video a difficult medium whereas film’s cut-amp;-glue editing, i.e. montage-and collage-had always been core elements of twentieth-century art and it’s aesthetic sensibility. This only changed when computerized, digital editing came in. So there was this odd decade-long gap where you had the kind of avant-garde possibility offered by a new medium, but remaining unfulfilled because another piece of hardware was missing.

Funkhouser: It will be interesting to see where it goes.

You’ve probably noticed that there have been a few, in the last couple of years, more anthologies coming out. There has been a trend towards anthologies. I’m wondering if this might be some-like Michael Joyce and Jay Bolter are describing things as ‘The Late Age of Print.’ Now, even if it’s hyperbole, there’s always going to be the alphabetic text that goes along with sonic or visual interpretations we have. It probably is coincidental that people are trying to lay down some definitive texts in print. That’s one way I’ve been looking at this-why are all these anthologies coming out? Why is there this need for the definitive…

Rothenberg: Well, let’s say within the anthology world-there has been a big production of anthologies for a student market. And those keep getting churned out. What’s been notable for us over the last five or six years (maybe less) is the appearance of at least several big anthologies touching on those areas the more canonical anthology makers have marginalized. Specifically, in the American instance, the anthologies from [Eliot] Weinberger, [Paul] Hoover, and [Douglas] Messerli. And what we’re doing. Suddenly, for the moment, all of those are in print, and it represents an availability of what had not been available since the Donald Allen anthology [ The New American Poetry ], which itself had had its life, and had gone out of print a couple of times, with one or two attempts to revive it. I don’t know what version of it is now in print, although I heard that someone was going to reprint the original version. But suddenly there are a number of these books that we can feel a kinship to, and I think it’s partly that some people who see poetry in a truly contemporary and radical way have now reached a certain age and certain position and are able to insert themselves successfully into that kind of work. I’m also very curious about our own sponsorship by the Comparative Literature Association at the upcoming MLA [Modern Language Association] meetings [in Chicago], which I’m a little suspicious of, while recognizing how little that is compared to what the academic world has regularly embraced and sponsored. I don’t know what we’re going to find when we actually show up there, but I expect it to be friendly enough or (at the worst) indifferent. I suspect that it’s a few people in the CLA, Marjorie [Perloff], and some others, who are friendly to this project, and have therefore allowed us their space and their sponsorship. But that’s certainly something such that I had never anticipated.

Joris: Well, we are coming to the end of the century, and our first volume covers the period from 1897 (Mallarmé’s Throw of the Dice) to, roughly, WWII. So that’s a relatively safe period, by academic standards-it’s history. And what we’ve done is to discard all the dross and dregs that had accumulated for any number of reasons to older anthologies covering that period, while adding those poets amp; movements willfully or otherwise left out previously. It is a new look at and over what should by now be a familiar landscape-and as such should be a readable proposition for anybody with intelligence- and I guess some curiosity and passion-in the academe, i.e. to anybody who doesn’t have a completely conservative approach or believes that only Eliot amp; Stevens should be rescued from that period. The second volume will be a different, more complicated matter. It covers a period closer to us, and because of that there will be a range of concerns on both sides, the conservative and the progressive. On one side that will take the shape of: ‘How come you only have [Charles] Olson and [Robert] Duncan and [Robert] Creeley there, and there is no Robert Lowell.’ Or you can replace those names by any number of other ones. That kind of thing is sure to come up.

Rothenberg: Once we’re into the second volume, we’re out of the territory where there’s anything like a consensus between us and them, at least us and them on the American side. But on other things also besides the selection of poets. One of the things, for example, that breaks strongly with the more academic view of the earlier part of the century is the attention that we give to movements. Within the literary world-though not within the art world, certainly-there has been an attempt (a consensus in fact) to forget most of that. I would think that people are going to be bothered by our foregrounding of the movements. The attention we’ve given in both volumes to the more radical forms of poetry is (without our being limited to that) another crucial difference. We move it from one half of the century to the other, which is somewhat impeded by our format. We have a project here that was done one volume at a time, so that we have a break at mid-century and aren’t able adequately to carry people across it. At the beginning of the second volume, we’ll have a small section of continuities, but a lot of late work by some very notable figures will be missing. In practice, we would have ended up not carrying through on that. In practice, for example, we’re not able bring in any of the later Basil Bunting, although we represented him with earlier lighter work in volume one, while thinking we would later come to Briggflatts. If we had known that we wouldn’t, we could have non-chronologically brought Briggflatts into volume one. On the other hand, we have early [Andre] Breton in volume one and late Breton in volume two; we have early [Ezra] Pound and we have late Pound; and early and late [Gertrude] Stein; and a number of others. There’s a limit to how much we can get into a second volume-how much from the first period we can carry along in that way. If we had had the leisure, the patience, to do the entire thing without a break, and then to publish it, we might have done it differently. We had to do it this way, I think, in order to ensure publication, about which I think we were always, until it happened, rather uncertain. That means I kept on thinking, ‘Something is going to fuck this up, let’s get something out’-so, rather than working on a single sixteen-hundred pages…

Joris: We completed one volume, then got that volume to the publisher before proceeding with the second one. In fact, early along we were playing with a number of possibilities, but the various contingencies of the actual work shaped the project into what it has become.

Rothenberg: At one point, actually, it was a three-volume set, but they would have been shorter volumes…

Funkhouser: The other day, one of the off-hand comments you made on the IRC was that the second volume was “truly awesome,” and I was wondering if that is because the content is more provocative, or whether it was the project that you have ahead of you?

Rothenberg: Dealing with the amount of content that we’re aware of for the second half of the century is very difficult: the number of poets that are now meaningful for us. As you look back to the earlier part of the century, things have…

Joris: Decanted… [laughter]

Rothenberg: You’re not overwhelmed back then by the number of people that you have to deal with. As we come up to the contemporary, until finally, we found, with the more contemporary (and I mean the very contemporary, the younger contemporary), who do you pick, say, as representative of poets born after 1975 or something? Pick out one person here or there, or what?

Joris: You can’t. We knew from the beginning that it would be difficult to end the book exactly because of that problem. In a way, considerations of space help us solve it. We’re probably going to be stuck with the fifties as the birth-decade for the youngest poets in the book.

Funkhouser: That leaves room for the next anthology…

Joris: It becomes that, a possible opening out from where we end… The trouble is, coming to today, that one is aware of too much work, and one is interested in too much work. To sort that out, i.e. to evaluate all of the current production at this point is not feasible for us-nor is it really our brief for this project. It also poses the interesting question of how one is able-if one is able at all-to read amp; evaluate the work of much younger writers.

Funkhouser: Do you have any crazy ideas for projects after the second volume? [laughter by all]

Joris: Take a rest, read all the non-twentieth-century poetry books, all the novels amp; non-fiction books that have accumulated these last six years. And maybe write a bunch of small, witty, elegant poems…as a kind of counter-move… But seriously, essentially to get back to my own work…

Rothenberg: After every anthology, I said, ‘That’s it, never again!’ But this should be it.

Joris: [Jokingly] It’s the anthology to end all anthologies!

Funkhouser: Seems like it…

Joris: We’ll wait to the next century…

Rothenberg: An anthology of everything.

***

Chris Funkhouser edited The Little Magazine Volume 21 CD- ROM, and is responsible for two on-line poetry and poetics journals, Descriptions of an Imaginary Universe and Passages. His work has recently appeared in Talisman, Hambone, and Callaloo. His hypertext, POETRY WEBS, was produced in conjunction with the 1996 European Media Arts Festival.


          67 Mindfulness of breathing, part 3        

Instruction and meditation on Mindfulness of Breathing: the focus on anapanasatti (focusing on the sensations at the opening of the nostrils and/or on the upper lip under the nostrils)
The problem with this foundational practice is that the mind has a thirst for entertainment and it gets bored with the practice and makes up its own entertainment. Thoughts will come up in this practice but you do not cognitively fuse with them (fall into daydreaming).
The problem with Settling the Mind in its Natural State is that you get sloppy and just get caught up in what arises in the mind.
In Awareness of Awareness, the most common error is just sitting there, zoning out and not knowing anything – which is the root of samsara.
In Mindfulness of Breathing, the antidote to restlessness/too much kinetic energy is to relax and release the energy gently on the out breath. If it gets boring when the sensations become very subtle, attend closely while releasing all control of the breath.
If stability isn’t getting better, your shamatha isn’t working
Asanga does not mention the acquired sign or the counterpart sign. He discusses attending to the whole body and the route of the passage of the breath. He also discusses prana – a subtle energy (and it might be what he is referring to when he speaks about breathing through the skin).
Some discussion of Tibetan medicine and the notions of the three humors: wind, fire, and phlegm.
Meditation starts at 48:19

Q&A (73:07)
Discussion of the differences between the discovery and the development models.


          Dress: Allison Williams In Carolina Herrera, Young Lions Benefit Party        

I'm TRYING to pack for my trip to Barcelona with Crest 3D White... and this Carolina Herrera dress on the beautiful Allison Williams for the Young Lions Benefit Party held at the New York Public Library last night stopped me DEAD in my tracks. The smokey umber and pink shell kinetic square print viscose gown with silk overlay and a smokey umber mesh belt is from the Spring 2014 collection.

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           Kinetic study of the speciation of copper (II) bound to humic acid         
Bonifazi, Maria (1991) Kinetic study of the speciation of copper (II) bound to humic acid. Masters thesis, Concordia University.
          Creating energy from anything that moves: Uncharted Play's soccer ball is a power generator        

Jessica O. Matthews just raised the largest round of venture capital funding by a black female founder and entrepreneur.  Matthews is the founder and CEO of renewable energy tech startup Uncharted Play. Her company just closed a $7 million Series A round led by the NIC Fund with participation from Kapor Capital, Magic Johnson Enterprises, BBG Ventures and Lingo Ventures. Uncharted Play is a company dedicated to producing clean power through kinetic energy, which is created whenever something moves. The company's mission is to spread awareness about global energy and clean power through technology and play. Uncharted Play’s first product, SOCCKET, is a soccer ball that doubles as a power generator. The SOCCKET uses the rotational energy that gets generated every time the ball rolls to produce three hours of light for every hour of play. Uncharted Play’s second product is the PULSE, a jump rope that doubles as a light. Both the SOCCKET and PULSE are powered by MORE (motion-based, off-grid, renewable energy, Uncharted Play’s proprietary technology for micro-generator systems. Those systems can integrate into anything that moves, which is what transforms the product, like a soccer ball or a jump rope, into a source of off-grid power. Uncharted Play’s goal is to better utilize kinetic energy in order to complement or even replace other energy systems. Uncharted Play’s business model entails partnering with product manufacturers across industries like consumer electronics and infrastructure to put the MORE technology inside the everyday products we use, like strollers, shopping carts and suitcases. The idea is that you could then use the energy produced by thatread more

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          KCI announces two new directors        
Kinetic Concepts Inc. announced today that its board of directors will increase from 10 to 11, and appointed Craig R. Callen and Dr. Carl F. Kohrt to serve as directors. Callen will serve on the board’s Nominating and Governance Committee and Kohrt will serve on the Compensation and Technology committees. Callen previously served as senior
          Turtle Talk #7: GAMERA 3: REVENGE OF IRIS (1999)        


LUCA:

We round out our adventures in Heisei turtlehood with Shusuke Kaneko’s 1999 opus GAMERA 3: REVENGE OF IRIS. Huh? A monster named Iris? Is it going to attack Gamera with its special budokai knitting needle triple stab attack? Maybe stuff him with sweets after he has long ago tried to communicate that no no, he’s quite full up, thank you? Allow me to allay your fears (hopes?) of this granny monster and inform you that Iris is actually the weirdest, most perverted and disgusting monster I’ve seen in all of my kaiju journeys so far. Grosser than Hedorah? I dare say exactly that! But let’s take this all back to the beginning. Our intrepid heroine Dr. Mayumi Nagamine (Shinobu Nakayama) is still trotting the globe in search of Gyaos activity. That’s right, the disgusting troll-birds have been popping up again, and are still miserable piles of meat and slime. As Mayumi’s jeep cuts a path through the South Pacific jungles, another old familiar friend is reintroduced to us: Ko Otani! The maestro of the previous Heisei GAMERA films does wonders for the film – an already pretty good-looking one, at that – and its ability to transport viewers into mankind’s unknown prehistory. His orchestrations reminiscing on Atlantis of old inject some much-needed mystical ambiance in this monster menagerie… and what a menagerie it is!
For those who were skeptical of Iris perhaps being a super-evolved Gyaos, fret not! Even though Mayumi tells us these Gyaos are “evolved” from their previous incarnations, they’re mostly fodder for the first two acts of the movie, indicating that the Earth is changing and the ancient protectors (and, of course, enemies) of mankind don’t quite know what to do with these man-made alterations to the world. Can you smell an allegory coming? Well, you must have very developed olfactory senses then, because this movie certainly isn’t hitting you over the, uh… nostrils with it? No, let’s stop this sarcasm – I actually quite like the movie not being subtle one bit. The sins of the past are coming back to haunt us, in several ways! Climate change in the form of a mana-overload, driving Gamera mad with destructive power? Check! Long-thought-dead Gyaos returning in evolved form? Check! An ancient Atlantean failsafe monster meant to take care of Gamera if this scenario ever happened? Check! A vengeful teenager who is the perfect vessel of bitterness and hatred to nurture this assassin monster until it gets to proper city (and turtle) smashing size? Check, check and check, onii-chan!
This teenager is Ayana Hirasaka (Ai Maeda), a girl who lost both her parents and her cat Iris (oh yeah) to the destruction caused by Gamera and Gyaos in the 1995 events of GAMERA: GUARDIAN OF THE UNIVERSE. In these heady geek times where we all must have strong opinions on whether or not Superman was appropriate in making out with Lois in the wreckage of ten 9/11s in MAN OF STEEL, it is perhaps sobering to reflect that a decade and change before Zack Snyder’s film, Shusuke Kaneko was already exploring the aftermath of city destruction in (still fairly light-hearted!) movies aimed at kids. Laughs are a little bit more sparse in IRIS as opposed to GUARDIAN or LEGION, but it’s perhaps only fitting that things get a bit more dramatic in the closing chapter of a trilogy. I hope you weren’t too bummed out, Travis!




TRAVIS:


I was not bummed out at all, Luca! This is a rousing finale to Kaneko's splendid Gamera trilogy, and yet we are in for darker times. IRIS really explores how horrifying living in a world of giant monsters would be. Kaiju fights are typically destructive yet inconsequential sequences, but IRIS explicitly cuts to civilians running for their lives or getting crushed or burned to death in the wake of the monsters. There's no shying away from the many people being obliterated as kaiju kollateral damage. It's frankly not hard to see why Ayana would hold such a hard grudge against Gamera. Even the heroic turtle himself is photographed to look more sinister by shrouding him in darkness and shadows and having the lighting highlight his razor teeth and the sharp ridges on his shell. A “go go go!” Gamera march certainly would not be appropriate for these proceedings!
Thank goodness there are some decent humans around to ease all of this. Along with Mayumi, we see also see the return of Asagi (the former teenage companion of Gamera) and Osaka (the cowardly ex-inspector/Kirin warehouse guard, now a hobo with monster PTSD). It's nice to see these returning cast members round out the trilogy, but my favorite performance in IRIS belongs to Toru Tezuka as Shinya Kurata, the mysterious video game designer who claims to be an Atlantean descendant. He doesn't do much in the movie aside from delivering expository whatever, but oh how colorful he is doing it! Clad in black clothes with a limp hand always perched on his face, he gleefully tells our heroes how humanity is pretty much doomed to having monsters use Earth as their battleground in such an entertainingly aloof manner. He understands how macabre this all is and perversely enjoys it. He reminds me of Ernest Thesiger's wonderfully campy Doctor Pretorius from BRIDE OF FRANKENSTEIN, who also delighted in dealing with death. Even as falling debris comes hurdling down upon his head, Shinya looks up with a wide smile and says, “Oh! This is really scary!” before he's smashed to smithereens.
Shinya may seem like a bit of a creepy guy, yet the creepiest character in this movie probably is the titular Iris! When the creature first hatches from its gooey egg, it slithers around on its many slimy tentacles, and its head and neck are rather... uhh, flesh colored and resemble a certain part of the male anatomy. Ayana nurtures Iris in its first stage in life, but the bond between girl and kaiju soon becomes a little uncomfortable. At one point, she finds Iris in the forest, laying weak from searching for its human companion. When the feeble Iris starts to nuzzle the young Ayana, its phallic-shaped head and neck start to become.... more erect.... and rigid... and upright standing. In fact Iris's whole body is suddenly awake and glows with new life. Also glowing is the amulet around Ayana's neck that gives her the psychic connection to Iris. She slowly unbuttons up the top of her school-girl uniform shirt and grasps the pulsating object saying, “It's so warm.....” in a hypnotic haze. She then walks into the embrace of Iris as its tentacles surround her and pull her in closer and EWWWWWWWWW! Now keep in mind, we're still in “PG-13 for kids” territory, so it doesn't reach hentai heights, yet a cold shower might be needed to wash away the stench of Pedo Iris! Luca, let's get some clean thoughts in here quick! Any last words on REVENGE OF IRIS or the Heisei Gamera trilogy overall?
LUCA:

Oh wait, Travis, let me just… yeah, get outta there, you shokushu, you!
Filthy pervert Iris is truly the culmination of pink movie director Kaneko sneaking in some of his classic sensibilities. While teenage girls feeling connections to kaiju had been a staple of the genre for ages – a girl being “fused to”/“part of” a giant monster most famously being the main plot of GODZILLA VS. BIOLLANTE – it had never been quite so… suggestive as it is here! The framing, the actor’s direction, the monster design, you really need to be a kaiju fan in the single digits to not be getting the strong sexual connotations here. And to think that “jokes for parents” in American kids’ movies are just references to celebrities and politicians!
Friggin’ Shinya, man. You know, Travis, you’ve exposed another of my pop cultural blind spots, coincidentally also regarding monsters, although of a wholly different sort. I’ve never seen any of the classic Universal monster movies! Guess I was always just a Hammer Horror kid growing up. Who doesn’t love Technicolor, set design and heaving bosoms? And speaking of big boobs, that dolt Shinya – lacking the Frankensteinian background you possessed – reminded me of video game legend Hideo Kojima, creator of the METAL GEAR SOLID series and all-around weirdo equally known for spouting semi-philosophical crap on his Twitter straight from between his butt cheeks. Shinya’s haughtily amused greaseball remarks highly put me to mind of Kojima-san to the point where I was wondering if this also wasn’t an inside joke, but I guess it’s just a character type. What I loved about this guy was that he indeed just CLAIMED to be an Atlantean descendant, and the movie just kind of accepts his presence (and running commentary). Equally baffling is Senri Yamasaki as Mito Asakura, a sinister lady whose allegiances I couldn’t quite parse, but very much hates Gamera… for reasons! Both her and Shinya are basically just there to spice up the human scenes with weirdness and wacky acting. Speaking of wackiness, IRIS contains one of my favorite dialogue exchanges in any kaiju film I’ve ever seen so far. Miss Nagamine sits down at a meeting of the MONSTER DAMAGE ASSESSMENT COMMITTEE (the government being all official about big monsters is already funny in and of itself) next to a terminally depressed looking bureaucrat. “Which monster are we discussing today?” she asks. In a drawl worthy of Droopy Dog, the man replies: “Does it matter?” Oh, how I laughed!
The gore-levels in IRIS are worthy of any classic Gamera movie as well: of note is the EVIL DEAD 2-reminiscent climax in which Gamera’s hand is ripped off by the big guy himself after Iris grabs hold of it to syphon off the turtle’s life force. On top of that there’s of course impalement, crushing, Gyaos-disintegration, and the forcible removal of Ayana from Iris’ chest by Gamera. All in all, a splattery good time that would surely have parents raise an eyebrow or three at the appropriateness for smaller kids. Gosh, Travis, I thoroughly enjoyed this Heisei Gamera trilogy! Just a monster-filled schlocky good time with wacky characters and inventive set pieces filled to the brim with cool designs and copious splatter. What did you think, o Godzilla loyalist?


TRAVIS:

As I've said before, I was a die hard Godzilla fan through and through. Seeing Gamera's pandering Showa stuff was merely showing to me how much of a pretender to the throne the big turtle was. It wasn't until the Internet allowed me to explore my kaiju interests that I discovered that much of the Godzilla fan community *GASP!* also liked Gamera! How could they?! That ridiculous flying tortoise with a penchant for hanging with precocious kids?! Relax, fellow G-fans assured me, because he ain't so bad, and in fact, his Heisei movies are quite kick ass! By that time, the only Heisei Godzilla movie I had seen was BIOLLANTE, so I dove into Gamera's 90s era adventures with snobbishly high expectations. Let's see if ol' shellback could outdo the King of the Monsters fighting a big rose plant!
And you know what? I soon became part of the legions of children willing to call Gamera his friend. The Heisei Gamera trilogy truly is a high mark in the pantheon of the kaiju genre. The 1990s was a decade where Hollywood blockbusters became bigger and more bombastic, and they invaded the Japanese box office to much success. The seemingly archaic Godzilla still powered on valiantly, yet when watching his Heisei era output, you can sense a tired dinosaur attempting to fit into today's modern movies. It would only be a matter of time before Godzilla himself would sell his soul to American studio Sony. But Gamera persevered, and perhaps always living in the shadow of the King of the Monsters meant he could forge his own path without being the figurehead of kaiju flicks. GUARDIAN, LEGION, and IRIS are vibrant, kinetic, and bursting with an energy that embraces its past to remain lively in the present. Not enough accolades can be said of Kaneko, who gave us such exciting adventures with that silly turtle that Toho gave him the reins on GODZILLA, MOTHRA & KING GHIDORAH: GIANT MONSTERS ALL-OUT ATTACK. Truly a man for all monsters! Again, I was a dye-in-the-wool Godzilla fanatic, but Kaneko's trilogy made me yell GO, GAMERA, GO!
By the way, did we ever mention in these reviews that Ayako Fujitani (who plays teen Gamera companion Asagi) is Steven Seagal's daughter? How friggin' cool is that fact?!
LUCA:
As Sensei himself would say, Travis, we are but mice in the house of the eagle...

          Turtle Talk #5: GAMERA–GUARDIAN OF THE UNIVERSE (1995)        

 

LUCA:

Ah, that dreadful moment when you step from a Showa kaiju series into a Heisei kaiju series and production values have gone up so substantially that you almost feel the need to drop the kaiju-reviewin’ kurve and judge these movies like you would any other. The Devil’s Envoy is back for a new generation, and he brought some of his classic foes with ‘im! Well, technically just one, but they are legion now! Allow us to explain, gentle reader… Like Godzilla’s darker, harder-edged Heisei reboot, GAMERA: GUARDIAN OF THE UNIVERSE starts with a ship in peril. A plutonium-carrying tanker crashes against an atoll. Drama abounds, as breathing one molecule of this shit is enough to cause cancer. But… nothing is spilled? A true mystery! The mystery gets even more mysterious when the atoll simply vanishes. A research team is sent to the moving rock formation as it approaches Japan, consisting of leader Naoya Kusanagi (Akira Onodera) and first mate of the ship from the opening scene Yoshinari Yonemori (Tsuyoshi Ihara). The island quickly seems to be more than meets the eye: littered with comma-shaped orichalcum amulets and strange etchings, the team comes to the conclusion that something is afoot here. Ya don’t think? While investigating a monolith engraved with Etrurian runes, something goes wrong. A quake – and the atoll takes off once more! The scientists are thrown off, but Yoshi sees a giant (not entirely un-JURASSIC PARK-like) eye… what could this be in this film called GAMERA: GUARDIAN OF THE UNIVERSE?

Meanwhile, in the other plot, ornithologist Mayumi Nagamine (Shinobu Nakayama) is summoned to a distant island where her mentor professor Hirata (nobody) seems to have vanished. The last thing he was able to say in a storm-disturbed phone call was “bird.” If you still have any doubt as to what’s happening here – ornithologist protagonist introduced, the fact that you’re watching a big monster movie, disappeared side character hinting at “bird” – the movie really makes it clear by having Mayumi find a big pile of bird shit containing professor Hirata’s glasses. What a delightfully crude and cruel way to show that we are indeed dealing with a giant, and – fairly rare for the kaiju eiga genre – man-eating bird. That’s right, Gyaos is back from the Showa era to combat our favorite jet-propelled turtle. If this makes you weary since Gyaos was one of the worst looking creatures of that time, fret not! The updated version actually kind of looks amazing, a dark copper-colored creature of malevolent instinct. Its big triangular head with the V-like plate covering its eyes now occasionally bobs up and down quickly as it chews on meat, giving the fantasy-version of a Pterosaur an almost Gremlin-like air of mischief. Heee hee hee we’re gonna eat ya and shit ya out! That’s wonderful!

That element of crude transgression no doubt came from director Shusuke Kaneko, a man Godzilla fans may already know from no doubt the best action and second best horror movie of that franchise, GODZILLA, MOTHRA, KING GHIDORAH: GIANT MONSTERS ALL-OUT ATTACK. His run of GAMERA films got him the job working on the original big G, and if this first Heisei Gamera is any indication, you can see why Toho approached him! The creatures’ physicality is at an all-time high, and the decision to make the Gyaos birds actually eat people (and, in one scene sure to distress animal lovers like myself, a poor chained-up dog) is a great one. Seeing the Gyaos chomp down on carcasses, pick off humans, shit them out (!), bleeding their own slime-like blood… well, this is an intense movie, as Kaneko is seemingly wont to make! Have you recovered yet, Travis?

poop1

TRAVIS:

I'm more than recovered, Luca. In fact, this era of Gamera re-vitalizes my kaiju-lovin' spirit! I mentioned in the beginning of this series that I was no fan of him as a child and dismissed his Showa adventures as trifle compared to my beloved Godzilla flicks. It wasn't until my teen years that I could access more Japanese monster movies beyond what I could catch on TV, and the Heisei Gamera films were quite highly regarded among fan communities. With a little hesitation, I finally rented a copy of GUARDIAN OF THE UNIVERSE and was blown away. Though the big turtle is the hero of this trilogy, Kaneko truly is the star. The kinetic energy he brings is a breath of fresh air, and it's not just the action sequences that are livened up. The human scenes where people talk on and on about the monsters' origins and how to defeat them and yada yada are peppered with pull-in close ups, Dutch angles, and even sweeping pan shots. Okay, it doesn't sound that exciting, but when your typical kaiju flicks cut from boring medium shot to boring medium shot when showing folks in lab coats and military uniforms, a little movement is appreciated! It shows that Kaneko cares about the filler stuff and wants to give it enough energetic flow as we go between the monster action.

I'm sure we'll have more to write about Kaneko in the next few reviews, but let's take a quick look at his pre-kaiju career. His indoctrination into the film industry began in the 1980s at the movie studio Nikkatsu. In particular, he found quick work as a screenwriter and assistant director for many of Nikkatsu's Roman Porno films (or “pink films”, the popular Japanese genre of theatrical erotic features). He eventually made his directorial debut with 1984's KOICHIRO UNO'S WET AND SWINGING and would win numerous awards for his pink films until Nikkatsu closed its doors in 1988. Despite this, he continued to direct feature films into the 1990s and even helmed a segment of the American horror anthology NECRONOMICON. He would eventually find his biggest financial and critical success with his Gamera trilogy, which of course lead him to take on Godzilla for 2004's GMK. Though he hasn't returned to the kaiju stuff since GMK, he's remained a busy director, most notably for his live action adaptations of the popular manga DEATH NOTE in 2006 and 2007.

I would happily welcome him back to the monster wrestling world though! One thing I love about his kaiju stuff is the sense of history he gives to the monsters. They're not simply creatures that suddenly appear and wreck shit up, but they have ties to ancient history and civilizations. Just as Godzilla and company were old Japanese spirits of the past in GMK, Gamera's Heisei backstory ties itself to the lost island of Atlantis. In this narrative, the technologically advanced Atlanteans apparently created Gyaos through genetic engineering, but their creation ultimately lead to their extinction when it became too dangerous and wiped them all out. However, in a last ditch effort to protect future civilizations from Gyaos, they also created another hybrid animal to be the guardian of the universe... Gamera! Yep, instead of having these monsters fire laser beams and blast off with rocket boosters for no reason, we're told that the kaiju in this universe are the result of scientific tampering. Which is... kind of a neat idea! I like it because it's an amalgamation of fantastic elements (Atlantis) and plausible science (genetic modification of species). I think it also works because although we've known that Gamera has existed since Atlantean times in his 1965 debut film, there hasn't been a concrete origin for him. Illustrating the minor details we were given in the first GAMERA feature is a fun way of both revamping him while keeping him tied to his Showa past. Anything else strike you in this bold Heisei direction, Luca?

LUCA:

So in our little talk about a new era of Gamera with a new director in which I praise the newly acquired physicality of the monsters, and the grounding of them as real creatures by focusing on all manner of bodily fluids, you inform me that the new director used to do porno? Should I even waste time coming up with a joke here? In all seriousness though, that’s kind of fantastic. In this series and the Godzilla one, I’ve often compared kaiju eiga to both wrestling and porn. The fact that some of its most celebrated entries are from the mind of a man who in fact cut his teeth working on a genre that is basically defined by bodies in motion and interacting with each other should tell you something. While Kaneko’s iconoclastic treatment of some of Toho’s monsters in GMK left me with a slightly bad taste in my mouth (despite it being an excellent kaiju action movie), his extreme reimaginings of classic Showa creatures were essentially perfect. Oh, 60s Gyaos was a big troll? Let’s make him an extreme dog-killer and human-munching troll for our hardcore 90s version. Gamera was an Atlantean monster who was also a friend to all children? Well maybe he was an Atlantean creation that can be communicated with via magical rock! And mayhaps a teenage girl will get a hold of such a rock! It almost feels like what happened in the 80s with the British Invasion of American superhero comics, and the likes of Swamp Thing and Animal Man were not just re-imagined, but actually rebuilt starting from a fresh interpretation of their original concepts.

While those particular runs of the comics are known for their dark and gritty departures from their kid-friendly roots, GUARDIAN OF THE UNIVERSE doesn’t so much bring us a “dark” version of ol’ shellhead as a “more visually realistic” one. The gore and slime and physical viscerality of the action don’t really preclude kids from watching this movie, but I would definitely recommend that maybe kids 8 and up watch it, whereas the Showas are totally 6 and up. The shift in audience kid-identification character from boy scout and toddler-age moppets in the Showa movies to this movie’s assertive teen (and monster-controller) Asagi (Ayago Fujitani – the actual daughter of Steven Seagal) certainly indicates this. It’s a bit of a shame that she’s saddled with a run-of-the-mill “why is dad never home” motivation, but it seems par for the course in this more grounded new direction. I’m sure the wackiness in the human scenes will come forth as we proceed in the Heisei era, as it did with the Godzilla movies. I’m not contradicting you in Kaneko’s attempts at bringing some verve in the necessary human scenes, Travis, it’s just that Kazunori Ito’s screenplay brings things back to basics when it comes to these characters, which does not work exceedingly well when binge-watching these movies as we have. Of course, I also acknowledge that this should not really be a concern for any screenwriter ever. Unless you’re commissioned to do a Netflix/Amazon/Hulu show, I suppose!

Any final thoughts on this slimy new porno-take on the friend of all children (but not in that way), Travis?

kaijunchill

TRAVIS:

I think the character of Asagi epitomizes for me the strength of this movie. How long has Gamera been known as “the friend to all children”? Such a label is cute, but it has also been sort of a negative mark, indicating how blatantly kid-friendly the series is. In GUARDIAN, we never hear anyone say the famous moniker, and yet we still understand the strong connection between our monster hero and Asagi. It's this refreshment of cheesy clichés that works incredibly well for me. Of course, let's not forget that this movie's all about a big turtle fighting a big bird, but giving just a little maturation to the broad details of the Gamera series keeps the Heisei entries on a nice balance of grounded reality and kaiju whack-a-doo.

In fact, GUARDIAN won over famous critic Roger Ebert! He was never a fan of silly kaiju stuff, and a glance at his negative reviews for Godzilla movies (GOJIRA only got received one and a half stars!) showed that he had little patience for rubber creatures knocking over buildings. Yet in his printed review for GUARDIAN, he not only gave it three stars, but he also kept praising it over the Hollywood blockbuster AIR FORCE ONE (which had opened a month before GUARDIAN's limited US run in 1997). In his comparison, AIR FORCE ONE was another dour, realistic action film while GUARDIAN was just a fun, goofy time. He writes, “'Gamera' is not a good movie but it is a good moviegoing experience.” He even talks about the possibility that Gamera's rocket powers might actually be supplied by the turtle's own flatulence! Hey, sometimes it's nice to see the co-writer of BEYOND THE VALLEY OF THE DOLLS still recognize the trashy pleasures of cinema. Japanese audiences shared in that joy too, as GUARDIAN was a box office hit and signaled the triumphant return of our hero. The Gyaos might have been legion, but a threat from outer space was soon going to be more... uh, legion. And you'll see why in... well, GAMERA: ATTACK OF LEGION!

          TURTLE TALK #0: Intro        

gamera2diagram

LUCA:

Konnichi wa, friends, and welcome to TURTLE TALK!

It was late 2013 when the inimitable Travis Kirkland and myself set off on a path of destruction through half a century of pop culture that started with a certain grim little monster movie from 1954 called GOJIRA. Over the better part of a year, we discussed every movie featuring the titular monster – and some ancillary crap besides (such as the short-lived 1999 animated series and the only album ever that featured both Diddy and Jakob Dylan). If you enjoyed our Kaiju Kavalcade blog series – or even bought the collection “Memories from Monster Island” off Amazon – we hope that our latest endeavor will bring you as much fun. You see, TURTLE TALK will delve into that other great purveyor of city-smashing: the friend to all children – GAMERA himself! Now, our angle on the Godzilla series was that I was the noob going in cold, whereas Travis was the old pro, coming to the movies from a place of rediscovery, ready to face the cold light of an atomic dawn if they didn’t quite hold up. For TURTLE TALK, this contrast has been sanded off a bit, as Travis isn’t quite so well-versed in Gamera lore as he is in Godzilla. Equals, finally? Almost! But I will let him elaborate a bit in a second.

What is my relationship to Gamera? Well, it’s fairly minimal. Even more minimal than my knowledge of Godzilla was when we started with Kaiju Kavalcade, in fact! From my general pop culture osmosis, I had gathered over the years that Gamera was

1.) A turtle
2.) Airborne (possibly robot parts?)
3.) A friend to all children

After the life-transforming/affirming experience that was compiling Memories from Monster Island, I can add another fact to this very short list: he never met Godzilla in any official capacity. With the thoroughness we applied to our Zilla-journey, it would be inconceivable we could have missed such a clash of titans. And isn’t that weird, if you think about it? Even eternal rivals DC and Marvel Comics set their differences aside to produce stuff like Amalgam Comics or that fan favorite one where the Joker teams up with Carnage. But Godzilla and Gamera? No dice! For fifty years, the two iconic monsters stayed completely separate. Just strict business practices, or an irreconcilable stylistic difference in tone and target audience? We hope TURTLE TALK may shed some light on this issue that is no doubt keeping the lot of you awake at night. Travis?

TRAVIS:

Here's a shocking revelation from this lifelong kaiju fan: I hated Gamera.

Yep, this dye-in-the-wool fanatic of giant creatures crushing buildings was definitely not a friend to the big turtle during my formative years. Godzilla, Rodan, Anguirus... all of the Toho monsters became beloved characters to me as I grew up. And yet... Gamera could not impress me at all, no matter how many gravity-defying somersaults he could pull off. This... this fraud... this hack... this RC Cola of a reptile compared to the classic Coke formula of Godzilla. Looking back, it's very odd to me how much I actively rejected Gamera. Sure, he was created by Daiei Film Company as competition for Toho's main G, but I was perfectly happy embracing dueling icons of pop culture. Mickey Mouse and Bugs Bunny, Super Mario and Sonic the Hedgehog, Superman and Spider-Man... they all had a welcome place in my fantasy world. But Gamera... if I had my way, I would've left his ass frozen in the Arctic while I enjoyed watching more reputable kaiju like Varan the Unbelievable.

But why? Why was I so prejudiced against the poor monster? Perhaps I wasn't introduced to Gamera in the right context. Instead of a magical late night marathon that transformed me into a Godzilla fan, my first glimpse of Gamera was via the television show MYSTERY SCIENCE THEATER 3000. Five of his movies were roasted by Joel Robinson and his robot pals during the third season, and I happily laughed along as they ripped apart the films' goofy, innocent tone. Stupid turtle. In all fairness though, MST3K also riffed on GODZILLA VS. MEGALON and GODZILLA VS. THE SEA MONSTER, so the big man of Monster Island wasn't safe either. My blind hatred was also probably due to it being my first brush with geek brand loyalty. How could any monster dare stand up to the rightful popularity of Godzilla?! Heck, if you recall our review of KING KONG VS. GODZILLA, I wrote about how outraged I was as a child to see some dumb ol' ape be victorious over my King of the Monsters. An outrage I say!

Many years passed however, and my unwavering allegiance to Godzilla became more relaxed. I eventually came around to watch a few Gamera Showa era movies and was amused the monster's antics. They didn't make me a convert, but I could now see his appeal. He's a flying, fire-breathing turtle who has a soft spot for protecting children. Of course kids would love him! Later on based on strong recommendations, I also checked out the incredibly awesome Gamera Heisei trilogy, headed up by director Shusuke Kaneko (who brought that same kinetic energy to GODZILLA, MOTHRA & KING GHIDORAH: GIANT MONSTERS ALL-OUT ATTACK). So where does that leave me before I dive headfirst into the entire Gamera filmography? For me, MEMORIES FROM MONSTER ISLAND was my way of reconnecting with my childhood friend Godzilla to examine our long relationship and how it remains strong to this day. In this sense, TURTLE TALK will be me trying to make peace with an old acquaintance I've unfairly treated all these years. And Gamera, I wouldn't mind calling you my friend at the end of this. So sit tight, readers, because next week we're kicking off our coverage by blasting back to 1955 with (what else?) GAMERA!


          Phutureprimitive: Kinetik        

Addictive beats, heavy bass, sensual vocals, total immersion, all of these can be found in the newest, extraordinary album of Phutureprimitive, called Kinetik. This is a long awaited second release of the artist. The older one, Sub Conscious is less bass-centric and operates with longer tracks. Kinetik has a completely different, more ambient atmosphere, which opens a whole new dimension for the artist.

He has updated his sound in line with current musical trends, and expertly fuses heavy doses of dubstep and his trademark, melodic tendencies. Kinetik uses all the knacks of the new dubstep wave, but not the primitive way. His work demonstrates an influence from professional downtempo too.

As someone who only recently discovered Phutureprimitive, it will be a great adventure through a whole new world of dark, heavy electronic music. Perfectly timed beats and symphonic sounds are creating a great harmony, this music manages to be relaxing and motivating at the same time. Listening to this album was a really interesting experience, there weren't any tracks which I didn't like.

Here’s what Phutureprimitive has to say about the album: “This album is a reflection of the times we are living in, hard and aggressive, lush and beautiful, kinetic, frenetic, distorted, ever changing, but with each passing moment, a chance to move through life and make it a better place than we found it.”





The first track prepares you for the rest of the album, Cryogenic Dreams is simultaneously melodic and energetic, afterwards comes Kinetik and Xotica, both full of power due to their motion and fluidity of sound. They're very motivational, absolutely perfect for sports like running. Some of the tracks like The Changeling has heavy, powerful bass booming and deep, weighty vibes. In my opinion, there are two more notable songs, Ripple Effect and High Rez both have interesting human and digitally altered robotic vocals. These vocals on High Rez bring contrast to the heavy tone of the album with a more upbeat feel, still connecting to the rest of Kinetik with its choppy bass undertones. Synthy base lines overlay an irresistible rhythm created by digital percussion and intense melodic diversity in his work.
I think this is an album which can't be ignored.

Tracklist:

Cryogenic Dreams
Kinetik
Xotica
The Changeling
Rapid Cognition
Ripple Effect
High Rez
Predatory Instincts
Center Of Gravity
Disappear






Sources:
The Untz
Splendid Beats
Inrevu
          Indiana Jones & The Sky Pirates         
£4 RRP £5.99

In London, Indiana Jones is called to an emergency meeting. Mysterious sky craft have been ravaging the shipping lanes, making off with a fortune in diamonds, bonds, and raw materials.

Unable to detect how the craft are powered, experts have come up with a frightening hypothesis–involving the use of psychokinetic levitation.

To get to the truth, Indy must search through a labyrinth of archaeological information reaching back four thousand years.

But as he and his team move from Africa to Tibet to the American Southwest, they discover something even more astounding.

A clandestine organization is fast becoming an evil, world-dominating power–and the only way to stop it is in a high-tech, no-holds-barred battle on land . . . and in the air!


          Lockout/Tagout Awareness Training - Prolific Systems And Technologies Pvt. Ltd. , Dubai, Abu Dhabi, Ras al Khaimah, Doha, Riyadh, Jeddah, Dammam, Al Kuwait, Salalah, Manama, Mumbai         
Overview

Workers performing service or maintenance on machinery and equipment are exposed to injuries from the unexpected energization, startup of the machinery or equipment, or release of stored energy in the equipment.

The Lock out/Tag out standard requires the adoption and implementation of practices and procedures to shut down equipment, isolate it from its energy source(s), and prevent the release of potentially hazardous energy while maintenance and servicing activities are being performed. It contains minimum performance requirements, and definitive criteria for establishing an effective program for the control of hazardous energy. However, employers have the flexibility to develop lockout/tagout programs that are suitable for their respective facilities.
Course Content Includes:
  • Lockout and definitions
  • Hazardous energy control program
  • Control methods
  • Lockout devices and steps to lockout
  • Lockout processes
  • Alternate hazardous energy
Topic cover
  • Define what is meant by Lock out Tag Out (LOTO or Lockout/Tag out) and when it is used.
  • Identify the importance of LOTO.
  • Understand the roles and responsibilities of those involved with LOTO including LOTO users, those who may come across LOTO, and employers.
  • Know the requirements of the OSHA LOTO regulations.
  • List the three parts of a LOTO program including the development of a written program, the training of employees and how and when to implement the LOTO program.
  • Understand how and when LOTO “refresher” training is to be conducted.
  • Understand and define the different types of energy that might be encountered using LOTO. This includes potential energy, kinetic energy, electrical, hydraulic, pneumatic, and water/gas energy.
  • List the requirements of an Energy Control Program.
  • Know how and when to properly apply locks and other devises as part of a LOTO program.
  • Understand the advantages, disadvantages and limitations of locks and tags as part of a LOTO program.
  • Be able to list the steps of applying LOTO on the job. This includes proper notification, awareness of energy hazards, controlling the hazards (including blanking and bleeding off energy), applying LOTO, performing the work, removing equipment used and LOTO equipment, restarting the equipment and making proper notifications.
Understand considerations when working with outside contractors and LOTO

Cost:

Certified


          Day of the Slug Wave II, dropping Saturday!        
As promised, the 16 figures a year cheap-o indie minifig series continues with 4 new guys for Spring; Slugger Pusbottom the olde time pugilist, Latherface the chainsaw weilding maniac, Portal Mage, and his accomplace/vehicle/abode, the Portal Slug.

Trading cards are currently being printed for these 4 but they'll be available in the store by saturday.




Of all 4 this time, my persoinal favortie is the portal slug, due to the fact he is a stand alone figure, but can also accomodate another mini. I sculpted a ton of stuff onto him too.


From now on, value 4 packs will be available in any opaque color to order, in resin or rubber.

"
DROPPING APRIL 25TH, 23:00 GMT.
All RUBBER unless stated otherwise!
BUY A SET OF 4 IN ANY SELECTION OF DIFFERENT COLORS AND GET ONE OF THEM FREE (VIA REFUND).
CHEAP - O INTERNATIONAL SHIPPING! $5 for the first figure and just $1 for each additional!
TRADING CARD OPTION - CLICK: HERE
Intelligent slugs are not new to Earth. They're just small enough for us to not know about them. From the telekinetic deep sea nudibranch elders, to the hard-mantled terrestrial gastropod mollusc, their secrets are finally revealed - forcing them out into the open to live alongside, or battle mankind!!
- 4 Slugs per wave, 4 waves per year. That's 16 slugs to be released GUARANTEED in year one!
- Available in rubber or resin!"





          1/48 Seamless Intakes for Kinetic kit (EA-6B)        
1/48 Seamless Intakes for Kinetic kit (EA-6B)

Buy Now
          Shot Show 2016 Hottest Products        

SHOT Show 2016 was just a couple weeks ago. There were a lot of products and many of them are exciting. Here is a summary of some of the most interesting items.

 

Cobalt Kinetics AR15 auto mag drop

Probably top of the list for everyone there would be the Cobalt Kinetics AR15. Their AR has a unique feature that has not been done before in the world of AR15s. When the AR fires the last round of a magazine, the empty magazine is automatically dropped out of the magwell. When the shooter reloads with a fresh magazine, the bolt will automatically close when the magazine is seated. This feature will be very popular in the competitive world of 3Gun.

 

21 rd 27rd Magpul Glock magazines

 On the horizon of magazine development Magpul is following the competitive market. Just like Elite Tactical Systems made a competition length 140mm Glock magazine, Magpul showed their new Glock magazines in 21 rd capacity and 27 rd capacity.

 

 

Torkmag 50rd AR15 magazine

 

Torkmag has an interesting roller follower design. While there have been roller style followers in the past, the Torkmag is different than the rest. Due to the dual spring design, coil and clock spring, there is more room for more ammo. Their standard size AR15 magazine holds 35 rounds. And a ½ inch longer than a 40 round magazine and their magazine can hold 50 rounds.

 

Hexmag AR10 magazine prototype

Hexmag showed off their AR10/SR25 prototype magazine. Hexmag has been wildy popular and now they are expanding into .308 magazines.

 

 

With regards to AR15 accessories, the PDW style stock can be seen everywhere. Originally designed by North Eastern Arms, the NEA Compact Carbine Stock concept has been copied by so many. Troy Industries came out with their M7A1 stock. One downside to that design and the NEA version is that they require a proprietary bolt carrier group/buffer. So companies like MVB Industries made a version that is compatible with any bolt carrier group for an AR15. Troy has followed suit with their release of the Tomahawk Stock. Similar to the M7A1 PDW design, it is a collapsing stock. Strike Industries has come out with their take on the PDW stock. Their version has a spring release so when you deploy the stock from its collapsed position, it shoots out automatically into the deployed position. They plan on making two versions. One compatible with Troy/NEA BCGs and normal BCGs. Falkor Defense has their own take on the collapsing PDW stock. 

Falkor Optimus stock collapsed

Their Optimus stock uses a single rod, compared to NEA style dual rod systems, and it unfolds to a carbine length stock.

Falkor Optimus stock deployed

 

For classic firearm afficionados Hill and Mac Gunworks has released their reproduction Sturmgewehr STG44. A couple years ago GSG made a .22LR replica of the infamous STG44. For those not familiar with history, the STG44 was designed by the Nazis at the end of WWII. It predates Kalashnikov's AK47 and Stoner's AR15. The STG44 is known to be the predecessor of the modern assault rifle. Well HMG's version will be in an assortment of calibers. It will be made in its original caliber of 7.92x33 Kurz but for those wanting a more common caliber HMG will make them in 5.56x45 , 7.62x39, and .300 BLK. Cost is a bit high at $1799 but if you compare how much a real STG44 costs, it is a real bargain.

 STG-44

SilencerCo brought out their Maxim9 integrally suppressed handgun. When SilencerCo first announced the Maxim9, it was built onto modified Smith & Wesson M&P9 handguns. They have switched focus and decided to build the Maxim9 around the ubiquitous Glock 17 magazine. With the popularity and availability of Glock17 magazines, it made sense to design the gun to use them. The Maxim9 will also be cut for Glock sights. They are looking into cutting the Maxim9 for RMR MRDS and integrating a light/laser system.

SilencerCo Maxim9 handgun

 

 

OSS suppressors

With regards to suppressors, none were as impressive as OSS Suppressors. While they are not new to SHOT Show 2016, they have reached out to get their product and name better known. They rented the Battlefield Vegas range for the entire week of SHOT Show. My friends and I got to go and test their system. We were inside a small indoor range with only about 8 lanes. It felt too small to be shooting such guns as full automatic belt fed M249 and Barret MRAD .338 Lapua Magnum. But my concerns were assuaged once we started shooting the guns with OSS suppressors. We were like kids in a candy store. The back wall was covered in rifles outfitted with their suppressors. There was even a .50 BMG rifle. Strangely none of the guns available to test were actually normal civilian weapons. My friend wanted to try a 16” bbl AR15 and the closest thing they had was a 14.5” SBR. Most of the guns were full auto. Shooting a .338 Lapua inside this small space was the most impressive. We got a chance to take our hearing protection off momentarily to hear the Lapua. It sounded like an unsuppressed .22LR. We were required to wear hearing protection because there was another group at the first 4 lanes and they were shooting unsuppressed.


          Darwin's Armada and beyond - are sailing and science the perfect match?        
By Australian guest blogger Rachel Slatyer. Rachel is a PhD candidate studying adaptation in alpine grasshoppers. She spends her spare time sailing on tall ships and hopes to combine her science and sailing passions through involvement in the HMS Beagle Project.

I recently started reading Darwin's Armada, about the voyages undertaken by Charles Darwin, Joseph Hooker, Thomas Huxley and Alfred Wallace, and how these voyages influenced their scientific ideas.  The results – not least the theory of evolution by natural selection â€“ speak for themselves. It made me think about how many other voyages led to scientific discoveries, or provided an opportunity for a researcher to clear their mind and make sense of a problem.

For my birthday last year, my Dad gave me an inspired gift – a book entitled Voyages of Discovery. Upon opening the book I immediately decided I was born in the wrong era (and the wrong gender, because a woman in the early days of sailing exploration would’ve had a mighty hard time getting a berth on a ship, let alone a position as a scientist). 

While this book focussed on natural history - and on the beautiful illustrations produced on voyages before photography - I was sure other fields must have had their own “voyages of discovery”. I set about doing some background reading and stumbled across some amazing stories – some well-known and others less so (at least, I’d never heard of them!).

With the recent transit of Venus, and my work on the replica of Captain Cook’s Endeavour earlier in the year, the first example that sprung to mind was the Endeavour’s voyage to track the 1769 transit of Venus. Four times every 243 years, Venus passes between the Earth and the sun. With a few measurements and some complicated mathematics, once can calculate the distance from Earth to the Sun. 

Cook left England in 1768, sailing the Endeavour to Tahiti, where the Royal Society had decreed the transit be viewed. Much to my disappointment, Cook and the astronomer Charles Green observed the transit from the shore, as they needed a stable platform and plenty of space – two features entirely lacking on a ship and particularly on the Endeavour – for accurate observations.

Captain Cook passed through Java, home to the black panther, on the return voyage from Tahiti.
He lost 40% of his crew to a fever picked up there.
Sixty years after Endeavour left England, an armada of exploration ships departed the shores of the United States. The USS Vincennes, USS Peacock, US Brig Porpoise, USS Relief, US Schooner Sea Gull and the US Schooner Flying, with a combined displacement of 2157 tons, carried 346 men including 7 scientists, around the world in 4 years (there’s nothing quick about sailing expeditions). 

The figures from the expedition are mind-boggling – nearly 3,000 bird, mammal and fish specimens, over 50,000 plants representing 10,000 species. These collections were to form the foundations of the Smithsonian Institute, and 24 scientific volumes were produced from discoveries made during the expedition, covering fields including meteorology, zoology, botany and physics. 

The US Ex Ex visited New Zealand and brought back ethnographic artefacts.
Today, tall ships still ply these beautiful coastlines.
Another 60 years on, in 1893, the Norwegian explorer Fridtjof Nansen sailed into the Polar Sea on his ship the Fram. A far cry from the US Expedition, Nansen took just 12 men with him. Nansen’s goal was to reach the North pole and, in doing so, prove Henrik Mohn’s theory of an east-to-west current over the Arctic Ocean – this it did spectacularly and also proved that the polar ice sheet was just that – ice – with no continent buried underneath. 

How did he do this? Well, Nansen designed a ship specifically to withstand pressure from the ice and a hull shaped so that the ice forced it upwards rather than down into the ocean depths. Nansen then sailed her into the ice pack and waited for the currents to push the ship to the North Pole. After 18 months of inching across the Arctic Ocean, Nansen left the ship in an attempt to reach the Pole. Although Nansen didn’t make it to the Pole, he went further north than anyone had been before. His ship continued her slow and steady progress to the North Atlantic and was finally freed from the ice after nearly three years.

Each of the voyages above embarked with the specific purpose of making scientific discoveries. Others, however, stumbled on scientific breakthroughs unexpectedly. In 1840, German doctor Robert Mayer signed on to a Dutch ship bound for Java. During the voyage, Mayer came across two interesting phenomena: first, that the ocean becomes warmer in a storm and second, that in warm environments (like Indonesia) blood from the veins was more brightly red than it is in cold environments (like Germany). 

Somehow, from these seemingly unrelated observations, Mayer formulated the first law of thermodynamics – the conservation of energy. Unfortunately for Mayer, English physicist James Joule came up with the same idea not long after and, being a qualified physicist, was given all the credit. I still think this counts as a discovery made at sea.

A fall from here would be a demonstration of the first law of thermodynamics, with your potential energy at the top of the mountain being converted into kinetic energy as you fall.
One thing I realised while I was reading about these voyages was that there were a lot of them! It seems like the great age of sail coincided with a great age of scientific discovery. Was this a coincidence? 

Here is a question to ponder: did sailing ships serve merely as vehicles, in the days before aeroplanes, or were they (and are they still) a quintessential component of scientific discovery? In other words, is there something about being stuck in a small, crowded space in the middle of the ocean for weeks or months on end that inspires scientific inquiry? 

I’m inclined to believe that bobbing up and down on a still day, or racing along with a good wind abaft the beam allows the mind (at least the part that isn’t concerned with the weather, the minutiae of sailing the ship or the delicious smells wafting up from the galley) to wander into all sorts of weird and wonderful places and forces one to take the time to let the little whispers of ideas grow and develop. And if that’s not enough, a sailing ship did, and still can, take you to remote and wonderful places where there is always the possibility of discovering something new.


           The kinetic performance of locally isolated immobilized phenol degrader in repeated batch culture         
Misson, Mailin (2007) The kinetic performance of locally isolated immobilized phenol degrader in repeated batch culture. Masters thesis, Universiti Teknologi Malaysia, Faculty of Chemical and Natural Resources Engineering.
           The kinetics of phenol degradation by immobilized pseudomonas sp in a repeated-batch process         
Mailin, M. and Firdausi, R. (2007) The kinetics of phenol degradation by immobilized pseudomonas sp in a repeated-batch process. Malaysian Apllied Biology, 36 (1). pp. 73-78. ISSN 0126-8643
           Effect of reaction conditions on electron induced graft copolymerization of styrene onto poly(ethylene-co-tetrafluoroethylene) films : kinetics study         
Rohani, Rosiah and Nasef, Mohamed Mahmoud and Saidi, Hamdani and Mohd. Dahlan, Khairul Zaman (2007) Effect of reaction conditions on electron induced graft copolymerization of styrene onto poly(ethylene-co-tetrafluoroethylene) films : kinetics study. Chemical Engineering Journal, 132 (1-3). pp. 27-35. ISSN 1385-8947
          When Bravery Doesn't Bring Expected Results        
One of the undeniable attestations of being a human is growth will keep coming.
One of the side-effects of being an adult is the hurt will visit frequently and the discomfort will be a close companion.

I've had the topic to which this post will explore stirring within for quite some time.  
It's been noted that much can happen in a year. I can't say I expected how truthful and repetitive this would be in regards to my life. Repetitive, for it's not just last year to current that has sped though on the back of difference - but in only 6 months' time, transformation has taken the reins yet again and proved that even more alterations can be stitched to a soul.

It may be hard to narrow down all this lingering pensiveness. Bear with me?







I've moved positions and places within my house three times. All before typing this sentence.
Antsy creeps like a rash and I don't know why I can't just get this out. 

Brave. 

It wears as varying shades on different people. It looks altered from one person to the next. 
Yours may not look like mine. Mine may not feel like yours.  
But brave is action verb. It has movement and requires present-tense to survive. 
The word dies out with stagnation. 
Do not mistake stillness with stagnation. Because sometimes bravery is choosing to stay in stillness when every molecule is screaming kinetic.
Stagnation, in contrast, is putrid immobility. 
It is lock. Non-advancing. 
A breeding ground for decay.

Do not decay. Let oxygen flow though your pores and pieces. Give brave a try.


B u t I have heed to lend. Bravery may not reward how you expect.


Sometimes, standing up and doing the thing you fear in the face of nothing you've known will not give you the anticipated result. 
Defending the hurting may not bring their gratitude.
Standing up against tyranny may not garner respect nor any measurable change.
Quitting the dangerous habit may not help you feel any better.
Speaking words you've never before let escape your lips, sharing portions of your heart and mind, may not even get 
a response or acknowledgement from the receiver.
You may be left alone in the wake of your brave.

Do not let that stop you.

Like fireworks, our brave pulls apart the dark. It competes against the stars - the light we emit when we do the things we fear.
Our legacies hide in the ashes - after the brilliance fades, the evidence remains. The proof that we were, that we took action, that we chose to be afraid, and to do it anyway.

Because it's not brave if you're not scared. If you have nothing to lose, it's not courage, it's effortless. And when has effortlessness enacted change?
Growth is effort. Transformation fights with all its heart. To exist. To leave the scars that are loud and clear. To not be erased.

I can tell you - no matter the result - brave will make you feel more beautiful, strong, thriving and thankful.
To participate in the architectural process of your form - is a partnership you will never regret.
He is the giver of worth.
Of newness and redemption.
He is the constructor of brave.
He will supply the picks and edgers and buffers so go ahead -- build your silhouette.

You may often encounter portions of life where the cause does not present the effect for which you were waiting. But in those moments, may I challenge you as I am so often challenged? My postulation is this - something else did happen. There is a result to your action or the event that occurred around you.
Maybe you fortified your steadiness where wavering once stood.
Maybe closeness of Spirit lingered where before, you felt the rushing wind of lonely. 
Maybe wisdom embedded in your bones where uncertainty used to root. 
Maybe authenticity finally won the day and you decided that the masquerade offered no way to breathe.

Whatever occurs, do not let the after prevent the action.


I have been experimenting with what brave looks like. I think that has been the propellant for the change I've seen so drastically over this past year. Even into the 6 months. I've been listening to the stirs and saying more "yes" and less "but why". I've flirted with teflon abilities - not letting the unnecessary stick. I'm cultivating the follow to His "come". Trying out obedience in the place of shame-driven apathy. 
I am deciding to see worth where I once assigned paltriness.
And I am such a work in progress. I am wobbly and weak. I seek water in the desert of approval and wonder why I'm always parched. I draw near to the flames of lie-believing identification and am surprised when I blister.


But I'm yearning to be taught. I ask for lessons in the brave, because I have so much fear to drive past.

I may not receive what I initially thought I was supposed to work for. You may not either.
But I can speak from personal experience - the beauty of what does happen is far more stunning than any of my imagined rewards. Because my prize is discovering more of who He is calling me to me. 
It is His brilliance, pulling apart the dark. And He is giving me the ability to do the same. 
He is giving me more, for my less. Brave, to face more fears.

So I will stay the course. I will let the tension of transforming make me new. Open up just enough to let it all in again. The Light. The Lovely. The Truth.




          Pics + Video: Kristen Stewart Makes Her Directorial Debut With ‘Sage + The Saints’ Video!        


“Take Me To The South” by Sage + The Saints. Coming Wednesday May 28th, 2014.
Directed by Kristen Stewart + David Ethan Shapiro
To be at all familiar with Kristen Stewart — she had a small role in some vampire movies, maybe you’ve seen them — is to know that she’s not particularly comfortable in the spotlight. She’s a kinetic speaker, elliptical and often self-deprecating, so perhaps it’s no surprise that at 24, she’s already making the move to the other side of the camera. As part of its ongoing Blank Check Series, the denim/lifestyle brand Buffalo David Bitton offered Stewart a modest-but-undisclosed amount of money to “embark on a new creative journey,” which the Twilight star used to co-direct a music video for her friend Sage Galesi of the country-rock outfit Sage + the Saints.
“I’ve been saying I want to direct movies since I was 10 years old,” says Stewart, on the phone from somewhere in New Orleans, where she is currently filming the action comedy American Ultra. “And then I started making movies and working with such incredible people that I realized what I was up against. So it was like, no way, now I’m gonna get more attention than I ever should just because of who I am. Basically, I’m grateful to Sage, because she was like, ‘I have this little thing, no one could tell the story better than you. . .just do it and stop being such a pussy.’”
So Stewart, along with co-director David Ethan Shapiro of Starlight Studios, cinematographer/editor James Gallagher, and some mutual friends, decamped to Tennessee for five days in February to shoot the video for “Take Me to the South,” a song off of the Saints’ 2013 EP I Will Lie. (Galesi just launched a PledgeMusic drive to help fund a full-length album.) Filming in and around the L.A. songwriter’s adopted hometown of Nashville, Stewart and Co. shot documentary-style footage of Galesi performing at the High Watt, playing downtown street corners and goofing off with pals in the back of a pickup truck. “We wanted it to feel like a glimpse of her life,” explains Stewart. “And that’s fucking hard. As soon as you start rolling, everyone turns into deer in the headlights.”
The video for “Take Me to the South” premieres later this month. In the meantime, Stewart, along with Galesi and Shapiro, was enthusiastic to discuss her directorial debut via conference call: “It’s so much nicer doing interviews as not what I usually am.”
Your Twilight costar Nikki Reed produced a video for a song called “Edie Sedgwick” from Sage’s solo days, right?
That’s how we met, yeah; it was on the set of a movie in Vancouver seven years ago, and then we became really good friends.
The video has an improvised, homespun feel. What, if any, narrative did you come up with?
Sage lived all of this; we fabricated nothing. I wanted the video to feel really captured and found rather than set-up and executed. The story is that she’s insanely courageous to be this kid from L.A. who doesn’t hang out with anyone that listens to country music — and suddenly she realizes she wants to be a country star, and drives to Nashville by herself to see if she can meet people and be in a band. Then she did it all. It was so easy, once she presented me with the idea. I was like, well, that’s what the video is. It’s done. Basically, I didn’t want it to feel…I mean, nobody wants their shit to be pretentious, but like, I didn’t want it to seem like we wanted to be cool at all. Country music’s not cool. It’s truthful and it’s sweet.
Are you a fan of country?
No. This is what’s so funny. This is something that Sage and I have not shared, and most everything in our friendship is. . .we have so much in common. So I was like: What? You want to do a country song?
Did you do anything to prepare?
Well, I sat down and watched a lot of country videos before we started doing this. I just didn’t really see anything that wasn’t trying so fucking hard to be something. But I need to specify something about what I just said: I wasn’t talking about all country music. The country music that Sage is playing — she’s not trying to be cool. And the story was so clearly in front of us, I didn’t need to look elsewhere to get inspired. Also, you go to Nashville and everyone eats, breathes and sleeps country music, [so] being there was this transformative thing. All of our friends were, like, “Hey baby, hey darlin’, how you doing?” It’s a really contagious and super-welcoming place.
What was the primary challenge you faced as a first-time director?
It’s such a different pressure than the one that I’m used to when I act. It’s this very consistent strain that never lets up. Whereas with acting, there’s small bursts. . .you alleviate bits of tension for the camera and then you go off and, I don’t know, wait to stress out again. But there wasn’t one second that I wasn’t sitting with my head in my hands. It’s your responsibility to hold this thing together, and I was always concerned I was missing something. Missed opportunities are the most gut-wrenching, painful, nauseating thing. As an actor, your job is to lose yourself in the moment. Losing yourself is the last thing you want to do as a director, so it goes against my instinct. I had to harness my energy rather than let it explode all over the set.
Sage and David, how would you describe Kristen’s technique?
Shapiro: She’s very passionate. She either loves something or she hates it.
Galesi: She was a natural. She was good at not over-directing, but making sure that certain beats were captured, and telling me which moments they were going for. Being friends just makes it easier, because she could tell me something very easily.
Stewart: I felt so funny making Sage do things more than once. It was a strange experience, because I wanted to never have to do that. But there were a couple of moments where I made her do something 10 times. Most of the time it felt like we were doing a documentary, but that’s when it felt like a movie.
Like in which scene?
Stewart: We’d done so many takes of this one shot of her looking over her shoulder and it felt planned, like she was on cue. But then I caught her standing backstage for a show, looking at this guy, and she doesn’t necessarily have a crush on this dude. . .
Galesi: Let’s make it very clear that I do not have a crush on that guy!
Stewart: Yes, that’s one thing we made up. Anyway, basically she’s standing there watching this dude play, and he just so represents everything that makes Nashville so different to anything we grew up with in Los Angeles — because he’s so goddamned country and I just loved pointing a camera at him. I caught her looking at him, and it’s very silhouette-y, so you’re straining to see it more, which I really love, because she’s having this private moment. And I was like: “Hey, Sage, what are you doing? You’re being so obvious.” She’s like, “What? No!” Cut. We got it.
You’ve worked with an impressive list of actors and directors: David Fincher, Sean Penn, Jodie Foster. Is there anybody you’ve learned a lot from or tried to channel here?
I mean, specifically, no, but absolutely everything that I’ve done has changed my every desire. It sounds ridiculous naming these people but [On the Road director] Walter Salles and [Into the Wild's] Sean Penn work the same way I would like to work. It’s about being able to always, always, always sniff out bullshit and refuse to eat it. You honor whatever you’re working on so much that to make a mockery of it would be so principally wrong. That’s the feeling those guys have. I feel so safe with them as an actor, because I know for a fact that I can try things and fully let go and they will never allow me to do anything untrue. I definitely want to explore this avenue of my life, and that’s the way that I would definitely strive to do it.
Do you have any plans to direct any future projects?
I have been working an insane amount recently. I definitely need to take a break and reorient my mind, because if I’m going to put that much time in, it needs to be something I’d die for. There’s a couple of shorts that I’ve written that I want to do really badly. I’ll probably move forward and fuck up a few times. Typically you’re allowed to throw stuff at a wall and see what sticks. You don’t have people staring at it, going, “K-Stew’s making a movie!” It’s embarrassing. I have to figure out who I want to work with. This video is four of us — me, Sage, David and James — collaborating, and that’s not me not wanting to say I directed something. It’s people, for lack of a better word, “vibing.” A director is only as good as the people they work with. I gotta figure out who my boys are!

           A fibrocontractive mechanochemical model of dermal wound closure incorporating realistic growth factor kinetics         
Murphy, K. E. and Hall, C. L. and Maini, P. K. and McCue, S. W. and D L Sean, McElwain (2012) A fibrocontractive mechanochemical model of dermal wound closure incorporating realistic growth factor kinetics. Bulletin of Mathematical Biology, 74 (5). pp. 1143-1170. ISSN 0092-8240
           A fibrocontractive mechanochemical model of dermal wound closure incorporating realistic growth factor kinetics         
Murphy, K. E. and Hall, C. L. and Maini, P. K. and McCue, S. W. and McElwain, D. L. S. (2011) A fibrocontractive mechanochemical model of dermal wound closure incorporating realistic growth factor kinetics. Bulletin of Mathematical Biology . (Submitted)
          Comment on The physics of running red lights by Barney Laurance        
The difficulty of getting started is all about overcoming inertia, replacing all that kinetic energy that went to heating up your braking system when you stopped. I don't think air and rolling resistance really come into it, since you're working even harder against those while cruising at a steady speed.
           Low-kinetic energy impact response of auxetic and conventional open-cell polyurethane foams         
ALLEN, Tom, SHEPHERD, Jonathon, HEWAGE, Trishan M, SENIOR, Terry , FOSTER, Leon and ALDERSON, Andrew (2015). Low-kinetic energy impact response of auxetic and conventional open-cell polyurethane foams. physica status solidi b, 252 (7), 1631-1639.
          Secrets of today’s serve – The kinetic chain        
Click Video Highlight: Secrets of today’s serve – The kinetic chain Description: Check out USPTA Professional Rick Macci talking about the importance of the kinetic chain on the serve. Tip: What is the kinetic chain and how it can help … Continue reading
          Kinetic chain on the serve        
Click Video Highlight: Kinetic chain on the serve Description: The video features USPTA Professional Mark Kovacs, Ph.D., explaining the importance of the kinetic chain on the serve. Tip: We all know that the serve is one of the most important … Continue reading
           Discount Kinetic Roadmachine Fluid Trainer With Wired Power Computer, Rising Ring, Floor Mat Review        
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          Comic Shop Comics: July 12th        
To my great disappointment, my comic shop had sold out of Dark Days: The Casting #1 by the time I got there after work, so the individual issue I was most looking forward to reading last night was unattainable. Luckily, there was still one comic I was intensely curious about--the first issue of the new Wonder Woman team--and a new issue of one of my all-around favorite ongoing monthlies, Josie and The Pussycats, so it's not like it was a complete waste of a trip or anything. Anyway, here's what I brought home with me last night...


Detective Comics #960 (DC Comics) This issue splits its attention between two so-far un-related plots, Batman trying to get some particular information from Zatanna that is only available through a particularly dangerous magical object, and the Azrael stuff.

The former is all pretty well written by James Tynion, complete with flashbacks to the time they spent together in their youth, Zatanna trying to scare Batman out of using the device and discussions about magic in general. The latter is a little messier, in part because it seems to deal with thorny continuity issues--Tynion references some very old-school, pre-reboot business as well as his own, current version of Azrael and the Order of St. Dumas, and doesn't do a very good job of synthesizing the two different versions, making this another example of the number one problem with DC's half-ass reboots--and in part because it has, so far, nothing at all to do with the other plot.

I guess that's how comic books might have worked in the '70s, '80s and '90s, but it feels wrong in 2017, when we've come to expect story arcs rather than soap opera-style plots and sub-plots that don't always align.

There's also what looks to be a robot pope in one scene of this. I really like the robo-pope. He looks cool.


Gotham Academy: Second Semester #11 (DC) This is it! The penultimate issue of Brenden Fletcher and company's Gotham Academy saga, under both its titles. As the cute cover by original series artist Karl Kerschl indicates, this issue once again sees Maps Mizoguchi crossing paths with Damian Wayne, and thus it is one of the better issues since the last time Maps and Damian shared panel space.

The characters are so divergent from one another, so opposite that Maps plays off of Damian maybe better than any other kid character, certainly better than any of Damian's current Teen Titans line-up, or his friend Maya or even the new Superboy, whose odd-couple chemistry is what is powering the current Super Sons ongoing.

It's pretty clear that the market has spoken in terms of where it stands on Gotham Academy, and re-tooling the book so completely as to make it more salable would be a disservice to Fletcher, Kerschl, Cameron Stewart, Becky Cloonan and company's original conception, but I for one would love to read a new Robin series by Brenden Fletcher in which Damian Wayne enrolls at the Academy, and Maps is a prominent part of his supporting cast.

Anyway, now that the fact that Olive is semi-possessed by a centuries old pyrokinetic witch is firmly established, Maps is ready to write her old friend off completely, but Pomeline and Colton convince Maps to help them get the one thing that might cure Olive, which is held in a safe in Wayne Manor.

Unfortunately for them, Two-Face has the same idea, and so it's up to Damian and Maps to team-up and save the day. So, yeah, lots of great Maps/Damian scenes.

Gotham Academy's Two-Face still seems a bit off, especially compared to the one in All-Star Batman; just seeing him work with regular hench-people in ski-masks seems wrong. The last pages, in which Damian reappears as Robin are pretty great, as is the moment he hands something over to Maps. I think the sequence could have been handled a little better, as it's not entirely clear if she even takes in who he is under the mask or not; it could very easily be not, considering how worried she is for Olive at that point.

It's ending, but if this issue is any indication, than at least it's ending strong.


Josie and The Pussycats #8 (Archie Comics) What fortuitous timing! Just yesterday Archie Comics announced a new series called The Archies, focusing on the Archie's band (last seen, I think, as first The Reggies and then The Jugheads in the pages of Jughead), and then the very same day The Archies guest-star in the pages of Josie and The Pussycats...!

What are they doing there? Well, apparently The Pussycats invited them to open for them when they played the Tokyo Dome. In Japan. That's...a pretty good gig for a high school garage band. The Archies are mostly incidental to the plot, there to zing and ping quips off of, as most of the action involves the Pussycats' decision to either keep Alan M as their manager, or accept Alexander Cabot's offer to be their manager. Both have their downsides; Alan slept with Josie and kinda sorta broker her heart a little bit. Alexander kidnapped the band and flew them to his Antarctic fortress.

Oh, and then there's the fact that Alexander's sister, Josie's long-time frenemy Alexandra, just slept with Alan the previous night, and the pair of them must wrestle with whether it's better to tell Josie and potentially hurt her feelings, or not tell Josie, and potentially hurt her feelings.

It's great that Cameron DeOrdio and Marguerite Bennett, have finally got all of the players in the same comic at the same time, as well as The Archies for texture, and they are doing a pretty good job of balancing drama, music and crime-fighting, as villains the Pussycats previously busted return to exact their revenge mid-show.

There was a cryptic meta-statement from Melody that kinda scared me there, but I haven't heard anything official to confirm it yet.

As usual, the 20-page story is followed by...seven goddam pages of Riverdale (the TV show) ads.


Wonder Woman #26 (DC) The Wonder Woman title experiences its first transition between writers since last year's "Rebirth" relaunch, and only its fourth since the 2011 "New 52" reboot and relaunch. The new writer taking the torch from Greg Rucka is Shea Fontana, a name that will likely be unfamiliar to a lot of DC Comics readers and fans, but she's not exactly new to scripting comics starring female superheroines, including Wonder Woman. Fontana, a television writer, has been writing original graphic novels based on the Mattel line of DC Super Hero Girls toys and merchandise (I've read two of the three published so far, and they were both just fine).

Fontana, who is writing a five-part, place-holding story arc, is paired with artist Mirka Andolfo, who similarly has a great deal of experience with Wonder Woman, just not this Wonder Woman, as Andolfo has been a long-time part of the DC Comics Bombshells artist roster.

I was quite pleasantly surprised by their first issue. It is a little strange to finally be reading a "new" Wonder Woman story after so long, as the entirety of Greg Rucka's 25-issue run (plus an annual and a special) was devoted to telling a single story, that of Wonder Woman's origins and conflict with Veronica Cale. Because this is not that, I worry that many readers will think it feels like a fill-in arc, something to generate content while DC waits for the next writer's scripts to get drawn (That next writer, by the way, is James Robinson, although I believe he too will have a pretty short run).

Fontana opens with Wonder Woman and Steve Trevor on a mission to protect a U.N. refugee camp in Greece, where she sees something that triggers a painful (but cute!) memory of her own girlhood on Themyscira. Back home, Diana has a medical check-up which seems slightly suspect, and then joins Etta Candy at Etta's brother's wedding (Sadly, her brother is not named, so we don't know for certain whether or not the brother getting married is Mint Candy). There Diana encounters a little girl, and a pretty rote cliffhanger ending (see the cover), although it is presented in a rather dramatic fashion.

Andolfo's artwork is in pretty sharp contrast to her predecessors Liam Sharp, Bilquis Evely and Nicola Scott, but it's good, and I liked how cute everyone looked...not just Wondy and the Amazons and Etta, but even the gray-haired, mustachioed army guy and so on. Like the storyline being started, it's a pretty drastic change of pace, but it's a refreshing one.
          Pope: Recommendations pour Obama        
Je recopie ci-dessous cet excellent texte de William P. Pope, ancien coordinateur pour le contre-terrorisme au Département de Sécurité Nationale américain, publié par Europe's World. Il s'agit de recommendations pour le Président Obama en matière de lutte contre le terrorisme. C'est selon moi un texte sobre (pas toujours le cas dans cette littérature) qui reprend bien un grand nombre des aspects de la lutte contre le terrorisme, malgré la longueur limitée de l'article. Ce sont en tout cas des recommendations que je partage en grande partie.

Confronting global terrorism: recommendations for the US president
Author : William P. Pope

As the President of the United States, you are tasked with confronting a world of unprecedented complexity. One of the most vexing problems, but only one of many, is global terrorism. It is at least a generational problem and likely more. While the Bush Administration did much right in the days after 9/11, it went seriously off track in Iraq, which diminished the effort in Afghanistan. Domestically, it undermined our civil liberties and took other wrong steps. For the sake of the country and the success of your administration, you must speak clearly and forthrightly to your fellow Americans and our friends abroad. You cannot be the “action officer” on every daily twist and turn of our counterterrorism efforts, but you set the moral direction and make the most important policy decisions. Therefore, you must have a broader world view and greater personal understanding of world history and the relationship of current events to that history and to each other. It is essential that you understand and respect other countries, societies and religions and not view them through ideology-tinged glasses or as Americans at a remove.

In making and leading US counterterrorism and homeland security policy, please keep a few key points in mind. They include:

Terrorism is not new: Terrorism did not just spring up, fully formed, on September 11, 2001. Secular terrorists hijacked an El Al airliner in 1968. We are also reminded of the massacre of the 1972 Israeli team in Munich. In Europe, there was a long struggle, not yet entirely won, against the Red Brigades, IRA, ETA and others. Numerous attacks against the US, from Beirut to New York to East Africa to Aden, pre-dated 9/11. Terrorism is not a 21st-century phenomenon.

Terrorism is not an existential threat to the US: Yes, Osama bin Laden hopes to acquire a nuclear weapon. He surely would use it, if he could. That said, remember that the Soviet missile threat was an existential one. Bin Laden and other murderers cannot destroy the United States and cannot undermine our way of life, unless we let fear do it for them.

Keep terrorism in perspective: Therefore, it is essential that your administration keeps terrorism in perspective. Combating terrorism is an essential duty, but you and your colleagues at the top of the government must set the example and be seen to be calm and resolute. Resist recommendations to stoke public emotion and fear, even if doing so might be of short-term political advantage. The US has confronted and defeated much worse. So have our allies. Even if al-Qaeda manages to set off a nuclear device in a US city, we must not again resort to counterproductive actions, such as widespread incarceration of Muslim-Americans; brusque treatment of our allies (“with us or against us”); glaring lack of understanding of other cultures; and questionable approach towards the very civil liberties our country stands for. Former CIA operative Glenn Carle wrote recently that “We must not delude ourselves about the nature of the terrorist threat to our country. We must not take fright at the specter that our leaders have exaggerated.” Carle is right. I suggest that you bring in balanced experts like Carle, as early as possible in your term, for a reality-check on the factual state of international terrorism and how to confront it.

Terrorism is a tactic, not an ideology: We need to prevent and mitigate terrorist acts while doing what is, in some ways, the more difficult thing - understanding who uses this tactic and why. Are terrorists really just “crazy dead-enders?” Kremlinologists studied the Soviet Union in order to understand better how to contain it. Now, we must understand terrorists and their motivations. Willful ignorance will not do. Many terrorists are well-educated and seemingly very normal, especially the leaders. Several experts, such as psychiatrists Jerrold Post and Marc Sageman, have done extensive studies of the terrorist mindset. Your administration should make a point of consulting such experts early and often.

We must be patient: The terrorists are. Bin Laden’s deputy, Ayman al-Zawahiri, wrote that “the Crusaders in Palestine and Syria left after two centuries of continued jihad.” While the FBI and others have worked hard, it may be that such patience on the part of the terrorists is why we have not been struck again. Al-Qaeda waited eight years between the first World Trade Center attack and 9/11. The struggle against terrorism will be generational. The previous administration pledged to carry on the global fight against terrorism until “victory” and until the terrorists were “defeated.” Many people think of “victory” as the signing of a surrender document on the deck of an aircraft carrier. As devoutly as we wish it, such a “victory” will not happen. As with the War on Drugs and War on Poverty, this struggle against global extremism and terrorism cannot be “won,” in the classical sense. Even if bin Laden were captured and forced to sign a document, al-Qaeda and regional terrorist groups would carry on. There will be no quick fix.

Words Matter: The “War on...” formulation is one we Americans understand. Earlier administrations fought “wars” on drugs, illiteracy and poverty. The Global War on Terrorism - GWOT - is an easy short-hand. Unfortunately, much of the world hears this term negatively, as an over-militarisation of the response. The leaders of our major European allies have banned the use of the “war” term. Even former Secretary Rumsfeld recognised that we needed different terminology. One of my students recently proposed “Multilateral Coalition Against Terrorism.” That term hits some important positive notes for our allies. Useful for us Americans is that MCAT is a pronounceable acronym. Your counterterrorism experts surely can devise a better term than the GWOT.

Iraq is not the front line: You should be clear with the public that Iraq is not and was not the front line against terrorism. Saddam did aid secular terrorists, but not al-Qaeda. In fact, Saddam was the kind of secular ruler who would have been in bin Laden’s sights, sooner or later. Further, you should make clear that your administration does not subscribe to assertions that we were drawing the world’s terrorists into Iraq in order to eliminate them. This assumes that there is a finite number of terrorists to do away with. Also, it was never possible that al-Qaeda would “take over” post-Saddam Iraq. Iraqis, even the insurgents, would not turn over their country to outsiders, such as the Egyptians, Saudis and others who populate al-Qaeda in Iraq.

Pakistan is the front line: The Pakistan-Afghan border is the front line against global terrorism. Bin Laden and Zawahiri almost certainly are there, and al-Qaeda has made considerable progress in reconstituting the capabilities it lost in Afghanistan. Planning for another 9/11 or worse surely is going on there. Your administration must find a way to continue the hunt for the al-Qaeda leadership in Pakistan without destabilising the government in Islamabad. At the same time, it is urgent that major military and development efforts be made in Afghanistan to halt the deterioration there and suppress the Taliban to the maximum. Iraq was a huge mistake that led to the diminution of effort in Afghanistan. You must reverse it.

Not primarily a military struggle: We truly must use all instruments of national power to suppress extremists and terrorists. The previous administration over-militarised the struggle. It was seen primarily as a war and the military as the principal instrument for dealing with it around the globe. Those who understood that the struggle is primarily an intelligence and international law enforcement matter were often dismissed. Nonetheless, combating al-Qaeda and other stateless groups is more akin to fighting organised crime and the drug cartels. While the US military appropriately has the lead in Iraq and Afghanistan, the world is made up of sovereign countries where outside military forces cannot operate openly and in any significant numbers without an invitation from the government. With the US military in a strong supporting role, our diplomatic, law enforcement and intelligence assets must be the principal tools used to bolster and press other governments and their security forces. Sometimes, US individuals or very small groups may be required to achieve a particular task in a non-permissive environment, but this is not the preferred route. Remember that terrorists who kill innocents in a market or destroy commercial aircraft are criminals. They are not an army and should not be granted “warrior” or military-like status. They are criminals and must be brought to justice or eliminated.

This is not a war on Islam: Despite President Bush’s measured language and visits to mosques, the extremist media have done an impressive job of painting our fight against terrorism as an attack on Islam. As part of your dialogue with the American people and the world, you and your administration should find convincing ways to deliver the correct message. Remember that a small group of people has seized upon a few verses of the Qur’an and the writings of select scholars to justify criminal acts - mass murder, beheadings and violent attacks on the US, its friends and many Muslims.

Root causes: Be careful about “root causes” arguments. You may hear assertions that, if the US finally solved the Arab-Israeli conflict, then terrorism would dry up. This is not correct. We should exert our considerable weight in a serious, sustained and balanced effort to achieve a Middle East settlement. Such a wonderful outcome should take a good bit of the rhetorical heat out of condemnations of the United States, but bin Laden’s “concern” for the Palestinians is more recent. For many years, he was focused on the Saudi royal family and then on the US and Saudi Arabia. There is no prospect that a Middle East settlement would lead al-Qaeda to stop targeting the US and its friends.

Losing the “War of Ideas:” The quick and decisive military victories in Afghanistan in 2001-02 and Iraq in 2003 were what the world expected from us. Therefore, people around the world have been amazed at how badly we have fared against Islamist media efforts, particularly against Zawahiri and al-Qaeda’s al-Sahab production unit. This is not primarily a matter of moving the public diplomacy boxes around or reconstituting the US Information Agency. We certainly can improve in that area, and your administration should take a close look at what is optimal. Further, there is much that can be done quietly to make it more difficult for al-Sahab and others to spew out hatred and lies. It is essential, however, that we not give terrorists unnecessary openings by using inflammatory language or by being seen as indifferent or hopelessly biased on issues of importance within the larger Islamic world, such as the Arab-Israeli conflict. Al-Qaeda’s slaughter of fellow Muslims in Iraq, Jordan and elsewhere has begun to turn the tide against the organisation, but your administration can speed up this welcome trend. Again, there are balanced experts in and outside of government who understand how to deal with and reverse current negative media trends.

Repairing our image: Reversing the catastrophic decline in the US global image is a matter of national security. This is not just a question of needing to be liked or regaining the status of “Shining City on the Hill.” We are the principal target for al-Qaeda and an important target for regional terrorist groups. Therefore, we must be able to exercise global leadership on the MCAT (or whatever you choose to call it). It is clear that we cannot find and disrupt every terrorist cell in every country in the world. It is up to the local governments and security forces to do so. This is more than just a matter of ineptitude in public diplomacy. This is primarily actions-based and is related to our policies. If our own actions, such as Guantanamo, torture and domestic spying, make it difficult for other governments and security forces to work with us in rooting out those cells, that is a major negative for us. We cannot suppress global terrorism on our own.

Undermining our values: “Burning down the village to save it” is wrong and makes no sense. Among the many things that made the US great and a beacon to the world was our commitment to the Constitution, civil liberties and the rule of law. Remember that al-Qaeda cannot destroy or change the US. Only we can change our country, and we have taken steps in that regard that have been public relations gifts to bin Laden. You must urgently return all elements of our government to adherence to law and basic norms. You should outlaw torture, stop wiretapping not approved by the FISA court, close Guantanamo and abolish military tribunals. You have seen the newspaper reports that a CIA study determined that some one-third of Guantanamo detainees were there by mistake. A senior US military officer judged the percentage to be higher. Alleged criminals must be brought into the civil legal system, or at least some version of it. Surely, our best legal minds can find a fix for presenting sensitive evidence in a civil court. One proposal was the creation of a special National Security Court, where the judges, prosecutors and defense attorneys all have security clearances. We may not be able to regain “Shining City” status during one administration, but we can return to being true to our own constitution and values. It is right for our country. Our partners and friends abroad will welcome it, as well.

Reflections on the Mumbai attacks

U.S. Policy: The attack should end once and for all any lingering assertions (if there have been any since January 20) that Iraq is the front line in the global struggle against terrorism and extremism. It isn’t now and never was. Afghanistan was and still is very dangerous, but Pakistan is THE front line in the global fight. Even if the government and army somehow manage to beat back the extremists inside the heart of Pakistan, it is hard to see how they will be able to dislodge al-Qaeda and the Afghan and Pakistani Taliban from the border region. While they may not have quite as extensive training and planning facilities in the Federally Administered Tribal Areas (FATA) as they had in Afghanistan, the terrorists have a good bit of space to operate. I have no doubt that major attacks against the U.S. and Europe are being planned right now in those areas.

President Obama and the U.S. administration should continue reaching out to the Islamic world and should build and emphasize “soft power” and much more skillful public diplomacy. That said, the U.S. must take a firm line with the “irreconcilables,” including al-Qaeda and most of the Taliban. In my view, we need to keep great pressure on the terrorists along the Af-Pak border, including kinetic action that is as carefully honed as possible. There are downsides, but another 9/11-level attack launched from the FATA region would have terrible consequences all around.

EU Policy: It is easy for an American to say, but Europe should significantly step up the fight against global terrorism across the board – troops in action in dangerous places; military training, development assistance, public diplomacy, etc. Mumbai reminds everyone that terrorist attack planning continues, regardless of the world economy and of the leaders who come and go in the West. Just as I am sure that attacks against the U.S are being hatched in Pakistan, I am equally certain that European targets are getting their share of terrorist brain power.

          Review: Edgar Wright's 'Baby Driver' is an Act of Clockwork Precision        
The British writer-director behind the "Three Flavours Cornetto" trilogy – consisting of Shaun of the Dead (2004), Hot Fuzz (2007), and The World's End (2013) – and also the director behind 2010's Scott Pilgrim vs the World, Edgar Wright, is known for his unique, kinetic, energetic cinematic style. Unlike most comedy directors working today, Wright finds humor in the filmmaking, utilizing framing, lighting, mise-en-scène, camera movement, editing, and sound to pull as much comedy out of a scene as possible. With his latest film, Baby Driver, Wright has not only improved upon his signature style, but matured with it. Like David Fincher, Wright is honing his craft with every film he makes, relying less on his style and more on imbuing the style with substance. If his early works are similar to those of Fincher's (Se7en, The Game, Fight Club), then Baby Driver is his Zodiac — a disciplined and elegantly orchestrated thriller that feels both effortless and impossibly intricate. It ...
          Mechanistic Modeling Quantifies The Influence Of Tumor Growth Kinetics On The Response To Anti-Angiogenic Treatment        

Mechanistic Modeling Quantifies The Influence Of Tumor Growth Kinetics On The Response To Anti-Angiogenic Treatment

Thomas D. Gaddy, Stacey D. Finley

Abstract

Tumors exploit angiogenesis, the formation of new blood vessels from pre-existing vasculature, in order to obtain nutrients required for continued growth and proliferation. Targeting factors that regulate angiogenesis, including the potent promoter vascular endothelial growth factor (VEGF), is therefore an attractive strategy for inhibiting tumor growth. Systems biology modeling enables us to identify tumor-specific properties that influence the response to those anti-angiogenic strategies. Here, we build on our previous systems biology model of VEGF transport and kinetics in tumor-bearing mice to include a tumor compartment whose volume depends on the “angiogenic signal” produced when VEGF binds to its receptors on tumor endothelial cells. We trained and validated the model using in vivo measurements of xenograft tumor volume to produce a model that accurately predicts the tumor's response to anti-angiogenic treatment. We applied the model to investigate how tumor growth kinetics influence the response to anti-angiogenic treatment targeting VEGF. Based on multivariate regression analysis, we found that certain intrinsic kinetic parameters that characterize the growth of tumors could successfully predict response to anti-VEGF treatment. This model is a useful tool for predicting which tumors will respond to anti-VEGF treatment, complementing pre-clinical in vivo studies.


           Studies of lower limb isokinetic strength and proprioception in young football players         
Fayaz, Saeed (2009) Studies of lower limb isokinetic strength and proprioception in young football players. PhD thesis, University of Glasgow.
          Al grano…        
Hace unos meses me escribieron de Reino Unido para preguntarme si quería probar Skinetica. Se trata de una solución para acné y granitos, pero que, aunque no sufro demasiado este tipo de problemas, me pareció interesante porque no utiliza químicos como otros productos de este tipo (ácido salicílico, peróxido de benzol…) y además promete resultados en tan solo 2 ó 3 días. Además promete no tener ningún tipo de efecto secundario (sequedad, rojeces…) y se puede utilizar incluso debajo del maquillaje. La verdad es que, como os digo, no tengo muchos granitos como para testarl a fondo pero lo he
          LHC - The Higgs jig        
The Higgs boson. The physics community requires unanimity to accept the presence of the Higgs boson, but it doesn't have it yet. Mainly, of course, because nobody has found one to prove that it exists. That might happen at the LHC, due to be cold and vacuous enough soon enough - sometime in September. Or it might not. Happen, that is.

The "Higgs boson" is not a gauge boson. The gauge bosons are the photons, gluons, W and Z bosons. The Higgs field, as distinct from a Gauge field, is that theoretical realm which is responsible for the mass which particles possess. The Higgs boson would be that particle which mediates the interaction between all the other particles that have mass, and this field, in doing so, confers upon those particles that property of mass. That's why it has been called the God particle by some.

Others snub those who say that, because they have a deeper perception of how a Higgs boson does that. It's all about that quantum scale where there is no diffusion of possibilities, but where things happen in quanta of events - thin lines of opportunity in that infinite spectrum of probabilities. They see the Higgs field as a sort of three-dimensional grid or matrix wherein probability determinations are a function of a particle's orientation to the grain, or nap of this fundamental fabric. Now, mass is a relative thing, so they argue that just because we cannot observe or measure a photon's mass does not mean that it doesn't have any. It's just so very, very light (pun unintended).

There are alternative ideas that might merit some consideration. Imagine the "Whimsical Particle", one that turns back into itself after some kind of double-looped phase transition. I think that this "Wh", or "whimsy" particle has an equal probability of being found compared with the Higgs boson, because in my opinion the presence of the Higgs field would make such a particle possible.

In my opinion, the Higgs field is really the photon background. Occasionally, electron-positron pairs are observed to spontaneously generate from the photon background. To my mind, this pretty much sums up the limit of finesse which particle nature can achieve in this quantum Universe. A photon's kinetic energy, when subtracted from its mass, probably yields zero. The photon is only responsible for propagating the waves that define reality, a perpetual process in this physical realm where conservation of energy and mass is the law. That makes the preceding a very logical assumption.

I say this because I think that it is that since mass is a function of velocity that particles have mass. That they have motion is established by Werner Heisenberg's thinking. He said it is just so impossible to pin a nuclear particle down, that entirely new mathematical methods would be required to extrapolate what cannot be put into the temporal framework as we know it to be, that is we cannot take a still life photograph to study the relationships of all those particles. We must deduce that about them, because they move so fast. Einstein said that when an object's velocity approaches the speed of light that its mass increases. Sometimes I think that Al is still waiting for the world to catch up. Me too.

          Rerunning the Standard Model        
The Atom

All the information contained in this article is substantiated and originates with experimental results obtained from Fermilab, Stanford, Brookhaven, CERN, et al, and is the accepted dogma of theoretical physics. This information has been lifted for the most part from an online primer of particle physics from another source and has been rewritten for the sake of brevity and for the convenience of not having to turn pages. It can be found here. Additionally, I have provided Wikipedia links for further study and clarification, but the essential purpose of this article is to comprehensibly abbreviate our compendium of knowledge of the Standard Model of the atom.

Almost all of the current evidence that we have for the existence of subatomic particles is first predicted, and then discovered. Enrico Fermi once said, “If I could remember the names of all those particles, I’d be a botanist!”

The Standard Model: 6 quarks; 6 leptons; and force carriers.

All matter is composed of leptons and quarks interacting via force carrier particles - note that gravity is not included in the Standard Model of the atom. 100's of particles are all made from the Fundamental Particles which comprise 6 quarks, 6 leptons, 6 antiquarks, 6 antileptons, and the force carriers.

Quarks make up most of the matter we see around us because the protons and neutrons are both made up of quarks. They are called: up; down; charm; strange; top; and bottom. The proton, which is charged, is made up of two up quarks and one down quark. The neutron, which is uncharged, is made up of two down quarks and one up quark.

Different quarks have different attributes. The K particle, which like the proton and neutron is also a composite particle, was the first particle found to contain the strange quark, so named because K has such a "strangely" long lifetime. The charm quark has no real charm; they just called it that and the name stuck. The bottom quark was detected at the Fermi lab in the composite particle called upsilon back in 1977, and finally the top quark was discovered in 1995 and it has the most mass of all the quarks.

We call the particles that are made up of quarks Hadrons, and they are further divided into Baryons, which are each made up of three quarks, and the very unstable Mesons, which are made up of two quarks. The two quarks that make up the Meson are a quark and an antiquark, like a pion for example, which is made up of an up quark and a down antiquark. The pion has its antiparticle, the antipion, and it is made up of a down quark and an up antiquark. Protons and neutrons are Baryons.

Photonic energy occasionally sources the creation of electron-positron pairs. The positron is the antielectron, and the two can be traced by a detector in the bubble chamber of a particle accelerator as two spiral swirls going in opposite directions from the same point of origin. "Photons" don't leave trails.

The electron is a lepton particle, as are the much more massive muon and tau, which have charges like the electron. Three types of neutrino make up the other three Leptons. Neutrinos are really hard to find because they have no charge and very little mass. All Leptons have their antimatter equivalents. Leptons appear as solitary point sources of energy with no discernible internal features. This makes them very unlike quarks, which are always seen together.

The massive Leptons do not exist around us, because when they occur, they very quickly decay into lighter leptons, like the tau particle, which decays into its corresponding neutrino, in this case a tau neutrino, and a quark and an antiquark. Electrons and neutrinos are stable and we can detect them.

A heavy Lepton can decay into another Lepton and its antineutrino. Leptons always produce their corresponding neutrinos when they decay, and observation has shown that the numbers of each Lepton remain constant, making some decay sequences impossible. In other words, electron number, muon number, and tau number and their corresponding neutrinos are always conserved when a massive lepton decays into other particles.

Neutrinos very rarely interact with other particles since they have no charge, so they can actually travel right through the Earth without touching a single other particle. They are produced in abundance during radioactive decays and their presence was inferred after physicists observed that the electron and proton produced by an at-rest decaying neutron went off into different directions, and that was odd, since they should have had their zero momentum conserved. Some other particle was providing the momentum to produce a balance and this was hypothesized to be an antineutrino. This educated guess proved right. It turns out that neutrinos are abundant.

The leptons and their corresponding neutrinos exist in three sets, as do the up and down, charm and strange, and top and bottom quarks. These are considered to be three generations of matter, organized by increasing mass. Up quarks, down quarks, and electrons make up the first generation of matter. Charm and strange quarks and muons make up the next generation, and top and bottom quarks and tau leptons the third. The unstable heavy generations do not stay around, but quickly decay into the first generation of matter. Remember that each lepton has a corresponding neutrino in its set.

Distribution of the charge types in the first generation of matter can be understood by stacking it with the electron on the bottom followed by the electron neutrino and then the down quark, and then the up quark at the top. The charge types sequence in the following order, from the top down: +2/3, -1/3, 0, 1. Neutrinos have zero charge. The charge type distributions for the muon and tau sets are the same.

There are said to be four fundamental interactions between particles - attractive and repulsive forces, decay, and annihilation. All forces are caused by one of these fundamental interactions. Force carrier particles carry these interactions and can only be absorbed or produced by a matter particle which can be affected by that particular force.

Force carrier particles allow objects like magnets to affect each other without touching. Some speculate that there might be a force carrier particle for gravity. Not me.

Photons are the electromagnetic force carriers which interact between charged particles such as electrons and protons. Neutrinos have no charge so they cannot produce or absorb photons.

Atoms usually have equal numbers of electrons and protons and their opposite charges cancel out, rendering the atom electrically neutral. Interaction occurs between atoms all the time, however, and objects stay together because the electrons of one atom are interacting with the protons of adjacent atoms, and vice versa.

The nuclei of atoms do not fly apart because the quarks that make up their Hadrons have color charge which is very strong. It is called the Strong Force and this is the force that binds quarks together to form Hadrons. The carrier particles for the quark’s color charge are called gluons. Gluons themselves have color charge but gluons are not at all like photons because photons themselves have no electromagnetic charge.

Quarks form color-balanced Hadrons, so the composite particles which they make up do not have a net color charge, and so the Strong Force only works at the very smallest of scales, where quarks interact. The force that binds quarks is strongest when they are far apart, and relaxes as the quarks come closer together.

The color charges of quarks change as gluons are exchanged with other quarks. Gluon emission and absorption always changes color. Color charges come in three types - red, green, and blue, with their antired, antigreen, and antiblue counterparts.

Mesons and Baryons are color-neutral - mesons because their quark-antiquark color charges cancel, and Baryons because the color charges of their three quarks mix to produce a neutral color charge. Gluons can be said to carry both a color and anticolor charge, since color is a conserved quantity. The color analogy satisfies the intent of physicists to describe measured observations about quarks in Hadrons.

It has been shown that there are eight different color-anticolor combinations, or eight different gluon charges, not the nine predicted by the total number of combinations of the three colors and their corresponding anticolors. The mathematics used to describe the Standard Model only accounts for eight gluon charges.

Quarks can only combine to form Baryons and Mesons, because these allow the only color combinations that confer color-neutrality on a Hadron. Particles whose quark combinations cannot permit color-neutral states are never observed. There cannot be a particle made of one up quark and one down quark, for example.

The constant exchanging of gluons between quarks makes up what physicists call a color force-field. When quarks are pulled apart their color force-fields stretch and grow stronger and at some point will even break apart to form a new quark-antiquark pair. The energy needed to create these new particles comes from the energy surplus of the color force-field of the original two quarks, which increases as it stretches. Quarks cannot exist individually.

The complexities of color conservation can be explained as follows. A red quark turns into a blue quark and emits a red/antiblue gluon. The blue color charge is cancelled by the antiblue color charge of the gluon and the red color charge of the quark is maintained. Always within a Hadron the constant gluon exchanges are made in such a way as to maintain the color-neutral state of the bound system.

The nucleus of an atom is held together by what is called the residual strong interaction between protons, which is still strong enough to overcome their electromagnetic repulsive forces.

All the stable matter in the Universe is made up of the least massive quarks (up and down) and leptons (electrons), and neutrinos, which have no mass. Weak interactions cause massive quarks and leptons to decay into lighter quarks and leptons, beyond which they can not decay.

Flavor changes are also caused by weak interactions. Flavor change refers to the decay, or transformation, of a particle into a different particle, such as a muon into an electron. The carrier particles for the weak interactions are the W+ and W- particles, which carry charge, and the neutral Z particle. These carrier particles are very massive.

Electromagnetic and weak interactions have been unified into what physicists call the electroweak theory. The strength of the weak interaction between two particles about 10^-18 meters apart is equal to that of the electromagnetic force, but becomes about 1/10,000th the strength of the electromagnetic force when the distance is increased 30 times. It becomes even smaller at normal distances for quarks in a proton or neutron, which is about 10^-15 meters.

Physicists attribute the relative strengths of the weak and electromagnetic interactions over increasing distances to the masses of the W and Z particles compared to the electromagnetic charge carriers, the photons, which have no apparent mass.

Gravity acts on all particles and objects but at the subatomic scale the effect is so small that it is not necessary to factor it into the mathematics of the Standard Model. This is convenient, because no force carrier particle for gravity has ever been observed. There is general agreement that the Standard Model needs to be extended with a new theory that will explain gravity.

Apart from their electric charge, color charge, and flavor, particles also have a property which is called spin. This does not mean that the particle is actually spinning. The term is used to describe the angular momentum and magnetic moment of the particle, properties which are demonstrated by large objects like planets and marbles.

Spin is quantized to units of 0, 1/2, 1, 3/2 (times Planck's Constant,"h") and so on. In subatomic particles such as electrons and photons, certain physical properties occur in fixed amounts Planck called “quanta”, not as a continuous range of possible values. The constant is used to calculate the values of these discrete quantities.

Another example of the nature of discrete quanta as exist in nature is that electric charges are only found as integer multiples of the electron’s charge. This is in agreement for the case of quarks, which have 1/3 and 2/3 charge but which cannot be isolated and which make up composite particles with electric charges which are integer multiples of the electron’s charge.

Particles which have odd half-integer spin (1/2, 3/2 etc.), such as quarks and leptons, and composite particles like protons and neutrons, are called fermions. These are distinguished from particles which have integer spins, such as the force carriers and the composite particles with an even number of fermions like mesons, and which are called bosons.

Bosons do not obey the Pauli Exclusion Principle, which states that no two particles in the same quantum state can occupy the same place at the same time. It was once thought that all particles obeyed this rule. Fermions obey the rule, but bosons don’t. If the nucleus of an atom contains an even number of protons and neutrons, it is a boson, otherwise it is a fermion.

Supercooled helium does not crystallize, but becomes what is called a superfluid in the condensed state. This is a strange liquid with zero viscosity and no surface tension. Only bosons can become Bose-Einstein condensates, which occur when they are cooled to within a few thousandths of a degree Kelvin above absolute zero. Their wave functions are said to overlap when they are condensed, and they exhibit the properties of a single superatom, thus violating the Pauli Exclusion Principle.

Alpha, beta, and gamma particles are the particles resulting from radioactive decay. Alpha particles are helium nuclei – two protons and two neutrons. Beta particles are electrons, and gamma radiation is a high energy photon. They can be observed when they are subjected to a magnetic field. The opposite charges of the alpha and beta particles cause them to veer in opposite directions. Gamma radiation is straight because it is unaffected by magnetism, having no charge.

Of the three forms of radiation, gamma radiation is the most penetrating, and can only be stopped by a block of lead. Beta particles can be stopped by aluminum, and alpha particles can be stopped by a sheet of paper.

A uranium 238 nucleus decays into thorium and an alpha particle. Subtracting the mass of the products from the mass of the uranium atom leaves 0.0046 amu out of the result. This loss of mass is attributable to its conversion into kinetic energy, that is, the energy of the moving particles. As Einstein said, mass is a form of energy.

Fundamental particle decay is different from radioactive decay. For one thing, fundamental particles cannot be further broken down because they have no constituents, but they can turn into other particles. A charm quark decays into a strange quark, which has less mass, and a W boson, which decays into an up quark and a down quark.

This may seem strange because the W boson’s mass is so great, but because it exists only very briefly as an intermediate particle before it decays the process does not violate the laws of conservation of energy and mass. The sum of the masses of the products plus the mass which is converted to kinetic energy equals the mass of the original pre-decay particle. Only weak interactions can change a fundamental particle into another particle.

The decay of a pi meson, or pion, through the annihilation of the quark and antiquark, produces two photons. This is an example of electromagnetic decay. Strong decay occurs when two gluons are produced through the mutual annihilation of a meson made up of a charm quark and an anticharm quark, ultimately producing hadrons.

Gluons mediate decays involving color changes. The weak force carrier particles, W+ and W-, mediate decays in which particles change flavor and electric charge.

When particles annihilate, which happens when a particle meets an antiparticle, pure energy is produced in the form of a force carrier particle which then transforms into other particles. The annihilation of an up quark and an up antiquark produces a very energetic gluon, which is transformed into a top quark and a top antiquark. The mediating particle, in this case the gluon, exists for only a billionth of a billionth of a billionth of a second, and cannot be observed.

What should be remembered is that particles are not small balls that bounce around; they have wave properties. Their exact position can never be accurately determined. They occupy a tiny localized realm wherein determining their location becomes a study in probability.

          Baltimore Kinetic Sculpture Race        
Today In Baltimore...how fun does this sound?  It's free for spectators!


http://www.kineticbaltimore.com


"Kinetic Sculptures are amphibious, human powered works of art custom built for the race. Each May, the American Visionary Art Museum (AVAM) hosts the East Coast Kinetic Sculpture Race Championship on the shore of Baltimore’s Inner Harbor in central Maryland.  The eight-hour race covers 15 miles—mostly on pavement, but also including a trip into the Chesapeake Bay and through mud and sand."


The AVAM is an incredible place...I love the "shiny happy thing" tree outside (and all the other blinged-out things around the place), and their gift shop has wacky and unique things.  If you haven't been yet, it's totally worth a trip.


I have yet to try out their restaurant, Mr. Rain's Fun House, which looks like quite a place.
          Exploring Electron Transfer with Density Functional Theory        
This talk will highlight several illustrative applications of constrained density functionaltheory (DFT) to electron transfer dynamics in electronic materials. The kinetics of thesereactions are commonly expressed in terms of well known Marcus parameters (drivingforce, reorganization energy and diabatic coupling) that are often difficult to predict usingDFT. We show that constrained DFT provides a practical solution to many of theseproblems by making the charge on the acceptor an independent natural variable. We usethis technique to examine localization/delocalization transitions in molecular wires, spindependentcharge recombination in electroluminescent materials and charge transferdynamics through a molecular junction.
          My wish list        
When the world was celebrating new year I hoped there would be a new year in my life too .When I see birds flying I hope my wings will be fine too .When I have bad days I pray to god and hope he hears me too .That guy says He is my shadow no matter what I wish He's still there as he was, hope that’s true.I know all my dreams will come true and I am a kinda person, if I whole heartily want it I can make it happen. Sharing some of my temporary wishes.All I can think which is gonna top the list is getting drenched in rain. Riding Kinetic Style... (I miss my school days where I had to attend my coaching classes and had to race my Kinetic Style..every day wid a gang of girlz) .Checking out new restaurants in Atta market (Sec-18 , Noida ) To attend a concert , Dress up -> Wear leggings and a long top (which I recently tried at Kashid trip) . Run behind Buddy and play chasing. Buy a small aquarium (right now I can’t do this cause I only have to take care of it, cleaning will be difficult now) . Go to Caffe Coffee day ... Meet all the friends outsideWell that’s all I can think right now., I’m sure there are lots.. Will continue some other time with my wish list 2.

          High Performance Liquid Chromatographic Determination of Naproxen in Prepared Pharmaceutical Dosage Form and Human Plasma and its Application to Pharmacokinetic Study        
Saiqa Muneer, Iyad Naeem Muhammad, Muhammad Asad Abrar, Iqra Munir, Iram Kaukab, Abdullah Sagheer, Habiba Zafar, Kishwar Sultana
           Luminescence, spectroscopy, lifetimes and quenching mechanisms of excited states of uranyl and other actinide ions         
UNSPECIFIED (1997) Luminescence, spectroscopy, lifetimes and quenching mechanisms of excited states of uranyl and other actinide ions. PROGRESS IN REACTION KINETICS, 22 (2). pp. 87-139. ISSN 0079-6743
          AlphaDGalactosidase does not Interfere with Trimebutine OralPharmacokinetics in Mexican Healthy Volunteers        
PenalozaBecerra CA, OrtegaEscamilla E, VasquezVasquez JE, MarceliacutenJimeacutenez G, PAngelesMoreno AC, GarciacuteaGonzaacutelez A, LagunaLeyte JS, Koretzky SG, BatistaDiegueacutez D and LoacutepezSaacutenchez P
          How Pitfalls during Drug Quantitation by Mass Spectrometry May Affect the Variability of Pharmacokinetic Data during a Bioequivalence Trial        
MarceliacutenJimeacutenez G
           Measurement of liquid/liquid interfacial kinetics by directly probing the concentration profiles at expanding droplets         
UNSPECIFIED (1997) Measurement of liquid/liquid interfacial kinetics by directly probing the concentration profiles at expanding droplets. LANGMUIR, 13 (18). pp. 4799-4803. ISSN 0743-7463
          The Raid: Lights, Camera, Action! Action! Action!        

By Robert Barlow

There’s always a film or two playing during the Toronto International Film Festival that creates such a buzz that no matter what other film you are waiting in line for, people just can’t stop talking about it. In 2011, one such film was director Gareth Evans’ The Raid, which ended up winning the People’s Choice Award for best Midnight Madness film at that year’s festival.

What’s most astounding about this is that the plot of The Raid is actually so simple that it can be explained in just two sentences. A bad guy – in this case a brutal crime lord – is hiding out on the 15th floor of an abandoned apartment building in Indonesia. The good guys – in this case the police – have to fight their way through an army of killers and thugs as they move up the different floors of the building.

But here’s the kicker, and I mean the real kicker. The action scenes that feature martial arts star Iko Uwais and which make up 90 percent of the film, are so inventive and awe-inspiring that they continue to elevate the film to greatness with each and every floor of the building that the police ascend. The kinetic pacing of The Raid leaves very little time for you to catch your breath as one action scene runs into another and another and another.  I guarantee that you’ve never seen anything like it before. You can feel every punch, kick and impact on the screen in your seat – no 3D needed.

At the time of its release, The Raid – retitled The Raid: Redemption – was hailed by both critics and audiences as one of the best action films of all time and I certainly agreed. So, when a sequel was announced I was quite skeptical as to how Evans and Uwais were going to top their first effort. I mean, there is no possible way that a sequel could be deliver what The Raid did, right?

Well, The Raid 2: Berandal premiered at the Sundance Film Festival this January – the same day the U.S. trailer for the film hit the Internet – and reaction to both was unquestionable. The Raid 2: Berandal, which takes place two hours after the first film, appears to be one of those rare sequels which are as good – if not better than – the film that came before it. Sundance reviewers simply called it, “The best action film ever” and left it at that, not being able to put into words the mayhem and carnage that they had just witnessed.

When I first saw the trailer for The Raid 2: Berandal, which introduced the new character of Hammer Girl, played by Julie Estelle, I was hooked and immediately placed the film at the top of my must-see list for 2014. Now, as the film opens tonight at The Little Theatre, I get my chance to see all the bone-crushing action for myself. I can’t wait!

Robert Barlow is currently finishing his degree at St. John Fisher College. He left college early to write for Messenger Post newspapers, covering everything from murder trials and town government to film festivals and concerts. He is a self-professed movie geek and has attended the Toronto International Film Festival for 10 years.

The Raid 2: Berandal Official Trailer #1 (2014) Crime-Thriller HD


           Structural and kinetic description of cytochrome c unfolding induced by the interaction with lipid vesicles         
UNSPECIFIED. (1997) Structural and kinetic description of cytochrome c unfolding induced by the interaction with lipid vesicles. BIOCHEMISTRY, 36 (42). pp. 13122-13132. ISSN 0006-2960
           Kinetic theory of jamming in hard-sphere startup flows         
Farr, R. S. , Melrose, John R. and Ball, Robin. (1997) Kinetic theory of jamming in hard-sphere startup flows. Physical Review E, Vol.55 (No.6). pp. 7203-7211. ISSN 1063-651X
          Dyskinetic and Stiff Gait        
Dyskinetic and stiff gait in a patient with Parkinson disease experiencing disabling levodopa-induced dyskinesia. Note the dystonic features of the left lower limb.
          Dyskinetic Gait        
Dyskinetic gait in a patient with lower limb dystonia because of a mitochondrial disorder. Note the left foot inversion.
          Friedreich Ataxia        
A 25-year-old man with Friedreich ataxia since childhood, who has been in wheelchair for 3 years. Note the evident proximal weakness of the upper limbs, slowness of movement, and lack of an obvious kinetic tremor. The video also shows the characteristic eye movement abnormality of Friedreich ataxia and fixation instability with square-wave jerks. Note the absence of nystagmus.
          Progressive Supranuclear Palsy        
A 59-year old man clinically diagnosed with progressive supranuclear palsy. The oculomotor examination shows preserved horizontal pursuit and vertical gaze pursuit. Convergence is absent, and he shows minimal square wave jerks when fixing his gaze on the camera. Optokinetic nystagmus is horizontally preserved and vertical optokinetic nystagmus is reduced, with observation of square wave jerks. He also shows poor blink rate.
          Congelats Elsa Special decoració        
Durant molt de temps Elsa no neta la seva habitació bonica. Ella no vol que ningú a entrar a la sala. Per, si vénen esbrinaran seus poders cryokinetic. Ella és netejar l'habitació ara. Després que ella té previst adornen l'habitació. En general, ella no deixaria servidors dins la sala. Ajudar la pobra noia. Ella necessita la seva ajuda i assistència. Embellir l'habitació d'una manera elegant. Arrossegueu els mobles i posar-los de manera adequada. Triar el color que ella és aficionat. Deixi l'habitació llueixen molt bé amb el seu guidance. Una vegada feta la decoració, Elsa ser
           Crystallization kinetics of organic–inorganic trihalide perovskites and the role of the lead anion in crystal growth         
Moore, David T. and Sai, Hiroaki and Tan, Kwan W. and Smilgies, Detlef-M. and Zhang, Wei and Snaith, Henry J. and Wiesner, Ulrich and Estroff, Lara A. (2015) Crystallization kinetics of organic–inorganic trihalide perovskites and the role of the lead anion in crystal growth. Journal of the American Chemical Society, 137 (6). pp. 2350-2358. ISSN 0002-7863
          Lopez Studio Installations        


This installation is in-front of the Brookings Arts Council Building, Brookings, SD for one year.  "The War Horse" is still available for sale or rent.
www.lopez-ranch.net



"The anatomy and kinetics intermixed with curious choices of familiar steel 
objects speckled about the sculpture in randomly organized patterns..."
-Quote taken from a fan on reddit.com



This life-size Hybrid Metal horse is titled IRON STAR.  It won the peoples choice award in 2009 at the Sculpture In the Hills show and was later purchased by the Hill City Ats Council and placed on Main Street in Hill City.  Horses have always been my favorite subject to sculpt.  As you scroll down you will see a hand full of equine pieces that I have created over the past five years.   www.lopez-ranch.net


Click this link to see more of John's latest work.   http://www.johnlopezstudio.com/





The Grizzly Bear was commissioned by Mackenzie River Pizza, Grill and Pub in Bismarck, ND




DAKOTAH
 Dakotah Steak House on Elk Vale, Rd on the east side of Rapid City.

FAN MAIL

1/16/14
John
Hello there.  A few years ago when I was traveling through Hill City is South Dakota I had the opportunity to see your horse sculpture and I instantly fell in love with your work.  Thank you for sharing that gift with the world.  Wow.  Really amazing in my opinion, my family and I still look at the photo that we took as each time you look at it, it is interesting in a new way each time.  Really wonderful. 

At any rate, I just wanted to send you a note to tell you that I really enjoy your work.

Kind Regards,
 V

Hi Mr. Lopez,

I saw your "Dakotah" piece in South Dakota last summer. I can't say I've ever been so moved by any art as I was that buffalo. Words are cheap, but I wanted to tell you how much your work is appreciated. I took some photos of it with my family and was just looking through those and realized I never wrote you to tell you. I hope you make a million more beautiful works and I hope the world sees what I see.

I discovered your art through a website called reddit.com. Just wanted
to tell you that I think your sculptures are amazingly genius. I
literally stared at a picture of one of your buffalo sculptures for a

half hour. Look forward to seeing what you create next!

This email is just to let you know that I just happened on your web page today and enjoyed very much the photos of your work. My daughter in law is from Belle Fourche SD. My family is from New Mexico and my Great Grandfather was a trapper at Fort Bennett on the Sante Fe trail. With this in mind your work touches my heart due mostly to the western theme of much of it although the T-Rex put a huge smile on my face, too!
Thanks again for your inspiration and talent.

Salve Sig. Jhon le faccio i miei più sinceri complimenti perché Lei è veramente un grande artista. Anche io mi diverto a fare sculture in ferro.grazie della sua arte. Le scrivo dalla Sardegna un isola dell'Italia.
Arrivederci Cristian

English Translation
Hello Mr. Jhon I make my most sincere congratulations because you are truly a great artist. Although I enjoy making sculptures in ferro.grazie of his art. I am writing from an Italian island Sardinia. 
Goodbye Cristian 


Dear John Lopez,
Traveling through the hills, last month, I saw a most intriguing statue on the main street of Hill City (a town I've always had a fondness for)...I had to stop & see it up close. Luckily there was a parking spot close by! IRON STAR is truly beautiful, and to me ..'alive'!
I saw the sculptors name, & went inside the gallery to find out if this was possibly the same artist that I had read about, many years previous, in the Timber Lake Topic! And yes, it was! See, Firesteel South Dakota is where I grew up..on a farm/ranch north of there. I recall our school bus stopping by the Lopez place each day. Albert Lopez, if my memory serves me correctly. I now live in Canada & rarely get back to that area.
I was on my way     home from Nebraska, where we had just buried my fathers ashes..it had been an emotional, fulfilling trip taking him 'home'.....and seeing your horse, there in Hill City...well I can't explain the memories & feelings that evoked.
Your creations are truly remarkable. I am planning on going to T.L this summer for a class reunion, and plan to visit your gallery in Lemmon. I would love to bring you a piece of small scrap iron from my Dads place up here in Saskatchewan, if that would be o.k.....perhaps you could find a place for it in a future work!   Thanks so much for your creations.....

Dear Mr. Lopez,
My husband and I recently visited Rapid City, SD as a part of a tour of the western U.S. A friend of yours in the Alex Johnson Mercantile gave me your contact information. What I wanted to share with you is what an awesome experience it was for me to encounter the presidential statues on the street corners. I have been blind for 40 years , but did not lose my sight until my mid-twenties. Because I had visual memory of many of the recent presidents, especially JFK from pictures and TV, when I touched the statues I immediately recognized them. For me as a person who is blind, it was one of the most accessible exhibits I have ever experienced. In most museums items are behind glass or ropes and I must be content to have someone describe them to me. In Rapid City, I had the exhilarating experience of “seeing” them for myself.

Please let other artists who have participated in this project know how much this firsthand knowledge of their art work means to someone who sees through touch.

Sincerely,

Karen 
Mississipp

HI John,
My name is John Pahlas & I am primarily a steel sculptor. I can't believe I haven't heard of you
before, but I am astounded by how fabulous your sculptures are!! True skill and motivated creativity! I can only begin to describe how inspiring your work is!
 I'm fresh out of college with a Bachelor of Fine Arts, and I've recently opened up a small gallery with two other artist friends of mine here in Blue Mounds, Wisconsin. I just wanted to send you some photos of my work and see what you think.
 I also wanted to pick your brain a bit and ask how you got your start and what direction did you take to get yourself these wild commissions? Did you focus on getting into galleries first? Were you sought out by outside entities to do work? I'm just curious because it has for many years been my highest aspiration to get my work into the public sphere and to help make public spaces more creative and beautiful. Any words of advice would do.
Currently I have about 5 commissions going and while I work on those I try to build about 50 small birds a month, and they usually find homes a week or two after I build them. So, I feel that the direction I'm taking is a good start, but I'm hungry for more! I'd like to save up enough to get a studio that isn't a one car garage so I could work larger scale; my larger work is done outside, but its getting pretty nippy over here! Any advice or words of wisdom would be amazing!
Thanks for your time John, your work is truly amazing! DOn't ever put that welder down, my friend!
Take care, stay safe,
John
Center Ground Studios
    Find Your Center. Stand Your Ground.
Custom Steel Sculpture, Hand-Made Ceramics
    10991 Division st. Blue Mounds, Wisco

Here is a shot of me on the left side of Dakotah to give you an idea of the size of this sculpture.
At this stage of creating Dakotah I had some strange dreams.  I was on such a high doing this 
piece that I felt like I was on drugs or something just before falling to sleep.  The same kind of thing happened when I was working on Iron Star.




SAND HILL CRANE
Rapid City Regional Airport, Rapid City, SD
www.lopez-ranch.net




PRONGHORN
  Out Door Campus West -SD Dept of Game Fish
www.lopez-ranch.net

The Game Fish and Parks on Sturgis Rd. Rapid City, SD.




TRICERATOPS COWBOY
 Grand River Museum in Lemmon, South Dakota.
www.lopez-ranch.net



TOP KNOT
Detail


                         
TOP KNOT
Pinnacle, New Hampshire




                                            

THE COLT OF MANY COLORS
Triple Creek Ranch Resort in Darby, MT






WILD WEST BUFFALO
Pinnacle, New Hampshire




Equine vet Margie Jones of Sturgis commissioned this piece in 2010.
The pedestal is made from a galvanized garage door track.





This is the very first scrap iron piece I did. It is titled Grande Rondo, it is now in Solvang, CA.



I did this bonsai tree in 2011 at the Schmidt ranch.  I used steal cable to make the needles of the tree.






          Analysis of Electrochemical Systems Notes        
Notes for a class on electrochemical engineering, including fundamental information about electrochemical cells and their related thermodynamics, kinetics, and mass transfer; plus applications such as lithium ion batteries, electrode fabrication, fuel cells, and the hydrogen economy.
          Combustion Kinetics        
A set (basically 4 1.5 hour lectures) of introductory lectures on combustion kinetics.The current set of lectures are: * Introductory Thermodynamics * Introductory Kinetics (including autocatalytic effects) * Simple Mechanisms * Larger Hydrocarbons and their combustionThis set of lectures (login, for example as guest, may be required into the Moodle system) is being expanded with supplementary material and quizzes through the Moodle course management environment.
          Using Cantera for combustion problems        
A previous post presented Cantera, a package for thermodynamics, kinetic and transport calculations. Cantera is a function library with object-oriented features that can be use in C++, Fortran, Matlab, and Python applications. One of its main strength may be the functions for combustion problems. In this sense it is possible to do equilibrium and kinetic […]
          Cantera        
I feel comfortable writing some words about Cantera, an open source tool, because I have been an user for approximately 2 years. I will use words of project itself to introduce it: Cantera is a suite of object-oriented software tools for problems involving chemical kinetics, thermodynamics, and/or transport processes. An object-oriented tool means a wide […]
          Furl: Soft Pneumatic Pavilion        

This project was developed on the Masters Programme of the Interactive Architecture Lab @ University College London interactivearchitecture.org/dfpi

The domain of soft robotics is forming as a new frontier of kinetic designing. Not only creating many new possibilities for robotics but also in architecture. Challenging conventional design thinking about adaptive architecture the experiments outlined in this research suggest approaches to building soft responsive architecture.

“Furl” combines Electroencephalography (EEG) with advances in soft silicone casting of “air muscles”. The introduction of soft robotics replaces the mechanical principles in interactive architecture through a biological paradigm. EEG allows sensing of human brain functioning so that our environments begin moving and responding to our very thoughts. The designed components have a wide palette of deformation patterns of inflation. Through combination of soft and hard architectural elements, “Furl” creates a new platform for a kinetic responsive architecture which can let space interact with users needs and adapt itself to environmental conditions.

Principle Researchers: Francois Mangion & Bijing Zhang
Supervisors: Ruairi Glynn and Dr Christopher Leung with William Bondin

Interactive Architecture Lab
The Interactive Architecture Lab is a multi-disciplinary research group and Masters Programme at the Bartlett School of Architecture, University College London. Interested in the Behaviour and Interaction of Things, Environments and their Inhabitants, their focus includes Kinetic Design and Robotics, Multi-Sensory Interfaces, the Internet of Things and the design of public interactive installations.

interactivearchitecture.org

Cast: Interactive Architecture Lab

Tags: Soft Robotics, Kinetic Architecture, Interactive Architecture, EEG, Pnuematics, Electroencephalography and Robotics


          Brooks + Scarpa completes forest-like kinetic sculpture ringed with rain gardens        
Public art should do more than decorate. Brooks + Scarpa targeted a triple bottom line with their design of the recently completed Gateway Sculpture at Pembroke Pines City Center in southern Florida. Constructed to enhance user experience, the sculpture is made up of four yellow stainless-steel tree columns topped with kinetic canopies that create the effect of dappled light as visitors walk beneath. Environmental and economic sustainability were considered for the project, which is designed for...
          #KC01 (5 88390) - Training Top SS Junior        
#KC01 (5 88390) - Training Top SS Junior

#KC01 (5 88390) - Training Top SS Junior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Child's Training Top Price includes: 1x Nike Training Top: £9.71/£11.211x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in Black: £1.50 1x Kinetic logo on back black panel in yellow (£3.00)


          #KC01 (5 88468) - Training Top SS Senior        
#KC01 (5 88468) - Training Top SS Senior

#KC01 (5 88468) - Training Top SS Senior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Adult's Training Top Price includes: 1x Nike Training Top: £12.711x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in Black: £1.50 1x Kinetic Sponsor logo on black back panel in yellow: £3.00


          #KC02 (5 88400) - Knit Jacket Junior        
#KC02 (5 88400) - Knit Jacket Junior

#KC02 (5 88400) - Knit Jacket Junior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Child's Knit Jacket Price includes: 1x Nike Knit Jacket: £22.46/£26.961x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in Black: £1.50


          #KC02 (5 88470) - Knit Jacket Senior        
#KC02 (5 88470) - Knit Jacket Senior

#KC02 (5 88470) - Knit Jacket Senior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Adult's Knit Jacket Price includes: 1x Nike Knit Jacket: £29.961x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in Black: £1.50


          #KC03 (5 88401) - Midlayer Top Junior        
#KC03 (5 88401) - Midlayer Top Junior

#KC03 (5 88401) - Midlayer Top Junior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Child's Midlayer Top Price includes: 1x Nike Midlayer Top: £14.21/£16.461x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in Black: £1.50 1x Kinetic Sponsor Logo on back in black: £3.00


          #KC03 (5 88471) - Midlayer Top Senior        
#KC03 (5 88471) - Midlayer Top Senior

#KC03 (5 88471) - Midlayer Top Senior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Adult's Midlayer Top Price includes: 1x Nike Midlayer Top: £20.211x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in Black: £1.50 1x Kinetic Sponsor Logo on back in Black: £3.00


          #KC04 (6 45480) - Rain Jacket Senior        
#KC04 (6 45480) - Rain Jacket Senior

#KC04 (6 45480) - Rain Jacket Senior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Adult's Rain Jacket Price includes: 1x Nike Rain Jacket: £29.961x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in White: £1.50 1x Kinetic Sponsor logo on back in yellow: £3.00


          #KC04 (6 45908) - Rain Jacket Junior        
#KC04 (6 45908) - Rain Jacket Junior

#KC04 (6 45908) - Rain Jacket Junior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Child's Rain Jacket Price includes: 1x Nike Rain Jacket: £22.46/£26.961x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in White: £1.50 1x Kinetic Sponsor logo on back in yellow: £3.00


          #KC05 (7 25887) - Knit Shorts Senior        
#KC05 (7 25887) - Knit Shorts Senior

#KC05 (7 25887) - Knit Shorts Senior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Adult's Knit Shorts Price includes: 1x Shorts: £8.371x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in White: £1.50


          #KC05 (7 25988) - Knit Shorts Junior        
#KC05 (7 25988) - Knit Shorts Junior

#KC05 (7 25988) - Knit Shorts Junior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Child's Knit Shorts Price includes: 1x Shorts: £6.27/£7.671x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in White: £1.50


          #KC06 (7 25931) - Knit Pants Senior        
#KC06 (7 25931) - Knit Pants Senior

#KC06 (7 25931) - Knit Pants Senior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Adult's Knit Pants Price includes: 1x Nike black Training Pants: £20.211x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in White: £1.50


          #KC06 (7 26007) - Knit Pants Junior        
#KC06 (7 26007) - Knit Pants Junior

#KC06 (7 26007) - Knit Pants Junior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Child's Knit Pants Price includes: 1x Nike black Training Pants: £16.46/£18.711x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in White: £1.50


          #KC07 (B A5193) - Duffel Bag         
#KC07 (B A5193) -  Duffel Bag

#KC07 (B A5193) - Duffel Bag

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Medium Duffel Bag Price includes: 1x Nike Black Bag: £15.751x Kinetic Coaching Embroidered badge: £3.501x Printed Initials in white: £1.50


          #KC08 (3 94386) - Black Socks        
#KC08 (3 94386) - Black Socks

#KC08 (3 94386) - Black Socks

Kinetic Academy Socks Price includes: 1x Nike Black Socks: £4.17


          #KC09 - Black Baseball Cap        
#KC09 - Black Baseball Cap

#KC09 - Black Baseball Cap

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Black Baseball Cap with Badge Price includes: 1x Prestige Baseball Cap (£2.99)1x Kinetic Coaching Embroidered badge: (£3.50)


          #KC10 - Black Embroidered Beanie        
#KC10 - Black Embroidered Beanie

#KC10 - Black Embroidered Beanie

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Black Beanie   BULK BUY  24+ £4.50 BULK BUY  48+ £4.25 Price includes: 1x Black Beanie (£1.99) 1x Kinetic Academy Club Badge (£2.99) Badge will be embroidered on front centre


          #KC11 - Black/Yellow Badged Team Scarf        
#KC11 - Black/Yellow Badged Team Scarf

#KC11 - Black/Yellow Badged Team Scarf

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Black/Yellow Scarf Price includes: 1x Black/Gold Scarf(£3.50) 1x Kinetic Academy embroidered Badge(£3.50)


          #KC12 - Black Shoe Bag        
#KC12 - Black Shoe Bag

#KC12 - Black Shoe Bag

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Black Football Boots Bag Price includes: 1x Black Shoe Bag(£3.99) 1x Printed Club name (£3.00)


          #KC13 - Tote Backpack        
#KC13 - Tote Backpack

#KC13 - Tote Backpack

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Tote Bag Price includes: 1x Tote Bag(£1.99) 1x Printed Badge (£2.50)


          #KC14 - Black Hooded Top Senior        
#KC14 - Black Hooded Top Senior

#KC14 - Black Hooded Top Senior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Black Hoody Adult's   Price includes: 1x Black Hoody (£9.95/£10.95) 1x Kinetic Academy embroidered Club Badge (£3.50) 1x Printed Club name in Yellow on back (£3.00)


          #KC14 - Black Junior Hooded Top        
#KC14 - Black Junior Hooded Top

#KC14 - Black Junior Hooded Top

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Child's Black Hoody Price includes: 1x Black Hoody (£7.95) 1x Kinetic Academy embroidered Club Badge (£3.50) 1x Printed Academy name on back in yellow (£3.00)


          #KC15 (6 45484) - Black Winter Jacket Senior        
#KC15 (6 45484) - Black Winter Jacket Senior

#KC15 (6 45484) - Black Winter Jacket Senior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Adult's Black Winter Jacket Price includes: 1x Black Winter Jacket (£74.96) 1x Kinetic Academy Club Badge (£3.50) 1x Kinetic Printed Logo on back in Yellow (£3.00)  


          #KC15 (6 45907) - Black Winter Jacket Junior        
#KC15 (6 45907) - Black Winter Jacket Junior

#KC15 (6 45907) - Black Winter Jacket Junior

Please ensure you buy the correct size as this is a personalised item and is therefore non-returnable unless faulty.  Please check with your club administrator if you are unsure of the size to buy.  See our size guides for more size information.   Kinetic Academy Child's Black Winter Jacket Price includes: 1x Black Winter Jacket (£52.46/£63.71) 1x Kinetic Academy Club Badge (£3.50) 1x Kinetic Printed Logo on back in Yellow (£3.00)  


          Episode 163 — Owen King        
Owen King is the guest. His new novel, Double Feature, is now available from Scribner.  (Photo credit: Michael York | AP Photo.) Karen Russell raves What a kinetic, joyful, gonzo ride—Double Feature made me laugh so loudly on a plane that I had to describe the plot of Sam’s Spruce Moose of a debut film […]
          Chaos Harness        
Chaos Harness

Chaos Harness

Black Diamond Chaos Harness Features: Pre-threaded Forged Speed Adjust waistbelt buckle Bullhorn-shaped waistbelt built using Kinetic Core Construction Waistbelt and leg loops feature abrasion-resistant shell and a soft, padded 3D mesh interior Four pressure-molded gear loops with slightly larger front loops, 12 kN-rated haul loop Adjustable, releasable elastic rear risers Weight :  360 g (12.5 oz)


          Dyno Stretch Jacket        
Dyno Stretch Jacket

Dyno Stretch Jacket

Montane Dyno Stretch Jacket Features: Lightweight Chameleon³ Kinetic Fabric Four Way Stretch with DWR Finish Articulated Arms and Engineered Tailoring Fully Adjustable Helmet Compatible Hood with Three Point Adjustment and Wired Peak Two OS Map-Sized A-Line Mesh Lined Hand Pockets Two Chest Pockets Full Length Two Way YKK Front Zip with Internal Wind-Strip Soft Brushed Micro Fleece Beardguard Shaped Cuffs with Adjustable Hook and Loop Tabs Fully Adjustable Hem  


          Blog Post: Muramasa's Stunning Graphics Can't Keep Gameplay Afloat        

A lot of hope rests with Muramasa. A samurai-infused 2D action game from the makers of the exceptional Odin Sphere, Muramasa is a visual masterpiece with the potential to appeal directly to the Wii’s hardcore base. But simply wanting to like Muramasa isn’t enough; it also needs to hold up its end of the bargain as a piece of entertainment – a feat it manages ­only ­sporadically. [Excerpt]

No one can deny that the game is beautiful. The vibrant backgrounds, hulking bosses, and flashy combat make Muramasa a treat to behold. I definitely took a little extra damage because I was staring at the gorgeous art instead of paying attention to my enemies. A little more context behind the characters and their breathtaking surroundings would have been nice, but narrative clearly isn’t a priority. Instead of getting a story, you’ll traverse the Japanese countryside, encountering random ambushes by various ninjas and mythical beasts.

Combat is where Muramasa’s sharpened blade truly shines. Movement is quick, controls are responsive, and the intense action puts your reflexes to the test. Mid-air clashes over the rooftops and effortless dashes through enemies give combat an exhilarating kinetic vibe. Unfortunately, most encounters don’t last more than a minute or two, forcing you to sheathe your blade just when you’re warming up.

As much as I enjoyed the battles, the system doesn’t get deeper or evolve. The moves you perform during the tutorial are the same ones you’ll use against the final boss, save for your sword-specific special moves. You never get the sensation of becoming more powerful as you progress; the swords you forge grow stronger, but so do the enemies, so nothing really changes. In a particularly lame decision, the two playable characters even control identically.

Apart from the disappointing ramp-up, Muramasa’s other major issue is backtracking. Certain s words essentially act as colored keycards, breaking down previously impenetrable barriers – often in areas you’ve long since beaten. This means you need to take an uneventful run back, fighting weak enemies along the way. The process serves no purpose other than artificially extending the game and snuffing out your enthusiasm in transit.

Even in the face of some structural missteps, Muramasa is a visually stunning game that is entertaining in the heat of battle – though that heat eventually cools down due to short and shallow encounters. Without better pacing and a lot more depth, Muramasa isn’t fit to run with the top-tier action titles.

 


          å¯æ‰­æ›²å±å¹•å‰è¡›æ™‚尚諾基亞概念機現身        
諾基亞週三發布了採用Windows Phone系統的智能手機Lumia系列,作為和微軟戰略合作之後的首批產品受到了媒體的廣泛關注。當然,除了Lumia 800和Lumia 700,諾基亞在世界大會上還展示了多款面向未來的概念產品,其中包括可扭曲的概念機——諾基亞kinetic。諾基亞kinetic一款全觸屏的直板手機,機身顏色以黑色和白色為主,而且機身纖細。但和目前手機不同的是,這款諾基亞概念機可以實現完美扭曲,並且可以通過扭曲來進行遊戲控制、畫面縮放等操作。扭曲後手機依然可以播放視頻或查看圖片,安然無恙。
          Dynamo Via Softshell Jacket        
Dynamo Via Softshell Jacket

Dynamo Via Softshell Jacket

Montane's Dynamo Via Jacket has excellent four way stretch and good breathability characteristics, ideal as extra protection over a baselayer for three season comfort. Montane says: The Dynamo VIA Jacket provides all day comfort for spring / summer alpine trail running. ‘Active back’ darts and run-specific tailoring combined with fast wicking, high stretch Chameleon Kinetic fabric means that the Dynamo VIA Jacket will work with you to enable you to keep a focused cadence whilst out on the trails. This lightweight softshell can be worn over a baselayer or a part of a layering system for all day versatility.   Montane's Dynamo Via Softshell Jacket is part of the VIA Trail Series | Click here for more info on Montane, product updates and New Season information.


          Dyno Stretch Jacket        
Dyno Stretch Jacket

Dyno Stretch Jacket

UOG TOP PICK - Montane Dyno Stretch Jacket - Well thought out lightweight Softshell - We've singled out Montane's Dyno Stretch Jacket as one of our top recommendations because its a really good example of this type of garment - one of the best we've seen. It has a comprehensive feature set not necessarily present on competitor garments, we like the technical hood with wired brim, four outer pockets with the waist pockets set above where a hipbelt would sit. The quality of construction is self evident. Montane's Dyno Stretch Jacket is a midweight super stretchy hooded softshell with a technical hood and multiple pockets. Montane says: The Dyno Stretch Jacket is designed to be worn on long summer days in the mountains. Wear it on mountain routes either alone, over a baselayer, or as part of a layering system during more hostile weather. Chameleon Kinetic fabric wicks hard, dries fast and features a four way stretch, so no matter how physical the movement, the Dyno Stretch Jacket will work with you. Fully featured, technically tailored and durably constructed, the Dyno Stretch will give you years of great service. | Click here for more info on Montane, product updates and New Season information.


          Hydro-Ball - Wind Spinner / Garden Sprinkler        
Hydro-Ball - Wind Spinner / Garden Sprinkler
Combines a bronze metal sculptural wind spinner with a water sprinkler to create kinetic yard art that also waters a lawn, garden, or flower beds in a much more interesting way.

Click Here For Complete Details

          CANTEEN STORES DEPARTMENT : LATEST CSD CANTEEN PRICE LIST OF IMPORTANT ITEMS        
#fullpost{display:none;}  NOTE;The prices of all products are subject to change.Check the prices at CSD. SCOOTER KINETIC RATES INDEX NO   ITEM DESCRIPTION PRICE Rs  CSD   63082  SCOOTER KINETIC ZING  23767  CHENNAI  63082   SCOOTER KINETIC  ZING  25525  KOCHI  63082    SCOOTER KINETIC  ZING  26215  KOLKATA SCOOTER KINETIC HONDA RATES   INDEX NO  ITEM DESCRIPTION   PRICE Rs CSD   63011 […]
          Obesity on the Rise Among Telekinetics        

Telekinetics are getting fatter?! I'm not surprised. I'd be as big as a whale if I could do this stuff.


          A Kind of Stillness        
Some scenes in nature are kinetic; I feel in motion with nature. Other scenes are neutral and inspire stillness. They are sources of kinetic energy. They communicate an expectation. I feel this photo is of the neutral kind. East Petpeswick, Nova Scotia. April 2017.            
          Kinetic Watches for Gift        

You may have known different ways to show your affection and love to your partner and the easier way would be presenting them suitable gift. The watches from a high quality online shopping network would be the best gift for your loved. Recently one of my friends celebrated his fifth wedding anniversary and he gifted a lovely seiko kinetic watch for his partner. The Seiko kinetic watch from bluedial.com has helped him to show his affection and love for his partner. So, if you are looking to impress your loved one with special gift for your anniversary, then Seiko kinetic watches from bluedial.com network would be the best option.

          Seiko Men's Kinetic Two-Tone Watch #SKH640        
I've had mine for over six years, and have been happy with it. It's more casual than my Movado, goes with about everything. Perfectly reliable as far as I can tell. I'm getting another one because it's pretty scratched up and the clasp broke (my fault). I can't see getting any other model; this one's been perfect. Cheap Seiko Men's Kinetic Two-Tone Watch #SKH640!

          Seiko Men's Kinetic Two-Tone Watch #SKH640        
I've had mine for over six years, and have been happy with it. It's more casual than my Movado, goes with about everything. Perfectly reliable as far as I can tell. I'm getting another one because it's pretty scratched up and the clasp broke (my fault). I can't see getting any other model; this one's been perfect. Cheap Seiko Men's Kinetic Two-Tone Watch #SKH640!

          What Are Some Exercises I Can Do to Help Relieve Neck Pain?        

Bryan M.
The Woodlands

"Flexibility and stretching exercises can expand or preserve the range of motion and elasticity in affected cervical joints, and thus relieve the stiffness that leads to pain. As a general rule, neck stretching is best done every day, and some stretches should be done several times a day.  Examples include the corner stretch and levator scapulae stretch.

"Specific strengthening exercises will help maintain improved posture, which in turn will lessen or eliminate recurrent flare-ups of pain. As a general rule, neck strengthening exercises should be done every other day to allow muscles time to repair themselves.  Examples include prone cobra and chin tuck."

Karen C.
Elements Medford

"An exercise I do to relieve my neck pain is neck rotation, both side-to-side and front-and-back."

Meredith M.
Elements Timonium

"First, is the neck pain acute or chronic -- is it likely a pinched nerve, or did you just "sleep funny"? Is it something you should see a doctor or physical therapist about first?  Once you've answered these questions a combination of stretches and exercises you might do are chin tucks (which can be held as a stretch as well), scalene stretches (for posterior and anterior), levator scapulae stretch, isometric strengthening exercises and cervical range of motion.

"Stretches and exercises for your neck are best done slowly. Try to do a few reps as tolerated and hold stretches for at least 15 seconds."


          Port Talbot Wh 2-up '25'        

As is now usual, Team Grumpy prepared intensively for the 48h prior to this event: a preparation which entails consumption of takeaway curry and Belgian beer, while sitting on a sofa watching TV.  Team Grumpy dispensed with rule #2, by tinkering with 'Grumpy' Art's chainring bolts the day before the race.  On the morning of the event both riders woke feeling surprisingly chipper considering the quantity of preparation, but were were somewhat disappointed to see thick fog blanketing southern Wales.  Fortunately the weather lifted, leaving clear sunny conditions with a light but rising wind by the time the team convoy reached the race HQ at Resolven.

The Team Manager was a little concerned that the team might set forth into conditions of poor visibility, but really the race was held in the best conditions for several years - sunny and quite warm.   Grumpy Bob and 'Grumpy' Art squeezed into the new skinsuits, which proved surprisingly tight, shiny and (fortunately) stretchy. Unfortunately the Team Grumpy sartorial adviser had made a less excellent decision regarding the matching overshoes, which turned out to fit the shoes well, but were surprisingly baggy round the ankles (shades of verterans' baggy skinsuits).  The new overshoes were quickly discarded in favour of trusty old Pro overshoes (the rather pervy looking black shiny variety), and Team Grumpy set off to warm up on the second half of the course.  But not before having trouble with the damned numbers which were difficult to affix using the bendy safety pins (not helped by the shiny skinsuit fabric).
As the warmup was nearly complete, Grumpy Bob suffered a front wheel puncture.  The Team returned the Team Convoy in as much haste as the rapidly softening front tyre permitted.  Astonishingly the tyre was changed and new number pins obtained and fitted in time to get to the start line in time to see the team in front of us start.
After an awkward start, as a car on the roundabout stalled the riders, Team Grumpy performed pretty much as expected: a good showing of 2-up technique with the overall speed hampered by inadequate training (illness and injury most recently).  That being said, Team Grumpy kept up a pretty good pace over the first half of the event, which is held on a section of dual carriageway, and really only found the second half, which is on an older road with a pretty damaged road surface and quite a bit of climbing a bit challenging – it was here that the defects in Team preparations were exposed. At around 18 miles, and just short of the third turn, Grumpy Bob looked over his shoulder and noticed he'd dropped 'Grumpy' Art on the climb - somewhat discomfited by this, he eased off to get his team mate back on.  What wasn't apparent until the finish was that 'Grumpy' Art's chain had unshipped at the bottom of the climb.  Grumpy Bob's opinion is that there's no place for changing to the small ring when time trialling, but who notices that advice...
The Team Manager was out on the course and took some video footage - this'll be uploaded to the Team Grumpy YouTube channel in due course.  She did, however, comment that Team Grumpy appeared to be  sauntering rather than racing, and accusation both riders were rather horrified by.  Such is team management.
Team Grumpy crossed the line in 1:01:25.  It was enough for 14th place.
1K DAVIES & R PAYNEBYNEA CC PORTH & DISTRICT00:53:42
2J LEWIS & H PRICEPORT TALBOT WHS00:55:10
3W BEVAN & J PILEROSS ON WYE CC VC SEVALE00:56:39
4J ASPEL & N CRAIGFORZA CC00:56:53
5R HICKS & C WALLACEPORT TALBOT WHS MERTHYR CC00:58:09
6B PHILLIPS & M PHILLIPSBYNEA CC00:58:55
7C JONES & K JONESM & D / KINETICA00:59:05
8R AICHELER & J PRITCHARDCASTLE BIKES PORT TALBOT WHS00:59:56
9G GILES & I REESPONTYPOOL RCC01:00:09
10S BENT & A MEARLUDLOW CC01:00:18
11C MATTHEWS & R WHITEFORZA CC01:00:27
12J FRANKLIN & D GOUGHSWANSEA WHS01:00:49
13M PORTLOCK & M WILLIAMSVC L’ESCARGOT01:01:11
14G ORAM & R SAUNDERSBYNEA CC NORTH BUCKS RC01:01:25


          Daniel Radcliffe in talks to play GTA producer Sam Houser        

Harry Potter actor Daniel Radcliffe is in negotiations to star in the BBC's upcoming drama Grand Theft Auto, a feature-length programme about the popular game series' creation.

As reported by the Hollywood Reporter, Radcliffe would play Rockstar co-founder and president Sam Houser. The programme will focus on the drama between Houser and Miami lawyer Jack Thompson, who often sought restitution from Rockstar when violent crimes were committed by folks who also played Grand Theft Auto. Thompson was later disbarred in 2008 for 27 cases of professional misconduct.

The drama is going to be directed by Owen Harris, who directed that episode of Black Mirror where a woman builds an android replacement for her late husband, and that episode of Misfits where a dude wreaks havoc by telekinetically controlling dairy products.

Read more…


          HopLand: single-cell pseudotime recovery using continuous Hopfield network-based modeling of Waddington’s epigenetic landscape        
Abstract
Motivation: The interpretation of transcriptional dynamics in single-cell data, especially pseudotime estimation, could help understand the transition of gene expression profiles. The recovery of pseudotime increases the temporal resolution of single-cell transcriptional data, but is challenging due to the high variability in gene expression between individual cells. Here, we introduce HopLand, a pseudotime recovery method using continuous Hopfield network to map cells to a Waddington’s epigenetic landscape. It reveals from the single-cell data the combinatorial regulatory interactions among genes that control the dynamic progression through successive cell states. Results: We applied HopLand to different types of single-cell transcriptomic data. It achieved high accuracies of pseudotime prediction compared with existing methods. Moreover, a kinetic model can be extracted from each dataset. Through the analysis of such a model, we identified key genes and regulatory interactions driving the transition of cell states. Therefore, our method has the potential to generate fundamental insights into cell fate regulation.Availability and implementation: The MATLAB implementation of HopLand is available at https://github.com/NetLand-NTU/HopLand.Contact:zhengjie@ntu.edu.sg

          Efficient approximations of RNA kinetics landscape using non-redundant sampling        
Abstract
Motivation: Kinetics is key to understand many phenomena involving RNAs, such as co-transcriptional folding and riboswitches. Exact out-of-equilibrium studies induce extreme computational demands, leading state-of-the-art methods to rely on approximated kinetics landscapes, obtained using sampling strategies that strive to generate the key landmarks of the landscape topology. However, such methods are impeded by a large level of redundancy within sampled sets. Such a redundancy is uninformative, and obfuscates important intermediate states, leading to an incomplete vision of RNA dynamics.Results: We introduce RNANR, a new set of algorithms for the exploration of RNA kinetics landscapes at the secondary structure level. RNANR considers locally optimal structures, a reduced set of RNA conformations, in order to focus its sampling on basins in the kinetic landscape. Along with an exhaustive enumeration, RNANR implements a novel non-redundant stochastic sampling, and offers a rich array of structural parameters. Our tests on both real and random RNAs reveal that RNANR allows to generate more unique structures in a given time than its competitors, and allows a deeper exploration of kinetics landscapes.Availability and implementation: RNANR is freely available at https://project.inria.fr/rnalands/rnanr.Contact:yann.ponty@lix.polytechnique.fr

          Efficient simulation of intrinsic, extrinsic and external noise in biochemical systems        
Abstract
Motivation: Biological cells operate in a noisy regime influenced by intrinsic, extrinsic and external noise, which leads to large differences of individual cell states. Stochastic effects must be taken into account to characterize biochemical kinetics accurately. Since the exact solution of the chemical master equation, which governs the underlying stochastic process, cannot be derived for most biochemical systems, approximate methods are used to obtain a solution.Results: In this study, a method to efficiently simulate the various sources of noise simultaneously is proposed and benchmarked on several examples. The method relies on the combination of the sigma point approach to describe extrinsic and external variability and the τ-leaping algorithm to account for the stochasticity due to probabilistic reactions. The comparison of our method to extensive Monte Carlo calculations demonstrates an immense computational advantage while losing an acceptable amount of accuracy. Additionally, the application to parameter optimization problems in stochastic biochemical reaction networks is shown, which is rarely applied due to its huge computational burden. To give further insight, a MATLAB script is provided including the proposed method applied to a simple toy example of gene expression.Availability and implementation: MATLAB code is available at Bioinformatics online.Contact:flassig@mpi-magdeburg.mpg.deSupplementary information:Supplementary dataSupplementary data are available at Bioinformatics online.

          Ronin        
Ronin
author: Frank Miller
name: Kevin
average rating: 3.63
book published: 1983
rating: 1
read at: 2012/01/08
date added: 2015/06/08
shelves:
review:
This, my first time reading Frank Miller, is perhaps colored overmuch by the man's recent notoriety. Many of my favorite writers have revealed themselves as nutcases only after I had enjoyed their works (Orson Scott Card, Dan Simmons, and Larry Niven among them). But with Miller's new Holy Terror removing the ambiguity of 300's xenophobia, perhaps I'm unfairly turning my nose up at material my adolescent self would dig (Why I didn't click with this when I loved the first few volumes of Preacher is an open question).

Then again, maybe not. For the most part I didn't even like the look of Ronin, which was heavily stylized yet cluttered rather than kinetic, and aggressively ugly to boot. Most characters have faces so pock-marked they seem to have a complexion like Loady McGee. One can usually judge the character of a person in Ronin based on their physiognomy (admittedly, I am a comic book dilletante, and Miller may deserve this complaint less than other offenders).

I think I would have liked this more if Miller had had the conviction to stick with the crazy idea of a samurai stranded in the future. Characters keep questioning the absurdity of this turn of events, and though that's only sane, I think it's too bad that their skepticism is born out, and it emerges that the ronin was largely a fantasy of a barely developed protagonist.

          Moon Knight, Volume 1: From the Dead        
Moon Knight, Volume 1: From the Dead
author: Warren Ellis
name: Kevin
average rating: 4.14
book published: 2014
rating: 4
read at: 2014/12/25
date added: 2015/01/19
shelves:
review:
I didn't love it, but this short series has kinetic and often gorgeous artwork and a bare-bones simplicity, the latter of which is most welcome after delving into the convolutions of Morrison's run on Animal Man.

          Build A Website - The Easy Way To Profitable Websites        
Everyone talks online about how easy it is to build a website and make money online. Is is really that easy or pure hype to get you to purchase the next great thing to hit the online market.




All I have to say is that it is not that easy building highly profitable websites online. But, you can learn how to build a website, that will be fully optimized for the search engines and highly profitable in a couple of weeks, using the same simple tricks I use daily. It doesn't matter if you want to build a website for free or for profit.




To win online, you have to build a website that gets free traffic from the search engines, and implement all other simple traffic methods like: posting to forums, using ads in ezines, submitting your site to link directories, writing reviews for other peoples products, reciprocal linking and pay per click.




First you have to learn how to do your onsite optimization, and for that you will have to:




1) Insert your keyword into the title of your page




It amazes me how many sites online don't have their main keyword in the title page. Just make sure to always include your main keyword in the tile page of your site.




2) Add Meta Tags




Not as important as it used o be, but I like to include it in every site I build. Add Description meta tags and your keywords meta tags.




Use one or two keywords per page only. Add your main keyword into your page description.




3) H1 Header Tags




Use your H1 header tag on each page, I always like to use a smaller font size, like 14pt.




4) H2/H3 Header Tags




Try and use at least one H2 or H3 Tags within the first three or four paragraphs




5) Last and First Paragraph




Make sure to start your first paragraph with your main keyword and to end your last paragraph with your keyword




6) Bold, Italize ad Underline your keyword




You must Italize and bold your main keyword just once, and you must use your main keyword to link out of your site to another website (use that link to create an underline keyword) , at least once.




7) The Alt Image Tag




Well, this is very useful if you have pictures that you will be including on your site. Try to use the Alt Image Tag for your pages, I use the alt image tag on my website header.




Those are the only onsite optimization tips that you should use on each and every site you build. Try to not make it look too obvious, and over do your web site optimization. Learn to build a website the easy way by just following the simple tips I have outline here.




For more optimization tips, try to get your hands on VEO Report by Colin Mc. Dougal. This is the best and most understandable guide to building fully optimized websites online.




I will leave you with one tip I learnt from The VEO report; Before you add any affiliate links to your website, you must first build a website that focus on pure content and include an about you page, and then submit that site to the open directories, like DMOZ.org, etc. After your website has been added to those free directories then you can add your affiliate links and start building reciprocal links and the above mentioned traffic methods will deliver even more traffic.




http://www.veoreport.com/




Now that you know how to build a website for fun and profit, it is time to learn by actually doing something with the information you just read. Go build your first website, the second will be better and your third will be a master piece.


Alexander Marlin, Ebenezer St. Maarten A.N.
Discover the simple secrets I use to build a website that ranks high in the search engines. And make thousand weekly with affiliate programs

web marketing los angeles: youtube marketing

web marketing los angeles: youtube marketing

Article Source: www.articlesnatch.com


          What's Wrong with Reciprocal Linking?        
Plain and simple; a lot!




Reciprocal linking has been so abused by webmasters and Search Engine Optimization (SEO) experts (term used loosely when it comes to reciprocal linking) that the larger search engines have begun the process of disregarding reciprocal links as irrelevant.




Does that mean you will be penalized for having some? No, you won't be penalized (unless they lead to 'bad neighborhoods') but you will also not gain anything from having them either.




What has brought this downfall of reciprocal linking? Automation and spam sites but mostly automation. Automation allowed for membership sites to be created where trading can happen at the click of a button and your site is updated automatically with the new link page including the new link. Automation also allowed for finding link partners to send generic emails to in the hopes that they would take the bait and link back to you in return for your link to them.




Now, I like automation when done in a responsible and sensible way. But much of the reciprocal linking automation was about getting as many links as possible as fast as possible. Obviously, unless you are YouTube or MySpace, this is very unnatural and has been easy for the search engines to include in their algorithms.




Many webmasters threw all senses out the window in their quest for reciprocal links. They would go after anyone and everyone rather than finding related and quality partners to share links. Some even would say that they did it for the traffic, except that most of the sites that they traded links with didn't have any traffic and they were trading links to get higher search engine placement to get more traffic.




Another fatal flaw of reciprocal linking is the unscrupulous webmaster who buries your link on a page that will never be visited by a human visitor and probably not a search engine bot either. Most webmasters were not taking the time to actually see if the page their link was placed on could be found by the visitors to the parent site and therefore didn't get any search engine benefit or any natural traffic benefit. However, because you were a honest webmaster the link from your site did pass page rank and visitors to the other site and therefore the unscrupulous benefited greatly from laziness.




Now, most recently, there have been the 3-way reciprocal linking requests. This is still a reciprocal request and is still very easy for a search engine to identify. In fact, you would need to have hundreds if not thousands of web sites that you were rotating your 3rd site links through for 3-way linking to be difficult to detect. When webmasters explain it they make it sound like it is better than regular reciprocal linking but the reality is that it is more spammy than reciprocal linking because you are intentionally doing it to achieve better search engine placements.




So, my recommendation is to stay away from all reciprocal linking (at least in the traditional sense).




Well, what's left you may ask? The answer really goes back to more traditional marketing methods for creating traffic to a campaign. In the web world, our campaign is usually to gain more traffic and if we get higher search engine placement to get that traffic then it is a bonus.




All of the following, create long lasting 1-way backlinks that may come from highly respected authority sites and therefore carry more value in the search engine algorithms.




To start with, there is the tried and true method of submitting your site to 'hand-edited' web directories. Although not all of them are hand-edited a vast majority are. Which also means that the free web directories have a back log that may be a couple of days to a couple of months. Even still, it is worth submitting to as many directories as you can. Don't expect much traffic from this method but that's ok because we are really looking for the 1-way backlink.




Next, would be article submissions/marketing. Write individual articles or create a series of articles and submit them to the major article repositories. Article marketing doesn't usually have an immediate effect on traffic but will build links over time as a well written article will be republished on many sites, blogs, and newsletters.




I usually recommend directory submissions and article marketing take place first because they take the longest to actually gain momentum. But once they do it can be an incredible experience.




Next come the more time consuming but more immediate techniques. They are signature usage, site development, social bookmarking and context linking.




Signature usage is really simple. It is the task of commenting on blogs or forums that are related to your sites general topic. The benefit is a self-placed backlink to your own site. These links can usually even be to pages on the interior of your web site not just the home page. One of the best techniques to generate traffic from your signature is to offer link followers a discount or unique benefit just for following that link.




Site development is simply the process of making your site attractive and friendly to visitors. Sometimes this is called Visitor Experience Optimization (VEO). VEO becomes more and more important as your site gains more and more visitors. Your goal is to have a site that keeps a visitor there as long as possible. It will also increase the likely hood that anonymous webmasters will place links on their site to your site without a request from you - a 1-way link.




Social bookmarking is one of those things that webmasters may do that will make them feel funny and seem like they aren't doing the right thing. It's really OK as long as it is done without complete automation and without the intent to spam the bookmarking sites. What you are really trying to do is submit a vote for your own sites' pages (don't submit every single page of your site) into the bookmarking sites. Hopefully someone else will see your submission and agree with your vote and so on and so on. This technique will not work with every web site but it is worth at least submitting your pages to a group of bookmarking sites with some hope...




Finally, for those reciprocal request that you will undoubtedly continue to receive, contextual linking is what you want. Even if it is a reciprocal link between sites, if it is embedded within the normal context of the other webmasters web site it will be more trusted than a standard reciprocal link. Basically it will appear more natural to the user and to the search engine bots. Obviously for it to make sense, any reciprocal linking should only be done between sites that are related in some way and please don't make every incoming link appear the same. Change the text of the link and the context of the paragraph or page the link comes from so that it once again appears natural.




Of course, even if you do all of these things perfectly, there is no guarantee that you will be on the first page of any search engine result pages. But you will at least have a chance and will outrank a vast majority of the competition sites in the coming years.


Anthony Stai is a proud contributing author and writes articles on several search engine optimization related topics including web directory submissions. You can see more of Anthony's articles on his Directory Site Submitter informational web site located at http://www.directorysitesubmitter.com

web marketing los angeles: digital marketing

web marketing los angeles: youtube marketing

Article Source: www.articlesnatch.com


          VA - Pure Bliss Vocals [Spring 2017] (2017) FLAC        

Категория: Музыка / FLAC / Lossless
Размер: 1.13 GB
Траффик: Раздают (отдают): 63, Скачивают (качают): 5
Добавлен: 2017-04-25 13:41:02
Описание: Информация о музыке
Исполнитель: VA
Название альбома: Pure Bliss Vocals [Spring 2017]
Год выпуска: 2017
Жанр: Trance, Vocal Trance

Список композиций:

Файлы
Время звучания: 02:30:22
Формат: FLAC
Качество: lossless
          Imanis Data Launches Industry’s Fastest Backup and Recovery Software for Modern Data Platforms        
Leveraging the Power of Machine Learning, Imanis Data 3.0 Enables Early Detection of Ransomware Attacks and Data Loss, Minimizing Downtime SAN JOSE, CA – Aug. 09, 2017 — /BackupReview.info/ — Imanis Data, formerly Talena, creator of the first and only machine learning-backed data management software for modern data platforms, today announced the availability of the [...] Related posts:
  1. Talena Enables Rapid Migration of Modern Data Workloads to Microsoft Azure HDInsight
  2. IBM Expands Portfolio of Cloud Business Solutions with the Launch of Industry Platforms
  3. Acronis Backup Cloud Unlocks Easy Revenue for Microsoft Office 365 and Azure Data Protection with Industry’s Fastest, Most Complete Solution
  4. KineticD Online Data Backup Expert Tips: Modern Day Disaster Recovery for SMBs
  5. New Kaspersky Endpoint Security for Business Delivers Enhanced Data Protection and Manageability Across All Platforms and Devices

          Ship Establishing Using Give Tools As opposed to Electrical power Equipment        
An in depth examine the key reason why you could put down the ability Online Værktøj resources along with acquire the particular palm instruments within your next fishing boat constructing experience.   Power gear throughout ship building tend to be required as well as there is no way close to that because the strategies persuade that you have used them, deviations by most of these plans will in most cases create difficulties later. Ship making together with side instruments can be used without significant deviations simply when you are a competent boat builder plus find out just what you are doing, that is often incorrect for many of an individual inexperienced lovers. On the other hand if perhaps you are looking for the hand methods simply motorboat making job, after that tips to complete can be purchase plans that are created to become utilized together with give gear simply. Possibly be aware in which this sort of woodworking challenge will certainly need learn and also master an exceptionally distinct style of expertise as compared to you could be accustomed to, nonetheless it will likewise become really rewarding in the event you really are a fishing boat building fanatic.   To begin with the drawbacks of electric power resources   If building any type of ship for example a cruising boat, fishing boat, a new paddling or possibly very little dinghy you're constantly planning to save money cash using a project any time electric power instruments are being used over side tools. You may think of which the majority of the excess price can be purchased in purchasing the particular electric power equipment. Typically this really is just fifty percent the price, another will come in this upkeep plus correcting. This kind of typically uncontrolled price is usually greatly reduced if you are an seasoned traders or else incorporate some encounter throughout restoring electro-mechanical merchandise.   A further downside is the safety and health factor which usually is going unnoticed by means of almost all woodworking enthusiasts. The vast majority of you do not had a serious accident involving energy equipment to possibly be keen so that you can simply just pay no attention to the following but not all people are or maybe may previously end up being suited to apply good performance electricity gear like is necessary to minimize lumber with the hull of your boat. Some might proceed many months or maybe ages without having accident as well as injuries nonetheless all of it requires will be a single moment connected with insufficient content level and they're going to desire they might have not used up woodworking as well as watercraft creating initially.   The reason why apply side equipment completely in the fishing boat making challenge?   Palm instruments are useful for 100's of years prior to electrical energy had been discovered to make anything at all out of fishing boats for you to mansions. The relevant skills as well as techniques needed to successfully wield hands gear maybe a chisel and also hand saw are usually slowly currently being neglected while the round saws in addition to kinetic sanders are capable of doing the jobs faster as well as for a portion on the attempt. Even so side equipment raise our own connecting towards wood we have been taking care of, seeing that just involving change inside the wheat can be was feeling plus heard more effectively.   A further explanation is straightforward economics, when you are building a vessel away from your wood tool common box full of fretting hand equipment will probably be a lot less expensive when compared with if you ever utilized electricity gear to the explanation talked about earlier. Nevertheless you should take into consideration the belief that your project moves a lot more slowly, in particular if you are even now in the process involving mastering the best way to utilize ones recently bought quality side methods.   In my opinion it is best to find out the create that accompany hand equipment using a motorboat establishing task that is definitely relatively simple for instance a minor dinghy created completely outside solid wood. You can aquire these kinds of fishing boat plans from a regional appliance retailer or perhaps with customized on the web retail store.   Additional figure as well as individuality   Working together with your devices necessitates you to definitely become pretty appropriate using any kind of cutting or even sanding you complete. All of joints have to accommodate just as prepared together with which has no area to get malfunction while it will likely be seen as very poor design. Building a ship along with palm instruments on the flip side is actually identified different, whenever irregularities display there're place down to your originality is a valuable of the instrument as well as the strategy used. This really is thought about my own town because adding character towards vessel and styles while each of them is going to be developed a little diversely. The following is just about the major reasons the reason a lot of people pays significantly additional capital for the mahogany hand constructed watercraft as compared with an equal 1 designed working with simple requirements in addition to energy resources. Made by this people could most likely note that creating a ship using hands tools may be slow although can also produce a superior give back eventually for that total period spent, just as all of business selections this is a evening out represent time can be income.
          Battle of the 2015 Books, Bracket One, Second Round :: Fortune’s Blight by Evie Manieri vs. The Grace of Kings by Ken Liu        


Our second match in the second round of Bracket One of the Battle of the 2015 Books features Fortune’s Blight by Evie Manieri taking on The Grace of Kings by Ken Liu. The winner will be the book I (Aaron) most want to continue reading after 50 pages.

Fortune's Blight: Tor, February 2015, 363 pages, cover art by Kekai Kotaki. Fortune's Blight is Book II of the Shattered Kingdoms series. Book I is Blood's Pride and Book III, Strife's Bane, is due out in December. Fortune’s Blight defeated Oathkeeper by J. F. Lewis to get into the second round.

Fortune's Blight deals with the aftermath of a revolution led by King Daryan of the Shadari, which has overthrown the rule of their telepathic Norlander conquerors. In the opening 25 pages, we've seen Daryan confronted with a populace struggling with post-war hardships and now nearing rebellion against him. The second 25-page section consists of chapters from the point of view of two members of a Norlander noble family, the Arregadors. Rho Arregador (owner of the sword "Fortune's Blight") left his home in the north, by his own account because he slept with his brother's wife. Now he travels by ship with the deposed governor of Shadar. They still have an ace in the hole, however: a young Shadari under their control with powerful telekinetic abilities. Meanwhile, Kira Arregador, the brother's wife in question, remains at home in frozen Norland. Her husband has died in battle, and she must negotiate a minefield of court politics, centered on a new Norlander king she holds in contempt.

The Grace of Kings: Saga, April 2015, 618 pages, cover art by Sam Weber. The Grace of Kings is Book One of the Dandelion Dynasty series. Ken Liu is a two-time Hugo Award winner for his short fiction, as well as accounting for a third Hugo by translating last year's Best Novel winner The Three-Body Problem. The Grace of Kings is his first novel. The Grace of Kings overwhelmed Infinity Lost by S. Harrison to get into the second round.

The Grace of Kings is set on the Islands of Dara, an archipelago with a culture similar to ancient China. In the opening 25 pages we met Kuni Garu, a clever but mischievous student, and Mata Zyndu, a huge young fellow bent on revenge against the emperor. The second 25-page section jumps us ahead seven years, focusing on Kuni. He has been expelled from school and now lives a life of leisure, relying on the hospitality of friends and tavern-keepers who appreciate that a crowd tends to follow him about. But his lifestyle may be about to change as he meets the mayor's spunky daughter Jia Matiza, who sees his true potential.

The Battle: Here we have two complex secondary world fantasies going head to head.

Through 50 pages, to me the greatest strength of Fortune's Blight is Manieri's vivid descriptions of the different landscapes in her strange world. Here, for instance, Kira pauses to consider the courtyard in front of Norland's royal palace:
She preferred the narrow streets and little courts; here, she felt like she was being watched from every angle: from the towers and apparently empty slit-windows of Eotan Castle; from the huge green-glass terrace on the western side, supported by two twenty-feet-tall statues of wolf-headed Eotan the Progenitor; from the worn faces on the carvings of the ancient monarchs lining the rise; from the top of the hewn steps between them to the headland's highest point where the beacon burned day and night to guide ships into the harbor; and where the skull of Gargrothal, last of the great sea monsters, gaped down at them.
Although I appreciate the writing of Fortune's Blight, I find the story rather slow to get moving. In the second 25-page section, nothing especially significant happens. Rho Arregador looks over the water and thinks about stuff; Kira Arregador goes to a dinner party and thinks about stuff. Part of the problem is this is the second book in a series, and there's a lot of background information to catch us up on, but we've seen other sequels in Battle of the Books that have managed to keep the action moving more effectively early on.

I also like the writing in The Grace of Kings, and I feel connected to the characters, particularly Kuni, a rogue with a heart of gold. In the same chapter, he gleefully talks his way out of paying his enormous tab at a tavern, then intervenes to help a stranger desperate to keep her son from being conscripted into civil service. The mayor's daughter Jia, herself a willful young woman, first becomes interested in Kuni when she witnesses this moment.

In contrast with Fortune's Blight, 50 pages into The Grace of Kings, the plot is already well under way. This doesn't necessarily require a lot of action-packed scenes (although there has been one of those), only that the scenes feel important to the lives of the characters. In Fortune's Blight, Kira goes to a dinner party where nothing much happens. In The Grace of Kings, Kuni goes to a dinner party where he meets the woman one suspects he will marry. The dinner party in The Grace of Kings makes me feel involved in the story. I want to keep reading, to see more of the interactions between Kuni and Jia, and to see how their romance will ultimately impact the future of the islands of Dara.

THE WINNER: The Grace of Kings by Ken Liu

The Grace of Kings advances to the semifinals to take on The Buried Giant by Kazuo Ishiguro.

To see the whole bracket, click here.
          New publication: Complete protein–protein association kinetics!        
Hey all, some astute members might have noticed we got a new publication out? https://goo.gl/MoIi0d You remember these BARNA/BNBS workunits? Well, we finally made it :) Frank and Nuria did an incredible work with our simulations and got the paper published in Nature Chemistry which is a top-top journal in our field! To thank you all for this incredible contribution we will be handing out badges soon and you have my (and our group's) heartfelt thanks to all of you! ps. A layman news piece on the article https://www.upf.edu/home/-/asset_publisher/UI8Z8VAxU47P/content/id/8788860/maximized
          Big Air Tyro 24" Kids Full Suspension Downhill Mountain Bike (2017)        
Big Air Tyro 24" Kids Full Suspension Downhill Mountain Bike (2017)

Big Air Tyro 24" Kids Full Suspension Downhill Mountain Bike (2017)

Frame: 24" MTB, 6061 alloy ultra strong tubing, T4/T6 heat treated, double butted, tapered headtube, 3D-dropout, travel: 160 mm Fork: Manitou Mattoc Comp 24", 160 mm, tapered, air, lowspeed compression, rebound, 15 mm axle Rear Shock: Rock Shox Monarch R, air, rebound, length x stroke: 200x57 mm, hardware: 22x8 mm Headset: FSA No. 9, semi integrated, tapered Rear Derailleur: Sram RD X5, medium cage Shifters: Sram SL X5, 1x9-speed, trigger-shifter Brake Levers: Tektro HD-M291, hydraulic disc brake (short reach lever) Brakes: Tektro HD-M291, hydraulic disc brake, rotor: 203/203 mm Crankset: Truvativ Ruktion 1.0, 36t, length: 165 mm Chainguide: Mozart Presto, ISCG05, steel backplate, Bashguard, 32-38t BB-Set: Truvativ Howitzer XR, 73 mm Handlebar: BGM Pro, riser bar, backsweep: 9°, rise: 15 mm, width: 720 mm H'stem: BGM Pro FR, 0°, length: 50 mm, clamp diameter: 31.8 mm Pedals: Wellgo B087U, flatpedals Seatpost: SDG I-Beam SP-251, 30.9 mm, length: 300 mm Seat: SDG Patriot Hubs: (Front) BGM Pro FR, 6-bolt, disc, 15 mm axle (Rear) BGM Pro FR, 6-bolt, disc, 12x150 mm axle Chain: Shimano CN-HG53, 9-speed Cassette: Sram CS PG-950, 9-speed, 11-34t Spokes: stainless, black Rims: Alex FR 32, 24", disc, eyelets Tires: Kenda Kinetics K887, 60-507 Approx Weight: 16.2KG Grips: BGM Race, MTB, double density, clamp version Gear Ratio: 1x9-speed, front: 36t, rear: 11-34t


          Eying or Eyeing        
1. This is the first holiday season since we moved to California that Mark and I have spent together. It's been a nice combination of laying low (cooking, movies, walks) and socializing--we spent a nice Christmas Eve with the California branch of Mark's family, and this evening we're going over to the Rothenbergs'. In a few more days, we're headed to Ensenada. I've long fantasized about blowing off the entire winter holiday season and instead getting out of the country, so this is a step in the right direction.

2. All the climate change involved in the travel from here to Florida and back again has irritated my skin. I've got a patchy red rash that almost resembles hives. It's uncomfortable, and it makes it difficult to wear makeup.

3.Back from a hoop class with Michelle. After a year of thinking that working with more than one hoop would be completely impossible, it's so much fun to be playing with two and have it start to make some kinetic sense.

4. My attempt to keep my hair short is finished. Having short hair requires getting regular hair cuts by stylists who actually know what they're doing, and stylists who know what they're doing cost money. My hair is neither super curly nor super thick, so nearly any fool can cut it when it starts to get long. Therefore, I am growing my hair out again.

5. For Christmas, Mark got me: 1) Mind of the Raven: Investigations and Adventures with Wolf-Birds, by Bernd Heinrich 2) Feelings Are Facts: A Life, by Yvonne Rainer and 3) The Silk Road Gourmet: Volume One: Western and Southern Asia, by Laura Kelle. They're all super cool books that I've been eying a long time.
          Ian Ridenhour releases a smart and sensitive new album        
Though the subject matter comes from tricky emotions and real talk, Ridenhour’s songs are far from downers. Instead, his writing is pop-savvy and smart; his performances are dynamic, with hooky melodies, frenzied riffs and kinetic, danceable energy.
          BEAUTY PT. 2        



My last beauty post was just over a year ago, and 'top shelf-ing' yourself is a fun thing to do, so I thought I'd update on products I've been using/loving lately.  Plus, my Diptyque candle finally has started its new life as a brush holder and I got a new tray from CB2, so my things look pretty and organized!
 
I thought I'd include a bit of skin care this time, which is all Aveda.  I love their Botanical Kinetics Purifying Gel Cleanser, which has a subtle, but beautiful aroma and leaves your skin feeling squeaky clean without over-drying.  I have a large bottle of the Botanical Kinetics Hydrating Lotion as well, which I use year round, but in the winter I use the Tourmaline Charged Hydrating Creme as well.
 
As for makeup, products I've been using daily include: Aveda Inner Light Tinted Moisturizer in Aspen (dewy skin!), NARS The Multiple in Orgasm (my usual powder blushes - NARS Desire and Gaiety - are on hold until warmer months), YSL Mascara in a burgundy shade (I wanted to try this out with my hazel eyes, but I think I'll go back to black next time), Fresh Sugar Lip Balm (this has been a favourite for awhile, and Sephora gave 2 mini ones as a birthday gift. Great birthday gift, Sephora!), Bobbi Brown Gel Liner and Brush (thanks to Bernadette for the tip), MAC Ruby Woo lipstick (Ruby Woo forever) and Chanel polish in Frenzy.  Note:  Do not add up the total cost of your nail polish collection, no do not do that.
 
I recently chopped off my hair to a chin-length cut, so I've been experimenting with products that will keep it from looking too sleek (a matte, textured look is my favourite). I'm still using Bumble and Bumble Texturizing Creme and Surf Spray, but have introduced Oribe's Apres Beach Spray as well(also, this stuff smells like watermelons).
 
What are your favourite products?

          Hardcore Harry... Peter's Post        
My long time gaming friend, Peter Bogdasarian, writes as well as he games/designs. A prolific designer, he is the author of the Corps Command and Tank on Tank series as well as a module designer for Incursion. Of course all that is in addition to practicing Interplanetary Law, or something like that. Sometimes he watches movies. Occasionally he emails his point of view to his friends. With his permission I'm posting his short review of Hardcore Harry below. 


HARDCORE HENRY is a movie shot entirely in the first person perspective which just came out this weekend. The template was a pair of music videos done by the director for a Russian band called Biting Elbows (you can find them on Youtube).

Folks, I *cannot* believe this movie got a theatrical release. I honestly believe this is the most violent movie I have ever seen in general release (vs. college or arts theater) - we are talking MACHINE GIRL or VERSUS levels of violence. Furthermore, it is about as batshit crazy as those two films even when it isn't killing people.

The first person view is explored brilliantly - it is a gimmick but it is still a good one. The stunts have a completely different, frenetic impact - motion, space and body are different templates in this view than in 3p (martial arts, for instance, no longer resemble graceful but combative dance but become herky jerky explosions of flailing perspective ending in someone's misery; bailing from a helicopter has you straining in your seat with the hope you hit water and not land). That said, if you have any problems with motion sickness DO NOT SEE THIS because it will drive you from the theater.

Plot is basic. Henry wakes up as a cyborg with his scientist wife standing over him. Henry doesnt have his vocal circuits activated so he is your standard silemt videogame protagonist. He goes on the run from an evil telekinetic and his army of mercs and tries to rescue his wife. Occasionally one person tries to help him (I don't want to spoil a very nice twist here so all I will say is Sharlto Copley finally gets a worthy role as follow up to DISTRICT 9 and his musical number (with dancing!) is inspired). Cars are driven, tanks are stormed with a sword, helicopters are boarded and more people than you meet in the average week are killed along the way.

Half of you should see this movie at all costs, the other half should wonder why it is this ever got made. I will pre-order the DVD.

          Kinetic Architectural Systems        

Kinetic architectural systems blur the separation between outdoor and indoor spaces, maximizing a living or working area and making it usable throughout the year. When retractable structures, roofs, skylights, windows, or doors are integrated into a building project, enclosed spaces are no longer limited to being indoor spaces only. This course discusses the foundational, engineering, and mechanical requirements for incorporating motion in architecture to provide flexible living and working environments in any type of weather.
          Fuzzy Logix partners up with Kinetica to provide better analytics        
Fuzzy+Logix%2C+Inc%2E%2C+provider+of+in%2Ddatabase+analytics%2C+and+Kinetica%2C+provider+of+a+GPU%2D
          'This Is Not a Political Game!' MSNBC Host Outraged After Rep. Brings Up Clinton, Obama         

On MSNBC Live Thursday, host Ali Velshi refused to listen to his guest, Rep. Trent Franks (R-AZ) after he started to give the liberal host an answer he didn’t like. Hosts Ali Velshi and Stephanie Ruhle first asked the member of the Armed Services Committee about Trump’s handling of North Korea’s threat against the U.S. territory of Guam. As soon as Franks tried to explain that the situation would be harder to handle now than in years past, because of past mistakes presidents like Clinton and Obama made handling North Korea, Velshi cut him off, saying “I really don’t want to talk about Bill Clinton or Barack Obama.” He then self-righteously scolded the GOP rep, saying “This is not a political game, Sir!

Before all that, the interview started off straightforward with Ruhle asking Franks what his assessment was on how the U.S. should be handling North Korea. Towards the end of his answer, Frank admitted, “We shouldn’t be where we are,” placing blame on the past failed negotiations Clinton and Obama made with North Korea and Iran that didn’t require any accountability of our enemies.

STEPHANIE RUHLE: What's your assessment of how we should be handling North Korea?

REP. TRENT FRANKS: Well I think that, first of all, this threat to launch intermediate missiles at Guam has to be considered carefully. Because we only have a short period of time to ascertain the trajectory and whether or not those missiles are actually on track to hit Guam. It's something that we cannot just ignore that reality because indeed if we think that trajectory is on track, we would have to engage our own missile defense capability. And my overall assessment is that we shouldn't be where we are, but Bill Clinton had had an opportunity to negotiate with the North Koreans. He made a deal. He paid the ransom but didn't secure the hostage. Barack Obama did the the same thing and turned around and did the same thing with Iran. We're now starting into an area where we could find some of the most dangerous enemies to America in the world that would be armed with nuclear weapons. That's not good news for our children or our future generations.

Bringing it back to Trump, Ruhle asked Franks if Trump was “correct” in “inciting” Kim Jong-un:

RUHLE: Alright well maybe we have been dealt a difficult hand, but thus far, is the president playing that hand correctly in firing off ‘fire and fury,’ inciting, for a lack of a better term that irrational foreign leader in Kim Jong-un?

FRANKS: Well, the reality is that we only have two ways to defend this nation against intercontinental ballistic missiles that bare nuclear warheads. That's either to interdict them in flight, kinetically or otherwise or to be able to prevent them from being launched. And the main predicate for decades now against very dangerous enemies with nuclear arms has been deterrent. They have to believe that there's no gain in attacking United States. I think the president is making it clear to North Korea that should they attack the United States with nuclear weapons that there will be absolutely no gain to them and great harm to them if that occurs.

Velshi got his first question in then and it was hostile from the start. He mocked the GOP rep. for saying that Obama’s Iran Deal was a failure. “They had no missiles by the way, so the comparison’s not very good,” he snarked. Velshi also claimed that the Obama Admin had “absolute solid intelligence as to where the nuclear capability is,” (despite the fact that the deal relied solely on self-reporting from Iran itself, because it wouldn’t allow outside agencies like the IAEA to robustly inspect the country’s military facilities.) But Velshi was so confident in his statement that Franks asked Velshi to clarify:

FRANKS: I’m sorry can you repeat that again? Are you saying Iran has no nuclear missiles?

VELSHI: Iran has no nuclear capable missiles. That's a fact.

FRANKS: Well, Let me just suggest to you--if North Korea has those---

VELSHI: Congressman Congressman [repeatedly] -- let's talk about the present please. This is an important topic. I'm asking you a question. Let's talk about the present. How do we establish deny of capability with North Korea? We don't have nearly the information that we had on Iran.

After that rude interruption, Frank pushed back again, saying that the U.S. had “a great deal of information for decades” on North Korea’s nuclear weapons program, but that past presidents had severely limited our current options with their deal-making failures. But as soon as Franks name-dropped Obama and Clinton, Velshi angrily interrupted again:

FRANKS: The fact is we have a great deal of information on North Korea. We had a great deal of information for decades and we had an opportunity to deny them the capability and two components to any threat. That's the capability and intent. And President Obama and President Clinton---

VELSHI: Congressman I really want to move forward. I really want to have a discussion about how we stop a war with North Korea. I really don’t want to talk about Bill Clinton or Barack Obama or George W. Bush or Jimmy Carter or Nixon. Because this all started---

FRANKS [being talked over by Velshi]: I can understand you wouldn't, but the bottom line is if we continue to make the mistakes of the past.

“This is not a political game, Sir! This is about war! Can we get answers?” Velshi scolded.

 

 

He continued:

VELSHI: Do we really know where the missiles are in North Korea? Because Intelligence sources tell me that we do not have the degree of information we did in a place like Iran where our spy capabilities are really good, our aerial capabilities were really good. I'm asking a military question. I’m not asking about---

[talking over each other]

FRANKS: If you give me a chance to answer, maybe that would help us both. It is true that North Korea has the ability to disperse their capability, such as it is, in ways that are harder for us to deal with because there's not as much information in North Korea. That part is true.

VELSHI: That's what I'm trying to get to.

FRANKS: So what?

VELSHI: So the fact is when we talk about denial of capability, which goes back to the question I asked 2.5 minutes ago, when Lindsey Graham says there's denial of capability --

FRANKS: That ship has sailed. What we have to do now is to try to deter their intent. That's what I'm trying to suggest to you. The ship of capability has sailed under Mr. Obama and Mr. Clinton. And now what we have to do is we have a president now that has far limited options and some of those options are much more grave than the options that we had before so consequently he has to make it clear to North Korea that should they intend or should they proceed to attack the United States, that it means devastation to them. That's dealing with intent. I hope the president succeeds because the implications, as you say, are profoundly ominous.

What Trent Franks was trying to explain to the head-in-the-sand MSNBC host was that we’ve been here before, so we should learn from our past mistakes. But all the media seems to care about is Trump’s “scary rhetoric.” Instead, they should be taking a look at how they covered past presidents’ reactions to nuclear threats.


The media hailed both Bill Clinton and Barack Obama’s “historic” deals with North Korea and Iran, respectively, which turned out to be failures. The 1994 deal reached with Korea by Clinton required little from the country, and even those requirements they eventually violated. The deal was meant to prevent Korea from acquiring nuclear weapons, which clearly didn’t work. But at the time, the media praised Clinton for “ending the Cold War,” not giving any scrutiny to the lax measures placed on Korea in the agreement.

 


          So What Comes After the American Dream?        
A blacksmith, from the
Assassin's Creed video game..

The American Dream is a remarkably powerful piece of mythology. Stated simple, it is the belief that "If you work hard, if you play by the rules, you will succeed in America." It is so embedded in our national psyche that few in this country, until recently, have questioned it, despite the fact that it actually runs counter to history not only here but abroad as well.

"Work hard and work within the system, and you will be rewarded for your efforts" also sounds like the foundation of modern Capitalism, but again, it is a truism that gets remarkably slippery once you actually try to apply it to the real world. We live in a country where the differences in pay between the wealthiest and the poorest - or even the wealthiest and most of the inhabitants of the country, is astronomical - quite literally. The median income in the United States is about $50,000 for a person with a bachelor's degree. The total wealth of that same person in terms of house, vehicle, investments, etc. as well as income is roughly double that, or $100,000.

The upper echelons of the uber-wealthy start at about the $1 billion dollar mark. To put that into perspective, that's $1,000,000,000 or five orders of magnitude higher. That means that, before taxes, an individual would have to work 100,000 years to get to the same level of income. Given that this is roughly how long as it has taken for human beings to go from living in caves and fighting off saber tooth lions to today, the idea that one can in fact get to be a billionaire by working hard is actually pretty laughable.

You pay taxes. You buy food that continues to rise in price, to the extent that cereal manufactures are faced with the very real problem of being able to get bulkier cereals into their boxes because they have been shaped too thin in order to hide how little you're actually getting. You have to pay for gas that seems to be permanently ensconced around $4 a gallon. You put your kids through school, and then the racket called "higher education". By the end of the year, if you're lucky, you've socked away maybe a few thousand dollars in your savings account, which gets negative real interest (you pay to save).

So, once you do the math and look at how long it will take to save up that first billion, you're now in the 100 million year category. The dinosaurs were still around at that point, and would be for another 40 million years or so, and the continents were still reeling from just having split apart a few billion years before. Now, chances are pretty good that you will drop dead from overwork long before you even get to that first $100K in the bank that's "discretionary savings" - what used to be called wealth.

So, suppose that you don't have those wealthy parents, you have to win at the "lottery economy". What's that? The lottery economy is actually pretty close to the economy we have today. In the simplest example, you buy a ticket and defying all odds, you win the lottery. However, a more subtle form of this is in the entertainment world. You get blessed with a handsome face and hot body (or a pretty face and attractive curves), and then put some work into making those attributes pay off. Or you have a good singing voice, or you play ball very well, or you have a strong sense for acting, or you otherwise have physical attributes and natural talents that can, with a lot of work and effort, get you considered for the big time.

Yet that "big time" is still a lottery. For every supermodel there are 10,000 young women who are as beautiful but didn't have the right qualities for a particular ad campaign or casting call. For every scientific discovery, there are thousands of scientists who struggled with the same problem but didn't have the right samples. For every Michael Jordan, there are thousands of young men who for one reason or another never quite hit the big break.

Now, that doesn't mean that hard work is not important here - it absolutely is. You are trying to prove yourself better than millions of other people, and to do that you have to work hard. Yet ultimately, there is almost invariably a lucky break involved that catapults you out of the unwashed ranks into the ranks of superstardom (and almost always to the very lowest levels even there).

This holds as true in business as it does elsewhere, perhaps more so. If Bill Gates had started Microsoft in 1990, Microsoft would likely be nowhere as successful as it eventually became. Google survived by changing the paradigm of search on the web. Apple did not build the first personal computer, only the  first such computer that was designed as a consumer product. In order for these companies to have done as well as they did (how's that Facebook stock doing for ya?) they had to fill a niche that existed for a very tiny window of time, then had to be ruthless in keeping others from that niche long enough to survive.

A secretary working for Microsoft in 1980 would be a millionaire today if she'd been granted stock options (as most were at that time). Did she materially make a difference in the future of the company? Probably to the extent that any secretary would have. That secretary probably was less important in the scheme of things than a systems programmer twenty years later, but by that time, Microsoft's stocks had plateau'd. The opportunity had passed.

This is especially true for investors, which is the ultimate lottery. How many times have you heard "If I had only bought Apple or Starbucks or Microsoft at the beginning, I'd be rich right now!"? Yet, the reality is that most people have comparatively little discretionary income. A few people get rich by lucking out - picking the right stock at the right time. In most cases, though, the very wealthy get even richer by hiring people to invest in a lot of stocks that might in fact take off, then selling off those that fail early. To do that, you need money to be able to absorb losses while waiting for the hits to happen. You can still lose everything, but because you have the luxury of diversifying your portfolio, in general losses in one area are typically offset by significant gains in another - and if you can then right off those losses as tax write-offs, you're actually not losing all that much money.

There's a certain threshold that separates the wealthy from everyone else. The exact value varies, but currently it's around $10 million dollars. Below $10 million dollars, the drag on wealth from various factor in the economy makes it harder to accumulate wealth. Above $10 million dollars, wealth becomes self-perpetuating - so long as your wealth is reasonably well managed, it will grow with very little risk to the wealthy, because debt works in the person's favor.

In that respect, it's worth thinking about the lottery economy as being a rocket, and that threshold is escape velocity. Any rocket that goes up will ultimately come down, though it may be in a high enough orbit that it will take a while to escape the gravitational well of the earth. However, once it hits escape velocity, the force of gravity acting on it is not enough to pull it into a parabolic orbit, so it is able to go to the moon or be shot out into the solar system.

In some cases, this can be a multistage effort - even if one generation doesn't quite hit that threshold, a success (against less gravity) for the next generation may very well do it. Thus, to become wealthy takes a lot of work and a lot of luck, but to stay wealthy requires simply not doing stupid things, once you're above that magical threshold.

Not doing something stupid unfortunately usually involves not doing something criminal, and that's where things get problematic. Wealth can be used to buy power. That's not a new thought - the wealthy were buying governorships in Rome and were probably buying Ziggurat Rulerships in Mesopotamia. It's usually not hard to find some poor, hard working civil servant that could use a little extra to buy that nice house in the country, and with enough money, you can buy votes or even better vote counts (usually by "helping" your favorite candidate into the office of his choice, at which point he becomes YOUR congressman or member of parliament).

Yet there's also been a fairly long time understanding in the fact that businessmen in general make for poor civic leaders, for the simple reason that being a civic leader means insuring the welfare of the people over who you govern, while being a businessman involves eliciting the maximum amount of profit from an investment. These usually are antithetical goals, because maximizing profits typically requires that you are exploiting all of the available resources within a region as quickly as possible, without necessarily worrying about long term viability, while governing a region is essentially attempting to make it sustainable over the long term, even at the potential cost of short term profits.

Civic institutions and financial institutions move with different frequencies, and have throughout history. Throughout much of the Middle Ages, the church generally played the role of the banker, attempting to gain political power large through control of monetary policy, and political leaders tended to move closer to or farther from the church based largely upon the state's need for money - to pay for troops, supplies, equipment, horses, and weaponry. Both Germany and England broke from the Catholic church in great part because the rise of mercantile trade significantly enriched these country's coffers, and as such they were able to reduce the degree to which papal "strings" could override local autonomy. 

However, one consequence of that was that the mercantilists themselves found themselves in the position the church had occupied - providing money to the state for investment in exploration and colonization in return for increasing political power. In England, a cash hungry monarchy made it possible to buy and sell lordships, and many a minor lord, left with the upkeep of the moldering family mansion and increasingly losing the rents due from tenants on those lands as mobility picked up, were perfectly happy to sell their inherited titles to the highest bidder. Similarly many extinct lineages were bought up (usually with some folderol about service to the crown) by wealthy mercantilists who then used the political power to further their own business agendas.

Civic administrators generally are not interested in empires. They've developed a working equilibrium with the people under their care, and they know the cash inputs and outputs in their domain. Empires are for mercantilists who are seeking to exploit cheap materials and potentially cheap labor in order to maximize profits, and in some cases to build captive markets. When mercantilist pressures are strong (when the merchant class has largely taken control of the political class) you end up with periods of exploration, wars, exploitation and schism.

The problem with the "American Dream", is that it is dependent upon a highly mercantile state where its client states standards of living are farthest apart. As those client states dry up (or become more autonomous), the empire weakens. Resources that had essentially been subsidized due to the high differential between extraction costs and standards of living of the client vs. imperial states begin to become more expensive as the resources get used up and the standards of living equalize, and this in turn manifests as a diminishing standard of living in the host. 

One way of thinking about this is to consider that a business started in 1950, if it manages to survive to 1980, would likely have generated huge dividends over its lifespan. The same business, however, started in 1980, would generate far smaller dividends, accounting for inflation. Most business started in 2010 will likely generate comparatively little in the way of earnings over its lifetime, likely enough to pay for the wages of its employees and materials, but with razor thin profits. This is primarily due to the fact that for most people, discretionary income has diminished as the influence of empire has dropped.

The mercantile class is not immune to this - indeed, they are directly impacted by this. In times past, this typically ends up in an attempt to more directly control the political class in order to continue to steer government policy their way. However, while when standards of living are generally high and the labor class participates in the benefits of the wealth pump that is part and parcel of empire, when standards of living drop for the labor class, resistance builds up to the inequal distribution that tensions rise. In this case, the mercantile class overreaches and attempts to take control of the state directly. This is happening today in Greece, Italy, Spain and elsewhere in Europe, and was one of the big drivers of the Jasmine Spring in 2012 as well as the Occupy movements in the US and elsewhere.

At this stage, the American Dream is dead. There are an insufficient number of "niches" or opportunities for a startup company to grow, and this in turn means that ascending into the lower realms of the wealthy occurs only by "lottery", with that lottery happening less and less often. The wealthy in turn, realizing that their wealth is in danger, start moving it (and themselves) out of the country, away from the political class, in a move very reminiscent of the church during the Reformation. The political class, which derives it's power either directly or indirectly from the people, begins to turn what had been previously "legal" activities (legal in the sense that the financial class had managed to get protections enshrined in law) into "illegal" ones, in order to prevent abuses happening in the future.

Like most systems, empires do not die all at once. There is usually an overshoot period, where the resource pump is beginning to dry up - in the US this happened around 1971, when the US was no longer able to rely upon its internal energy and resource stores and so begin importing oil, as well as implicitly pulling out of the Bretton Woods agreements of the mid 1940s. American oil companies had already managed to control many of the major oil producing countries of the world, but one by one these countries have been nationalizing their oil production. Standards of living for the labor and professional classes peaked and began to decline even as the standard of living for the rentier or mercantile classes continued to rise all starting around the same period.

Global oil production peaked in 2005, and has been sitting on a plateau ever since. New oil discoveries are still being made, but the quality of those discoveries is declining, and the cost of exploiting them is rising to a point where there is an insufficient profit motive to be gained. What's more is that at a certain price point, oil becomes too expensive in a deflationary environment for certain levels of economic activity to occur, and so the economy shifts to a lower economic state. Currently economic activity is roughly on par to where it was in 1992, despite a significantly higher population, and there are indications that unless the economy is radically realigned, it will enter back into recession.

The mercantile class is not uniform. At any given time, there is usually an established "old money" class and an emergent "new money" class. The old money was once new money - years or generations ago, the people in this class took advantage of an emerging niche in order to catapult themselves up from the labor class. In this case, that original class emerged in the 1930s, 40s and 50s in the petroleum, chemical processing, munitions, aviation, transportation, real estate and insurance finance industries, all areas that had ties either to supporting the troops during World War II or enabling the buildup of the suburban landscape as the troops were coming home. This was also the period of biggest buildup for the Christian evangelical movement, which can be thought of as Big Religion. These are all empire building industries.

The new money of the mercantile class consists primarily of those industries that are related to information technology and dealing with the consequences of the old money industry - information technology, mobile communication, alternative energy, non-petroleum oriented transportation, biomedical research, nano-materials engineering, as well as alternative publishing and the Internet. These rely upon the complexity of the previous industries, but increasingly are trying to break those dependencies, and this delinking will only increase over time (the primary dependency increasingly is upon rare earths, which may be a critical weakness of these techs).

What differentiates the two is that each ultimately has to do with how the economy is structured. Much of the economy of today is still built around the command and control structures that emulated the military structures that soldiers returning from war were most familiar with, an economy in which labor was at the bottom under a pyramid of increasingly well paid supervisors, managers, vice presidents and CEOs. The person at the top was the equivalent of a four star general. The new money economy, however, is far more distributed, with fewer layers of managers, increasingly with creatives (designers, engineers, artists, writers, programmers, etc.) interacting as separate contracting entities, and consequently far smaller. A lot of management is mediated electronically, and wealth usually tends to be distributed as shares in ventures.

This model requires fewer people - not just slightly fewer, but significantly fewer, and those fewer people generally need to be more competent in their areas of specialty. This doesn't just hold true in software companies - new era automotive production requires far fewer shop workers and smaller facilities, new era energy companies are focused on localized energy production solutions, new era biomedical firms typically have a very small footprint. 3D printers will turn manufacturing into a just in time process, creating only those items that are needed at a given time, which means that the huge wastage that is typical of the old era manufacturing and production ceases to be a problem.

Unfortunately, while this is good in terms of its impact on the planet, it's impact upon the rest of society is not so beneficial, at least in the short term. The new model takes far less capital investment, which means that the velocity of money is slower. There are fewer entry points for unskilled and semi-skilled labor – in the 1960s, it was not uncommon for a career at a big corporation to start in the mailroom. Today, there's no mailroom. Because of the lower capital investment requirements and instantaneous communication capabilities, it is also increasingly common for countries that never made the large "industrial" stage investments to leapfrog countries that did by adopting new technology and building up competence with an Internet connection and mobile computers.

For those within the new model economy, those who succeed are those who stay competent in edge technologies – the expertise you acquired from previous jobs is useful to help establish context, but if you're not constantly learning, you're road kill. However, for many in the old model economy, this is antithetical to the way they learned you learned to do business. A significant portion of the old model economy is based upon management, which becomes increasingly obsolete (you need a thin layer of management, but not the layers upon layers that characterize most Fortune 500 companies). Creatives occupy a fairly minor part of the whole process, and are usually at a low mid-tier of the corporate pyramid, while manufacturing workers are at the bottom.

In a new model economy, manufacturing workers often overlap with creatives, and management exists primarily to manage financing, rather than managing production. Increasingly that funding is crowd sourced, especially for entertainment, software, and other soft products. As 3D printers and similar tech comes into play, however, that may very well change ("Seeking investors to put together line of specialized computerware vests, seeking total investment of $40,000, return at 7%"). Once the initial investment is made (designing the requisite software) then total costs come down to materials costs and shipping. You would probably see a few big "custom manufacturies" that would specialize in economy of scale work with various software driven models, but overall most manufacturing would be component integrators (a model that's already used for computer and mobile device development).

Again, however, one of the big issues that arises here is that such custom manufacturies will not employ a lot of people, and the people they do employ will not be "laborers" in the sense used in the twentieth century, but rather "artisans" – creatives and designers for the most part, or technical maintenance service people intended to keep the manufacturies themselves running.

This is a huge disconnect right now, because many of the people that are currently out of work were people that were in the FIRE sector – finance, insurance and real estate in the 2000s.
These jobs are not coming back for years, if not decades. Management jobs are going away (and have gone away), and the ones that remain will pay less and be far less powerful. Sales jobs are also going away (though marketing will remain, ironically). Accounting jobs have been disappearing for years, as these functions have moved from pushing paper around to moving electronic documents through electronic systems in the "cloud".

I see other areas where jobs are disappearing not because they are no longer necessary, but because they are moving outside of contemporary established boundaries. One of the most obvious is teachers. Teachers are critical in an information oriented society, yet if you pick up any newspaper (or more likely read news on the Internet) there seems to be a cultural war on teachers. Part of our society feels that teachers should only be teaching the basics - readin', writin' and 'rithmatic, and that they should not be teaching anything controversial (history, most forms of science, computers are suspect, etc. - in short, anything that questions the validity of the bible, the manifest destiny narrative of American history, or even critical reasoning). Another part believes that the prevailing narrative is racist and sexist, that too much emphasis is placed on the "basics" and that grading and being critical of students will only stunt the development of their self-esteem. Neither wants to pay for it.

For the most part teachers themselves face rigid curricula, low salaries, limited or non-existent expectation of tenure, high student-teacher ratios, critical parents, expensive certifications, and long days on their feet. Given the crap that they endure, it is perhaps not surprising that many burn out quickly, leaving only either the most idealistic or the least competent over time. 

It's my expectation that education is on the cusp of both a collapse and a revolution. More school districts are shifting to a magnet school approach where different schools are set up with a focus on different areas or disciplines. One school may focus on mathematics and science, another on art, a third on ecological studies, others on literary careers. At the same time, high schools and even middle schools are being structured more like community colleges, relaxing to a certain extent the requirements that a person must have a Master's degree to teach (though they may be supervised by another who does) and treating teaching less as a formal career and more as a chance for people with experience to teach others   about that experience. Put another way - I think the career of "teacher" itself is going away, perhaps in favor of a concept that the Japanese seem to have understood a while ago: Sensei.

A sensei (which translates as both "master" and "teacher") is someone who has achieved a high degree of experience and is now passing that experience along to their pupils. The sensei has more control than a teacher does - they can set their own curricula and can determine success and failure criteria, and can determine when a student succeeds or fails at that criteria. Personally it would make sense for the sensei to also determine when a pupil moves to the next level, and possibly may work with a group of students over the course of the student's tenure at the school.

This will likely occur in the most progressive school districts first, and may become a facet of private instruction as well. I'm not a fan of private schools in general, but I will readily acknowledge that they can act as laboratories for testing such theories of education (magnet schools are another). Similarly, the increasingly confirmed realization that there are in fact several learning styles and that different students respond more or less effectively to each style in consistent ways is pointing towards schooling based less on topic and more on approach - visual and aural learners may best go a more traditional route, tactile and kinetic learners may be more oriented towards a hands on or physical approach, while autodydactic learners may actually set their own curriculum and goals in conjunction with a sensei who acts more as a guide in that respect.

This could end up absorbing a lot of people who have been otherwise displaced job-wise, especially those later in their careers, and also provides a means for transmission of skills, values, and standards that currently doesn't exist. It may also go a long way towards providing a certain degree of fulfillment for the sensei - in creating "professional teachers" our society has robbed itself of the opportunity for people to pass on the knowledge they've learned, something that I think is an invaluable part of the cycle of life. But it does require that we seriously re-evaluate our current command and control educational system and recognize that it is not meeting the needs of anyone.

Another area where I think we'll see a revival is in the "trades", less from the standpoint of construction and more from the standpoint of maintenance and increasingly "deconstruction". The housing collapse caused a temporary glut of tradesmen on the market, but one consequence of the increasingly iliquid economy is that people are generally not moving around as much, staying in their houses longer, and consequently needing more support for plumbing, electrical work and housing extensions. In at least informal surveys I've conducted, most tradespeople have more than enough work now, and there's increasingly shortages of skilled tradespeople in some areas (Mike Rowe, of Discovery Channels' Dirty Jobs, has found this as well, to the extent that he's begun promoting the warning that we have too few people entering into the "dirty jobs" to replace those that are now retiring). Similarly, the "deconstruction" or salvage business is increasingly booming as houses and commercial real estate is being decommissioned and "unbuilt".

Similarly, I think that you're beginning to see the revival of many apparently extinct professions - from iron smithing to dressmaking (cosplay) to customized cooking and baking. These are boutique professions right now targeting a niche market that is too small, too quirky or too esoteric for large companies, but nonetheless has a demand. The irony is that while these items may be priced higher than mass produced goods, as global resource demands put pressures on extended supply chains, such artisan products may actually end up becoming more affordable than less customized ones. 

So, to wrap up a long essay, what does come after the American Dream? Perhaps something more sane. The dream of growth has ended. Already businesses are restructuring away from the massive military juggernaut corporations to far more ephemeral virtual companies, the ã‚µãƒ©ãƒªãƒ¼ãƒžãƒ³ or Sarariman (the Japanese transliteration of "salaryman") has gone from being the norm to being a quaint reminder of another time, and many of the jobs that were dependent upon economic growth and empire wealth pumps are going away.

In a way, I'm not really shedding many tears for those jobs - they were high stress, dehumanizing, politically poisonous and ultimately harmful. The new economy model jobs are not in general as lucrative for a few, but may ultimately provide a far more livable wage for many. They will force a change in the way that we account for the total lifecycle cost of a manufactured good or service, will likely reduce the amount of waste we are producing in order to "mass-produce", and overall will be more geared towards sustaining the economy rather than growing it. As with any large scale societal changes it will take time, and there will be a lot of resistance from the existing stakeholders. However, resource limitations, demographics, and the general vectors of the global economy ultimately are all aligned against the status quo remaining such.

Perhaps the new dream should be this: "I lived my life content, improved the lives of others, taught what I knew, and leave the world in better shape than I found it." I can live with that. 

          Future Proof: Kurzweil Cities and Kunstlervilles        
According to a number of serious and well-intentioned articles written in the last century (not to mention the Jetsons), by 2010 we were all supposed to live in giant cities with mile-high sky-scrapers, flying cars, pneumatic tube transit, and robot servants. Admittedly, this view gave way to a somewhat more dystopian version around 1980 or so - think Blade Runner, for instance - in which overpopulation, over-urbanization and technology gone wild created a dark and threatening world.

Perhaps one of the biggest exponent of the power of technology to change the world for the better is Ray Kurzweil. Inventor, author, visionary, Kurzweil's central thesis has been that as Moore's law continues in its seemingly unrelenting progression, humanity and the machine will become ever more indistinguishable, and that ultimately there will be no problem that can't be solved with the suitable application of intellect.

At the other end of the spectrum for Kurzweil is James Howard Kunstler. Kunstler has been writing about the relentless spread of urbanization and the problems that will occur as systemic shocks - peak oil, peak water, climate change, aging populations and so forth - cause profound changes to the way that we build our cities, ultimately resulting in the destruction of the suburbs and the end of technological society as we know it. His vision of late 21st century life looks a lot more like the mid-19th century, and it is, curiously, surprisingly appealing even in its starkness.

I've dubbed these scenarios Kurzweil Cities and Kunstlervilles - views of optimism and pessimism that, when looked at through somewhat different lenses, could just as readily be interchangeable in terms of their values as utopias vs. dystopias.

As many people have noted, cities are organic over a large enough period of time. They exhibit emergent behaviors that seem eerily similar to the way that lower order life-forms act. They grow in response to available energy sources, expanding outward as energy enters the system, contracting back in on itself as energy leaves. Highways and streets are the arteries, carrying car and truck corpuscles from one part of the city to another. The nerves are the power and information conduits within the city. When cities collide, they either form systemic cells or absorb one another, the older former towns slowly losing their distinct identity over time.

This metaphor, or abstraction, is an important thing to keep in mind when looking at the future of cities. Cities grow in response to increases in population. This may seem obvious, but I'd contend that its actually a very subtle point - the larger the population, the more likely that the necessary number of interactions can take place to push the city to a new level of abstraction, while at the same time the greater the drain on the energy resources available to that city. In a city where the energy drain is higher than the energy sources (where energy can be physical energy such as electricity or the abstraction of energy in the form of money) the quality of life in the city drops - there are fewer job opportunities, the standard of living goes down, the government becomes more authoritarian, the ability to support urban services decline.

Technology cannot create new energy - it can only make it possible to use existing energy more efficiently, and always at the cost of powering the technology itself. This has always been the fundamental flaw of Kurzweil's vision - Moore's law does not come for free. Every generational doubling in processing power occurs because more energy goes into the technologies to make it happen. Costs for fabrication plants for creating new microprocessors increase geometrically as well - the cost to create a typical fab is now well into the billion dollars category.

The problem that's led to the current crisis is that the energy costs here are borrowed. Intel or AMD generally doesn't have anywhere near the amount of cash on hand to build new fabs. Instead, it borrows the money against future earnings - it is in essence borrowing energy that hasn't been created yet.

This future borrowing has been endemic in US culture for a long time. Cities (and larger geopolitical structures) generate their revenues in one of a few ways - they either take possession of a power or resource source and sell from that, they receive revenues from the state (which simply pushes the problem up a level of abstraction), they place a tax on the current revenues of its citizenry and associated companies, or they create bonds to borrow from the future earnings that the project in question will produce, adding in a premium in order to compensate the bond holders for the potential risk of the bond defaulting.

When the weight of such credit exceeds the potential of the system (as it exists) to pay back those loans, the system collapses. That's what is happening now. The system is becoming less energetic, and as such, the ability of the system to support its abstractions is diminishing. The US government is working diligently to prop up the system, but it's constrained by the same problems - any money that it creates is a promissory note on new energy production, despite the fact that energy production in the US has been declining since the early 1970s. It may be able to sustain the status quo for a while longer - but the next crash will likely be harder.

So is Kunstler in our future then? Not necessarily. Kunstler's central thesis is that an oil-dependent economy will eventually lead to collapse as the supply of oil continues to diminish relative to demand. Oil is important, both as a fuel source and as a resource for production of goods, but its important to differentiate these two use cases. The principle use of oil today is for transportation, moving things from point A to point B. If you can switch cars over to electric or electric-hybrid use this will significantly reduce demand on oil - perhaps even to the point where US production can easily accommodate all other uses of oil. Flywheel systems, and shock kinetics also add potential power, especially for larger vehicles that have more intrinsic momentum).

To do so, however, other changes become important. Electricity production needs to become more distributed. Efficiencies in solar power production are raising the possibility that cities can actually become net power producers - both with regional power "farms" and solar enabled houses and businesses. Beamed power - in which solar power collectors in space are used to create coherent microwave beams that can provide power to collectors even in cloudy areas, could dramatically increase capabilities. Geothermal taps, wind power, wave power and more efficient super capacitors make energy production in coastal areas more feasible. More efficient monitoring and routing of power (smart grid) can also insure that energy is made available to those places that have the largest demand, rather than getting wasted.

There are even places for such technologies as nuclear fission plants, which, despite the publicity of both Four Mile Island and Chernobyl, are generally much safer today. The principle problem here comes in taking care of the high upfront costs and the still troublesome waste disposal issues.

What this implies however is that the future will likely be neither Kurzweil cities nor Kunstlervilles. Instead, for a while it will be a mix of both - cities that can most effectively harness net energy production will thrive and grow, and the standard of living there will improve. Cities that can't will sink into slums and abandoned neighborhoods, crime will rise and people who can afford to leave will for those places that offer better standards of living. The dominant cities of the twenty-first century will be the ones that make the transition first, and it is likely that these cities will also end up creating stronger regional trading blocs that circumvent political boundaries (a case in point would be the Vancouver/Seattle/Portland corridor, which has the potential to become a cohesive political entity as energy and resource systems merge, despite crossing both state and national boundaries).

Indeed, this last point is worth reiterating - political boundaries may be conservative, but they also eventually snap in the face of energy flow structures. Regional trade and energy blocs are comparatively new abstractions, eddies along the older nationalistic boundaries. They will gain in cohesiveness over time, eventually overshadowing older nationalistic boundaries altogether. This means that, again taking the case of "Cascadia", while inhabitants of Portland, Seattle and Vancouver will continue being citizens of their respective states, provinces and countries, they will increasingly think of themselves as being Cascadians as trade and energy alliances build.

Ultimately, the cities of 2020 or even 2050 will likely end up being not that different from today, at least on the surface, though individually they may look quite different. Some places, like Detroit, may not even exist - it was conveniently placed in the 1920s through the 1960s to bring together the raw materials, energy sources (from Pennsylvania oil) and cheap labor to mass produce cars, as well as conveniently placed to distribute them. None of these factors are in play anymore, so the city is dying.

On the other hand, when a city enters into this mode, it is also, ironically, at its most fluid - investment terms are favorable, it's easier to raze dead neighborhoods, townships that are tethered to the city are able to break free and make more effective decisions at lower levels of abstraction, Detroit in 2050 may very well be a network of independent towns, each powering their own subgrids, each producing its own own products and services. Education and the arts may may very well be growth industries by that point, with energy production subsidizing the initial costs, and this is perhaps the real lesson to be gained from Kurzweil and Kunstler both - by moving off the oil grid, by moving away from a caustic and self-defeating consumerist culture, it may be possible that both scenarios come true; the future is a region full of universities towns and centers of learning and the arts - urban enough to bring together the necessary confluence of people but rural enough to sustain the agriculture basis of the region. I could live with that.
          Chaosmos- Episode 2 (Lobo Rising): He        
“…now that she's back in the atmosphere with drops of Jupiter in her hair, hey, hey ye hey heyyy…”, crooned some obscure Earthian singer from a bygone millennium on the ‘Platinum Oldies’ UFM channel.

“Perfect bloody timing!” mumbled Artemis bitterly, as she flicked her telekine* bearing finger a tad too vigorously to shut him up. It was crucial to locate Jupiter and bring it back before anyone noticed, especially Taur. But how? She needed an aide, bloody fast too. She ran her fingers through her golden mane rather absentmindedly as she hovered nervously from one end of her deck to the other and back. And then it struck her like a hypergamma ray.

19 quick flicks of the T-finger, and the raudioscreen lit up. A rather wolf-like creature- shaggy, tattooed, and remotely humanoid, only double the size and muscle, appeared.


“Hiya, Timma dawl!” slur-growled the creature in a vaguely good-natured way. “What made ja raudio-up yer dusty ole pal? Can I help ja?”

Lost-Angel-Lobo a.k.a. Los-Lobos a.k.a. LAL was one messed up item. An inter-galactic Rocketbiker, a drifter, a mercenary, a metalhead, and a junkie to boot, even though the dirtiest substance couldn’t do much to his near-invulnerable constitution, LAL had modeled himself after Lobo- a vintage DC anti-superhero. In this rather successful bid, he had gotten himself fixed-up so many times that he was now one of the few bona-fide Romans** in the universe.

“You bloody well can, LAL. In fact, (although I hate to admit it) only you can.”, said Artemis, squinting at the motley assortment of pills, needles, CD’s, guns and dirty virtuoslides strewn across the floor upon the raudioscreen.

“Just collect your hairy behind and scoot to Jupiter’s orbit. Like now.”

“Anything fer ja, dawl. Ja gawt it. I’m shure ja gawt my interests all worked out.”

“Just come over, okay. ” said Artemis with a faint plea in her voice.

“Aw-kay! See ja!” replied LAL.

"And enough already with that put-on accent of yours." barked Artemis just before the raudioscreen faded back to black.


*Telekine= A minute neutronic device that can be installed in the form of a sticky chip on one’s fingernail to amplify one’s telekinetic abilities
**Roman= a colloquialism for Robot-Man, or a humanoid who’s got organo-robotic parts in his body


(continued)
          [2.3.0] 15 PoE builds for Prophecy challenge leagues        
Hi. Prophecy challenge leagues start on 3rd of June, so here are some great builds for the leagues, enjoy! 1. Cheap, tanky, reflect immune low life Kinetic blast champion 2. God of AOE dagger reave slayer 3. Crit ele flicker-cycloner 4. Cantrip’s guide to Ethereal Knives. 7K Life, Great DPS! 5. Milky’s Dual Righteous Fire …
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          Ergonomic Furniture... The Exercise Ball?        
  This new invention combines the exercise ball and a seat to form a chair. The manufacturer Isokinetics Inc say that this chair promotes what they call “active sitting” which is designed to exercise muscles that you wouldn’t normally when sitting. Due to the shape of the ball, the user has to constantly move, even without knowing in order to balance themselves. When looking at the evidence for this, it is extremely hard to tell whether the evidence put forward is conclusive. There have been tests carried out by the Canadian Chiropractic Association that may suggest that the ball actually helped people with severe back pain. To give one case was a 55 year old male who whilst working in a warehouse for 25 years had developed recurring back due to his posture and having to spend a lot of time bent over at work. When using the ball, he would sit on it for two minutes and found that it would irritate his back making it unbearable to sit on the ball, but his persistence paid off and after eight weeks he found he could sit on the ball for 20 minutes a day and there was a significant reduction in his back pain which he reported was all over his back from the upper, mid to the lower back. After using the ball it was documented that his sharp back pain and leg pain had completely gone, and the pain the he did have was more of an ache. On the other hand, the New York Times have stated that they believe that there is no conclusive evidence that the ball works to reduce lower back pain and this is backed up by Jeremy Vigneault, a physical therapist at the Nayden Rehabilitation Clinic at the University of Connecticut, who has been quoted in saying “there is really nothing overly good nor bad per say about the exercise ball chair”. Others such as the Ergonomics Today say they are against the ball for safety reasons, although it is worth noting that this is mainly due to people falling off as the ball rolls away, a problem that seems to be overcome with the chair. In conclusion, you will have to make your own mind up about the exercise ball chair. However, I am sure that within time, we will have a better understanding about this new ergonomic chair and be able to make a better judgement.      
          Black Heirloom Juicing Corn from Peru - Morado Corn         
This is an absolutely beautiful dark dark purple corn. 

Also known as Kculli this ancient type of corn is particularly known in Peru and parts of South America and one of the oldest corn in the world, and a staple food of many societies since prehistoric times. Purple Corn bears well-sized ears with large kernels that ripen to a deep purple-black color. 
 
People of the Andes make a refreshing drink sweetened with fruit, sugar or honey from the purple corn called "chicha morada" which is now recognized as a nutritive powerhouse due to its phenolic and anthocyanins content. The Anthocyanins are a type of complex flavonoid that produce the blue, purple or red colors of the corn. Phenolics are known to have many bioactive and functional properties. Purple Corn has higher C3G antioxidant capacity and antiradical kinetics than blueberries.
 

Also highly desirable for corn meal and corn pudding as well as a natural fabric and hair dye and cosmetics.  Start indoors as this corn requires a long growing season 100-120 days.  

US Source Available Seeds
                  
FPGEE Self Assessment I. FPGEE Pharmaceutical, management, pharmacokinetic calculations practice questions. A drug has an elimination half life of 4 hours and its apparent volume of distribution is 100 ml /kg. What is the total body renal clearance of this drug in a 65-kg male in terms of L/hr? Estimate the plasma concentration of a [...]
          A few new things ARKANSAS         
Description: 
Arkansas has an unreal amount of potential for world class bouldering, we spent a few days cleaning up amazing new lines at lesser known bouldering areas like the "Andromeda Zone" and "The Garden" all at Cowell. Eyes on the Prize V6 Skinwalker V7 Telekinetic V9 Creature Feature V9 The Changeling V8 Mirage V10

          Disney's NEWSIES, Starring Joey Barreiro and Daniel Quadrino, to Sell Papes at Pittsburgh CLO Soon        

Pittsburgh CLO will produce Disney's NEWSIES for the first time, July 18-23 at the Benedum Center. Inspired by the Newsboy Strike of 1899 and based on the cult-hit Disney film, NEWSIES tells a tale of strife and triumph with Tony Award-winning music, daring choreography and a touch of New York City grit. Tickets are available online at pittsburghCLO.org, by calling 412-456-6666 or visiting the Theater Square Box Office.

In the role of reluctant rebel Jack Kelly is Joey Barreiro, who is reprising his role from the National Tour in his Pittsburgh CLO debut. Joining him is fellow NEWSIES alum Daniel Quadrino as his "tougher than he looks" buddy, Crutchie. The foe to their friendship, Joseph Pulitzer, will be played by Pittsburgh CLO and Broadway veteran Edward Watts. At the helm of this production as Director/Choreographer is Broadway's Richard J. Hinds, who is currently serving as Associate Choreographer in the smash-hit Come From Away.

"We are so fortunate to welcome a team of gifted performers and musicians, under the direction of Broadway's Richard J. Hinds, to mount this incredible production for the first time. I welcome audiences of all ages to delight in the heart-pounding music, electrifying dance and inspirational story of NEWSIES, " exclaimed Pittsburgh CLO Executive Producer, Van Kaplan.

The story of Disney's NEWSIES is inspired by the Newsboy Strike of 1899, during which newsboy Kid Blink led a two-week long strike against the newspaper giants of New York City. In 1992, Disney made a film of this classic plight of underdogs fighting for justice and eventually went on to bring the magic of Disney's NEWSIES to the stage.

After a four-week preview in 2011, the original musical production opened on Broadway in 2012 with music by Alan Menken, lyrics by Jack Feldman, choreography by Christopher Gattelli and book by Harvey Fierstein. The show ran for two years with a standout cast, including Jeremy Jordan, for a total of 1,005 performances. The show was nominated for countless awards, earning two Tony Awards in addition to two Grammy awards for the show's choreography and the music. Disney's NEWSIES continued to thrill audiences across the nation during the First National Tour.

Due to its overwhelming success, Disney released a movie version of the stage production in 2017. The movie was shown for three days in movie theaters and then was made available to the general public, allowing all to experience the spectacular choreography, music and story of the New York City newsboys.

Tickets are available online at pittsburghCLO.org, by calling 412-456-6666 or at the Box Office at Theater Square. Tickets start at $35. Groups of 10 or more enjoy exclusive discounts and specialty packages. Call our Group Sales Hotline at 412-325-1582 for more information. Visit pittsburghCLO.org for further information.

ABOUT THE ARTISTS:

Joey Barreiro (Jack Kelly) is back with Disney's Newsies after recently wrapping up the first National Tour. Regional credits include Witches of Eastwick (Ogunquit), Ragtime (Westchester Broadway), A Chorus Line (Connecticut Rep) and Into the Woods (Studio Tenn).

Beth Stafford Laird (Katherine Plumber) joins Pittsburgh CLO from the first National Tour of Newsies as the Female Swing, and filming Newsies Live! in the roles of "Nun" and "Bowery Beauty." She will be making her Pittsburgh CLO debut with the role of Katherine. Other National Tours include Beauty and the Beast (Internt'l) and Ghost (1st Nat'l). Additional Regional credits include Nikola Tesla Drops The Beat, The Little Mermaid, Sweeney Todd and A Christmas Carol.

Stephen Michael Langton (Davey) will be reprising the role of Davey after performing around the country with the first National Tour of Disney's Newsies. He is a proud Pace MT graduate.

Billy Mason (Seitz) was recently seen as Piragua Guy in Pittsburgh CLO's IN THE HEIGHTS, Black Dude in THE TOXIC AVENGER; and last summer in Aida and as Henri in South Pacific. Other favorite roles include Judas in JCS, Shrek in Shrek the Musical and Horton in Seussical.

Patricia Phillips (Nun/Medda Larkin) is a long-time Pittsburgh CLO alum and Carnegie Mellon graduate. She marks among her many accomplishments her debut as the first African-American woman to play the role of Carlotta in the The Phantom of the Opera on Broadway. Her recent Broadway credits include Kinky Boots, Live from Lincoln Center: Sweeney Todd, and she was a member of the original Broadway casts of La Boheme, The Secret Garden and The Sound of Music. Television credits include two Tony Award telecasts, The Sopranos and Everybody's Fine with Robert De Niro. Ms. Phillips has also been a featured soloist with The Pittsburgh Symphony, The Minnesota Orchestra, The Baltimore Symphony Orchestra, The Indianapolis Symphony and The River City Brass Band.

Daniel Quadrino (Crutchie) will be making his Pittsburgh CLO debut after understudying the role of Crutchie on Broadway. Some of his other Broadway credits include Wicked and the 2009 revival of Bye Bye Birdie. He has also appeared on television in Peter Pan Live! (Lost Boy).

William Sendera (Les) is a student at Pittsburgh CAPA in his third year of training at the Pittsburgh CLO Academy. He recently performed at Carnegie Mellon University (Ragtime), Kinetic Theater (3 Days...), Prime Stage (The Giver) and PICT (Oliver Twist). He has also performed in Austin, TX with ZACH Theatre (Tommy, Les Mis, Ragtime, Christmas Story), UT Austin (ZM) and St Edwards (Merrily We Roll Along).

Edward Watts (Joseph Pulitzer) has been seen on Broadway and in NYC in Scandalous (Robert/David), Finian's Rainbow (Woody stand-by), It's a Bird..Plane..It's Superman (Superman) at Encores!, The Fantasticks (El Gallo), The Most Happy Fella (Joe) at the NYC Opera, Show Boat (Steve) at Lincoln Center and Transport (Delamare) at The Irish Rep. His National Tour credits include: The Book of Mormon (Joseph Smith/Mission President), Disney's The Little Mermaid (King Triton), 7 Brides for 7 Brothers (Adam Pontipee) and Disney's Beauty and the Beast (Gaston).

Disney's NEWSIES is complete with a talented ensemble, including Sky Bennett, Matthew Boyd, Christopher Campbell, Alex Dorf, Grant Haralson, Cameron Anika Hill, Jeffrey Howell, Michael James, Carina-Kay Louchiey, Javier Manente, Connor McCanlus, J. Alex Noble, Gavan Pamer, Kevin Paul, Isaac Cole Powell, Vinnie Smith, Trent Soyster, Taylor Kellas Warren, James Allen Washington and Davis Wayne.

Pittsburgh CLO is proud to welcome CLO Academy students Benjamin Godley-Fisher and Noah Kies in their professional debuts as members of the NEWSIES cast! Benjamin is a student at Obama High School in his third year of training at the CLO Academy. Noah joined the Academy this year and is a student at Propel East.

Richard J. Hinds (Director/Choreographer) joins the Pittsburgh CLO team for the first time while also currently serving as Associate Choreographer for Come From Away on Broadway. Other Broadway credits include Jekyll & Hyde (Associate Dir./Chor.) and Il Divo: A Musical Affair (Assistant Dir.). Off Broadway credits of his include Here Lies Love (Associate Dir./Chor.) and Frankenstein (Assistant Dir.). National Tours: 9 to 5 (Associate Dir.) and Disney's High School Musical (Associate Chor.). Regional: La Jolla Playhouse, The Old Globe, Paper Mill Playhouse, Kansas City Repertory Theatre, Flat Rock Playhouse, Ogunquit Playhouse, Gateway Playhouse, Seattle Repertory Theatre and Seattle 5th Ave. Theatre. TV: Macy's Thanksgiving Day Parade, America's Got Talent, The Bethenny Show and Bring It.

James Cunningham (Music Director) recently made his Pittsburgh CLO debut as Music Director for IN THE HEIGHTS. Mr. Cunningham's New York credits include Avenue Q, music director for Bunnicula (TheaterworksUSA and original cast recording), Hot Mess In Manhattan (The Araca Project) and Happy Birthday (TACT) for which he also provided original music. His National Tour credits as pianist/conductor include Irving Berlin's White Christmas, Spamalot, Evita and Cats. For the past three seasons he has been a frequent music director for Casa Mañana where his credits include Million Dollar Quartet, Spamalot, Rent, Fiddler on the Roof, Les Misérables, Buddy...The Buddy Holly Story, Always...Patsy Cline and Cats. Regionally, he has also conducted productions for North Carolina Theatre, Sharon Playhouse, Shakespeare Theatre Company, The Engeman Theater, Paper Mill Playhouse, The MUNY and Cape Fear Regional Theatre. He holds degrees from Manhattan School of Music and New York University.

ABOUT THE ORIGINAL CREATIVE TEAM:

Alan Menken (Music) is the man behind the music of countless beloved films and shows, especially in the world of Disney. He has composed for Disney films such as Aladdin, Beauty and the Beast, Enchanted, Hercules, Home on the Range, The Hunchback of Notre Dame, The Little Mermaid, Pocahontas and Tangled. His work in film apart from Disney includes Leap of Faith and Little Shop of Horrors. On stage, he has composed the music for A Christmas Carol, Disney's Aladdin, King David, Little Shop of Horrors, Sister Act and Disney's Newsies. His work has garnered him countless prestigious awards, including a Drama Desk Award, a Tony Award, The Frederick Lowe Award and an Audience Choice Award for his work with Disney's Newsies.

Jack Feldman (Lyrics) has written for television, film and Broadway. He is best known for writing the lyrics for Barry Manilow's Grammy Award-winning song "Copacabana." His work in theater includes The Madwoman of Central Park West; written for multiple films, such as Oliver & Company, Thumbelina, Disney's Newsies, Home Alone 2: Lost in New York, A Goofy Movie, The Lion King II: Simba's Pride and 102 Dalmatians. His work with Alan Menken on Disney's Newsies garnered him the Tony Award for Best Original Score (Music and/or Lyrics) written for the Theatre.

Harvey Fierstein (Book) is a four-time Tony Award-winning writer and actor. He has written for a plethora of shows, including Kinky Boots, La Cage aux Folles, Torch Song Trilogy, Safe Sex, Legs Diamond and A Catered Affair. As an actor he has delivered unforgettable performances in Hairspray, Fiddler on the Roof, La Cage aux Folles and Torch Song Trilogy, as well as in the films Mrs. Doubtfire and Independence Day. Over the course of his successful career in both writing and acting, he has received and been nominated for numerous awards, including nominations for a Tony Award and an Outer Critics Circle Award for his contributions to Disney's Newsies.

Jeff Calhoun (Director) was the director of the original Broadway production and the First National Tour of Disney's Newsies. He has directed and choreographed multiple Broadway shows, including Tony Award-winning Big River, Jekyll & Hyde, Bonnie & Clyde, Brooklyn, Bells Are Ringing, Annie Get Your Gun, and Grease, to name a few. Among his Off-Broadway and Regional work are shows such as 9 to 5 the Musical, High School Musical and Strike Up the Band, among others. Along with his roles as director and choreographer, Mr. Calhoun also has performed in the Off-Broadway production of One More Song/One More Dance and the Broadway productions of My One and Only and Seven Brides for Seven Brothers. He has been nominated and awarded many honors, including two Tony Award nominations for his direction of Disney's Newsies.

Christopher Gattelli (Choreographer) has choreographed for prominent Broadway shows, including South Pacific, War Paint, Amazing Grace, The King and I, 13, the Musical, Sunday in the Park with George, The Ritz and High Fidelity, among others. Mr. Gattelli has choreographed and directed for multiple Off-Broadway and Regional productions as well, such as Altar Boyz, Bat Boy, How To Save The World... and Radio Girl. He was the resident choreographer for The Rosie O'Donnell Show for three seasons. As a performer, he appeared in How to Succeed...(Revival) and in the role of Pouncival in Cats. Mr. Gatelli's work with Disney's Newsies garnered him the Tony Award for Best Choreography in 2012.

Since 1946, Pittsburgh CLO has been the driving force behind live musical theater in Pittsburgh and the entire Southwestern Pennsylvania region. Under the direction of Van Kaplan since 1997, this not-for-profit arts organization appreciates the support of nearly 200,000 patrons yearly who attend its performances at three venues in the Cultural District: a seasonal subscription series at the Benedum Center, A Musical Christmas Carol at the Byham Theater and year-round shows at the CLO Cabaret. Its dedication to the musical theater art form includes educational programs such as the CLO Academy for Performance and Art, the CLO Mini Stars, the Gene Kelly Awards, the Richard Rodgers Award and The National High School Theatre Awards. As part of its new works development, the organization has been involved with 22 Broadway shows (29 Tony Awards), and in 2014 produced the world premiere of An American in Paris, on Broadway (4 Tony Awards) and in London's West End. For more information, visit pittsburghCLO.org.


          Fast Solution Exchange Microfluidic Device        
Fast solution exchange microfluidic device for kinetic analysis of single cells We are developing a novel fast solution exchange microfluidic device constructed from poly(dimethylsiloxane) for the kinetic analysis of single cells. The lateral cell trapping junctions enable hydrodynamic placement of a single cell from the bulk cell suspension and nano-fluidic injection sites enable fast and […]
          â€œKinetic Connections” made at UNLV        
Student and professional choreographers collaborated on the third concert of the fall semester at UNLV’s Dance Studio One on Nov. 18, 19 and 20. “Kinetic Connections,” the name of the show, demonstrated the seemingly never-ending stream of abstract, movement-related concert names that the dance department is capable of generating. The pieces themselves, however, showcased a […]
          Advanced Energy Storage to Be a Solution for Globally High Energy Consumption Levels        
In 2013, the International Energy Outlook had published that there will be a major spike of 56% for energy consumption between 2010 and 2040. This growth in energy consumption has to be met with an equal supply in order to preserve the growth rate of economies and industries. This cannot be achieved by simply ramping up the energy generation; power production is extremely complicated and an integral part of the economy. Energy Storage Today We have come a long way from simply storing potential energy and converting it to kinetic energy. As the demands for energy are increasing constantly, hydro power and the current variants are expected to fall short of meeting with the growing demands. Most of the current energy storage devices and systems use either mechanical stress, rechargeable batteries, or gravitational pull for storage. There are major developments happening in the field of thermal energy storage, where ice storage tanks are used to store thermal energy in the form of latent heat. It can help store the night time energy supply in the form of latent heat so that it does not get wasted, and resupply it back to the system in day time peak hours. The power storage and distribution scenario post the twentieth century has been a rather intricate one. Before the turn of this century, most of the energy was generated through the burning of fossil fuels. Now there are a lot more options available, most of which form the sector of renewable energy. These forms were created out of two concerns. Firstly, the concern of depleting the limited reserves of fossil fuels, and secondly, the growing concerns over the pollution levels. In the light of these concerns, not only did power companies start seeking alternatives to fossil fuels, but they also started looking for better ways to store energy. This gave rise to the concept of using, storing, and supplying energy based on economy, rather than location. The current complication lies in the transportation of this stored power without the burning of excessive fossil fuels, a process which is still in early developmental stages.

Original Post Advanced Energy Storage to Be a Solution for Globally High Energy Consumption Levels source Twease
          Rising Prevalence of Cardiovascular and Neurological Disorders Fuels demand for Physiotherapy Equipment        
The global physiotherapy equipment market is experiencing an exponential rise in its market valuation. The rising prevalence of cardiovascular diseases and neurological disorders has fueled the demand for these devices across the world. The rapid increase in the geriatric population, rising incidence of sports injuries, growing prevalence obesity among people, and escalating awareness pertaining to the benefits of physiotherapy are also propelling this market significantly. North America Physiotherapy Equipment Market to Reach US$9.5 bn by 2022 North America dominated the global physiotherapy equipment market in 2015, accounting for an amount of US$6.0 bn in terms of revenue. The increased base of geriatric population and the augmented incidence of neurological as well as cardiopulmonary disorders fueled the demand for physiotherapy equipment in North America in the recent times. Experts predict this regional market to report a CAGR of 6.90% between 2015 and 2022 and attain an estimated value of US$9.5 bn by the end of 2022. Asia Pacific, on the other hand, is expected to register the fastest growth rate among all the regional physiotherapy equipment market over the next few years. The rising number of patients suffering from neurological disorders in Asian economies such as Japan, China, and India is anticipated to stimulate the demand for physiotherapy equipment in Asia Pacific significantly in the coming years. Europe and Other Regional Markets to Witness Remarkable Rise Europe and other regional physiotherapy markets are also expected to witness a remarkable rise in their shares, owing to the increasing incidence of musculoskeletal and neurological disorders and cardiopulmonary diseases. The rising geriatric population in these regions is another significant factor driving these market’s growth. Some of the major producers of physiotherapy equipment across the world are Algeo Ltd., Patterson Companies Inc., HMS Medical Systems, Isokinetics Inc., Enraf-Nonius B.V., Whitehall Manufacturing, DJO Global, BTL Industries Inc., EMS Physio Ltd., and Dynatronics Corp.

Original Post Rising Prevalence of Cardiovascular and Neurological Disorders Fuels demand for Physiotherapy Equipment source Twease
          E3 2017: How Destiny 2's Weapons, Enemies, And Matchmaking Are Changing        

Sony's E3 2017 press conference gave us more details about Destiny 2, including a new story trailer. The release date was also moved (earlier, surprisingly), and we learned about the PS4-exclusive content coming to the game. However, there's still a lot we don't know about Destiny 2, including how the game will differ from the original--at first glance, it looks very similar.

During E3, GameSpot spoke to Destiny 2 Project Lead Mark Noseworthy about the game's big changes. Check our roundup of all the Sony press conference news for more on Destiny 2, and catch up on all the week's announcements on our E3 hub.

You've previously mentioned that the weapon categories are different in Destiny 2. Rather than Primary, Secondary, and Heavy, Destiny 2 has Kinetic, Energy, and Power--how are the existing weapon types categorized now? How is this changing your loadouts?

Mark Noseworthy: Both the Energy slot and the Kinetic slot pull from the same archetypes, so it's not the same weapon--there'll be Solar Scout Rifle [for example]. That's an Energy weapon, and it'll have a sweet name and do certain things. But then you can have another Scout Rifle in your Kinetic slot. But it's a Kinetic Scout Rifle, with a different name.

And the Kinetic rifle will be good at just doing damage to regular [enemies]. And then the Energy Scout Rifle will be especially good at taking down shields, whether that's a shielded combatant or another player who has their Super.

I mainly use Scout Rifles. So I can put two Scout Rifles in my loadout at once?

I think you won't. Because I'm Mister Scout Rifle as well, but once you've got one Scout Rifle you kinda don't need another Scout Rifle. And one of the things that we really like about this design is that it encourages you to experiment a lot and try other stuff. We're still trying to find different combinations that are like, "All right, this combination totally sucks." It seems like almost any combination you try is interesting in its own way.

One of the things that we really like about this design is that it encourages you to experiment a lot and try other stuff.

And I'm using weapons now that I wouldn't have previously used. I've always gone Scout Rifle, [but now I can equip one] either in my Kinetic or Energy. So now you [can use the other slot for] Sidearms or Hand Cannons or ARs, or whatever, because you know you've always got your Scout if your combination isn't working out.

So now it means you're actually changing up your weapons a lot more than you've ever done before.

How so? I never use Hand Cannons, for example.

Yeah, and now you will, because you're like, "Well, I've got my Scout Rifle, so might as well use the Handcannon that does the [a different kind of damage]" Especially if you've got an Exotic in that slot. If you have your Scout Rifle, and then your non-Scout Rifle--you're gonna use a different Exotic for that. Instead of just always using the Exotic Scout Rifle just because [you have it].

Which weapons are classified as Power weapons?

You've got the Grenade Launcher, the Rocket Launcher, the Shotgun, the Sniper Rifle, the Fusion Rifle. Those are the ones in that slot. They've all been beefed up. They do more damage.

Then segueing into enemies from there--are we seeing similar enemies in Destiny 2? We've seen Cabal in the trailers.

There are definitely a bunch of new combatants. We're not really detailing any of the changes we've made to the Hive, the Vex, or the Fallen, but they've each evolved. They've all been touched in some ways. The Cabal Red Legion [is] where we've spent a bunch of the time, they're the primary antagonists in the campaign of the Red War. They've got the War Beast, the Incendiary, and then the Gladiator as the brand-new Cabal units.

We figure the Cabal are like the Navy Seals or the Special Forces. But we've taken a good hard look at the design of all the existing races and tried to make improvements across the board. Just more fun to fight and make it so that when the Fallen soul escapes his body and that the animation effect is just a little bit more dialed in.

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Whether it's a brand-new combatant or a combatant that previously existed, we're going to change it up a little bit. Like, what if these guys take cover differently now? Or what if he jumps? So there's been a lot of enhancements across old enemies.

One of the big differences in Destiny 2 is the addition of in-game clan support. Could you give us more information on how that works?

We've introduced two really important systems in Destiny 2. Clans are the first half of that. And clans are, as you know, basically groups that you can join [consisting] of like-minded people who've said, "I want to play Destiny with other people." And it's like an extended friends list essentially.

But we're going further than that. We're allowing the clans to have an identity, like a name and a motto that you can type in and describe. Also, [we] have this banner that has rewards with it. And then you can join a clan. And in fact we want everyone in Destiny 2 to join a clan ideally, with no commitment. Joining a clan does not mean you have to raid on Tuesday nights. It just means, "I'm just a part of a group of other people."

And we think everyone should want to do this because doing so is gonna give you rewards. But [playing] on your own is going to benefit the clan. And the clan playing when you're not on is going to benefit you. So it just makes sense for everyone to be a part of that experience.

This is going to help clans when they're short one or two people on Tuesday nights when they play the Raid, but also give the opportunity for people who don't have a lot of friends playing Destiny.

But then we have this system that we're calling Guided Games. They're essentially a mechanism for everyone in Destiny to play the pinnacle, highest challenge of competitive content. Whether that's Nightfall Strikes, Trials, or the Raid. And so those in Destiny 1 did not support matchmaking. They still don't support matchmaking because they require communication and strong coordination. And we just don't think that's gonna work well in matchmaking.

But if we can take clans, these like established social groups where people with identities and social norms, and match them with solo players or maybe a pair of people and put them together ... If we give the seekers--the solo player--the agency to say, "Hey this clan, the way they describe themselves, their identity, seems pretty different than me and the way I want to play. These guys seem pretty hardcore. Or they speak German or whatever. I'm not going to play with them."

But then this next group [could] be like, "Look, we're cool, friendly people. We're open to noobs." …. You're going to temporarily join this clan for a session. You're not actually joining the clan, but you're gonna agree to participate in a clan in that activity. And so this is going to help clans when they're short one or two people on Tuesday nights when they play the Raid, but also give the opportunity for people who don't have a lot of friends playing Destiny to play some of this great content that they haven't experienced.


          Marvel Heroes 2016 Патч 1.00        

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Что может быть лучше, чем начать новый год с крупного обновления? Marvel Heroes 2016 добавляет новую героиню Черную Кошку и напарника Агента Венома, переработку «52» Дэдпула, продолжение сюжетной линии, новый патрульный режим, поддержку контроллеров и таблицу лидеров, а также переработанную систему ремесла… и еще много всего впереди!

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Мистический Кошмар

Владыка демонов Н'астирх открыл врата между Землей и Лимбо. Он напал на наш мир, сея страх и разрушения. Но действия Н'астирха не лишены смысла. Он пытается сделать связь двух миров неразрывной, чтобы затем окончательно подчинить себе планету и ее жителей.

Н'астирх призвал на свою сторону существ из самых ужасных миров за пределами царства Хель, пообещав им часть захваченной территории. Ваша задача – остановить демонов, прежде чем они добьются успеха.

Многие герои вселенной Marvel объединят силы, чтобы разрушить планы демонов. По своему размаху «Мистический Кошмар» превосходит все еженедельные события и вплотную приближается к событиям Большой десятки.

Основные особенности:
  • Бонус к опыту, поиску редких и специальных предметов увеличен на 63%.
  • Легендарные свитки Лимбо.
  • Вечность начинается с 63.
  • Задание Марш-бросок в Лимбо.
  • Мистический Кошмар повсюду.
  • Мистические достижения.
  • Сундуки Мистического Кошмара.
  • И многое другое!
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Секретное вторжение

Сюжетная линия «Секретное Вторжение»: вас ждет битва с инопланетянами скруллами всех мастей и размеров, в том числе со знаменитым Супер Скруллом, чьего появления в Marvel Heroes так давно ждали. Новые локации, боссы, награды и эксклюзивные игровые предметы. Удаленное оповещение для героев 60 уровня сообщит, что Ник Фьюри подготовился для вас новое задание, которое начнет Секретное Вторжение.

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Новая патрульная зона

Hightown – это новый патрульный режим, который доступен в двух вариантах. Обычная версия предназначена для игроков любого уровня и космическая для хорошо экипированных игроков 60 уровня (будет доступна в феврале 2016 года). Разблокировать игровую локацию можно путем прохождения 10 главы сюжетной линии. Это богатый район с дорогими автомобилями, шикарными магазинами и игорными заведениями. Наша задача очистить его от инопланетной расы Скруллов, которая способна превращаться в живые организмы.

Новая героиня Черная Кошка

Филиция Харди, дочь всемирно известного грабителя по кличке «кот», была настолько вдохновлена, узнав правду о своем отце, что последовала по его стопам. Очередным шагом на пути к преступному миру стало трагическое событие, произошедшее в университете. Черная Кошка обратила свое горе и стыд в ярость, в совершенстве овладев навыками боевого искусства и акробатикой, чтобы отомстить обидчику и стать одной из лучших грабительниц в мире.

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Переработка «52» Дэдпула

Печально известная программа «Оружие Икс» наделила Уэйда Уилсона необычайно мощным исцеляющим фактором. Уэйд вскоре сбежал и стал независимым наемником по имени Дэдпул. Уэйд психически неустойчив, и трудно сказать, вызвано это естественными причинами или постоянно действующим исцеляющим фактором. Один из побочных эффектов его психического состояния — уверенность, что он не настоящий человек, а герой комикса... ну, или компьютерной игры.

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Напарник Агент Веном

После трагического события во время службы в армии Соединенных Штатов Флэш Томпсон, бывший одноклассник Питера Паркера, соглашается на секретный эксперимент правительства по созданию нового поколения супер солдата. Результатом становится слияние Флэша с симбиотом. На службе правительства Агент Веном использует комбинации обычного вооружения и способностей симбиота, чтобы делает его уникальным и очень эффективным солдатом.

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Изменения героев: Шельма

Добавлено два новых украденных навыков, которые можно найти в 10 главе.

Украденные способности с тэгом Support, Impact и Attrition объединены в одну категорию. Новая группа может содержать максимум 6 навыков, и состоит из почти всех бывших способностей из 3 категорий. Это позволит сделать построение сборок более гибкими.

Impact навыки помечены ключевым тэгом Impact для взаимодействия с другими украденными способностями, такими как у Женщины-Халк.
  • Flight больше не потребляет дух.
  • Ультимативная способность теперь обладает навыком Ragin' Cajun в пассивном режиме.
  • Mr. Sinister's Molecular Transport является Core навыком и может использоваться в штабах.
  • Nastirh's Demonic Barrier является Core навыком.
  • Loki's Illusionary Projection является Support навыком.
  • Colossus’ Osmium Skin является пассивным навыком.
  • Rhino's Devastating Charge является Support навыком с временем восстановления, дополнительным уроном, который мгновенное убивает обычных и элитных врагов.
  • Spider-Woman's Venom Blast анимация ускорена, урон способности теперь скалируется в зависимости от характеристики Energy Projection.
  • She-Hulk's Lawyer Up предоставляет множитель урона 7,5% к Impact навыкам.
  • Mr. Hyde's Empowered Shockwave теперь вызывает бонусный эффект так долго, как украденная пассивная способность активирована.
  • Scarlet Witch’s Chaotic Hex теперь наносит хаотичный урон, и дает бафф Recall Overload, эффект которого увеличивает все случайные хаотичные эффекты на некоторую продолжительность.
  • Wolverine's Bone Claws теперь восстанавливают здоровье при ударе, вместо предоставляемого небольшого рейтинга критического удара.
  • Juggernaut’s Crimson Force Field теперь это пассивное умение-аура, которое дает Роуг вторичный ресурс, имитирующий механику Моментума. Активируемая неуязвимость – удалена.
  • Colossus' Osmium Skin теперь дает шкалу Защиты, идентичную механике Колоссуса. Множители Отржения и Защиты удалены.
  • Angel's Flanked From Above теперь считается умением Движения,
  • Beta Ray Bill's Lightning Barrage теперь также дает бафф для Роуг, который на короткое время добавляет дополнительный энергетический урон для способностей ближнего боя.
  • Black Panther Sweeping Kick время восстановления умения увеличено до 4 секунд, урон увеличен. Умение определено в категорию Impact умений (высокий урон и время восстановления).
  • Brimstone Infernal Meteor время восстановления уменьшено на 4 секуны, если Роуг имеет хотя бы 1 очко, вложенное в Hellfire's Curse of Hellfire. Урон метеора зависит от максимального значения Духа.
  • Hellfire's Curse of Hellfire теперь применяется на Роуг, а не на цели, и увеличивает урон Ментального и Ближнего боя. Навык наносит постепенный урон самой Роуг, и этот эффект нивелируется, если Роуг имеет хотя бы 1 очко, вложенное в Brimstone's Infernal Meteor.
  • Electro's Static Field теперь, во время использования, дает бонусную Скорость и скорость движения.
  • Herald of Ash's Volcanic Eruption теперь наносит бонусный урон, зависящий от максимального значения Здоровья.
  • Ghost Rider's Damnation теперь наносит бонусный урон, если использовано при здоровье меньще 50% от максимального его показателя.
  • Hulk's Rogue Smash! теперь имеет более высокий шанс Сокрушительного удара и урон, основывающийся на здоровье Роуг.
  • Human Torch's Pyrotechnic Burst теперь считается навыком ближнего боя.
  • Clea's Flames of the Faltine и Jean Grey's Psychokinetic Implosion теперь имеют эффекты, основанные на их подсказках.
  • Loki's Illusionary Projection теперь вызывает до 3-ех иллюзий (ранее 2), каждая из которых существует 20 секунд.
  • Coulson's Level 7 S.H.I.E.L.D. Agent пассивный навык теперь дает Рейтинг Критического удара, вместо Рейтинга урона по площади.
  • Daredevil's Master Martial Artist пассивный навык теперь дает Рейтинг Отражения вместо Рейтинга Уклонения.
  • Iron Man's Mechanical Genius теперь аура увеличивает Рейтинг Урона, но увеличивает стоимость использования всех умений Роуг. Теперь дает Регенерацию Духа, вместо Интеллекта.
  • Madame Hydra's Superior Tactician пассивный навык теперь дает Интеллект, вместо небольшого увеличения длительности суммонов.
  • Spider-Man's Spider-Sense passive теперь увеличивает урон Core новыков, Crushing Blows, Aerial Onslaught, and Kree Charge, зависящий от уклонения Роуг, нежели увеличивает рейтинг уклонения.
  • Psylocke's Psi-Thrust теперь также создает небольшие Psi Barrier во время использования, раз в 8 секунд.
  • She-Hulk's Lawyer Up Отражение заменено на Максимальное Здоровье.
  • Slag's Lavalanche теперь наносит бонусный урон, зависящий от максимального значения Здоровья.
  • Storm's Crashing Hail теперь дает бафф к максимальному значению Спирита, и периодически атакует врагов молниями.
  • Sunspot's Sunspot Punch (теперь называется Solar Strike) теперь считается Арея умением.
  • Surtur's Wrath of Muspelheim теперь дает Рейтинг Урона и увеличение размера, после использования. Исходный урон теперь считается Энергетическим уроном, дабы предоставить более легкий доступ к гибридным предметам, с одноразовой активацией умения.
  • Toad's Tongue Lash теперь не выводит из невидимости, и, если использована во время невидимости, накладывает ДоТ на короткий промежуток времени.
  • Wasp's Biospray площадь умения теперь совпадает с визуальным эффектом умения.
Визуальное обновление

Черная Вдова, Капитан Америка и Джин Грей получили визуальное обновление для костюмов:

Black Widow Classic Costume
Captain America Classic Costume
Captain America Original Costume
Jean Grey Phoenix Costume
Jean Grey Dark Phoenix Costume
Jean Grey White Phoenix Costume
Jean Grey 90’s X-Men Costume

Таблицы лидеров

Первые турнирные таблицы добавлены в Marvel Heroes, которые можно посмотреть в панели достижений. На данный момент доступны следующие номинации:
  • Достижения – Общее количество баллов в системе достижений.
  • Прогресс – Общее количество уровней героев на аккаунте (включая престижи).
Поддержка контроллеров

Marvel Heroes 2016 получила официальную поддержку контроллеров на платформах по управлением Windows. Xbox 360, Xbox One и Steam контроллеры будут автоматически обнаружены без дополнительных настроек.

Во время подключения контроллера интерфейс будет автоматически изменен, чтобы отобразить текущий метод ввода. Вы можете переключаться между контроллером и мышью/клавиатурой в любое время без необходимости отключения джойстика.

Конфигурация контроллеров по умолчанию размещена ниже. Обратите внимание, что вы мож
          Marvel Heroes 2015 Патч 1.75        

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Обновление Marvel Heroes добавляет игровое событие Космический Хаос, вносит изменения в баланс героев и исправляет ряд известных ошибок.

Событие: Космический Хаос

Космический Хаос возвращается в Marvel Heroes.

  • Поиск предметов, специальных предметов и опыт увеличены на стороне сервера на 42%.
  • Космические терминалы – боссы обладают двойной добычей.
  • Космический Манхэттен и Бруклин – боссы обладают двойной добычей.
  • Космический престиж - прокачка вдвое быстрее.
  • Лунный Дракон – Дочь Дракса Разрушителя не только почетный член Стражей галактики, но и знаток Космического Хаоса. Лунный Дракон с удовольствием обменяет космические камни мира на различные полезные предметы.
  • Повышенный шанс получения руны Дупа.

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Балансировка и настройка

Человек-Паук

Пришло время для обновления дружелюбного соседа Человека-Паука.

Crimefighter

  • Spidey Pummel (обновлено) – способность преобразована в комбинацию трех ударов с новой анимацией. Наносит дополнительный урон в зависимости от параметра уклонение.
  • Arachnid Assault (новинка) – новая способность для бойцов ближнего боя наносит 4 удара и обладает временем восстановления. Во время использования Человек-Паук неуязвим.
  • Infuriating Humor – навык переехал в дерево навыков Crimefighter.
  • Spider-Brawl - бонусный урон по боссам удален, а базовый урон соответственно увеличен. Теперь наносит дополнительный урон в зависимости от параметра уклонение.
  • Web Wrecking Ball – анимация изменена. Во время использования дает 30% уклонения.
  • Spider Slam (новинка) - новая способность с высоким уроном и временем восстановления.
  • Web Yank – навык объединен со способностью Stick Around, используя специализацию.
  • Spider to the Fly – способность преобразована в специализации.

Webslinger

  • Impact Webbing (обновлено) – способность была переименована, изменена анимация. Во время использования дает 30% уклонения.
  • Web Barrage – бонусный урон по боссам удален, а базовый урон соответственно увеличен. Теперь наносит дополнительный урон в зависимости от параметра уклонение.
  • Web Sling (новинка) – новая способность с высоким уроном и временем восстановления. Наносит дополнительный урон в зависимости от параметра уклонение.
  • Constrictive Webbing – периодический урон перенесен в Stick Around в качестве пассивного эффекта после ударов Webslinger навыками.

Wallcrawler

  • Superior Agility – теперь является набором специализаций в зависимости от сборки.
  • Web Zipline, Agile Attack и Webswing Attack – объединены в единую способность, которая чередует анимации. В качестве специализации можно выбрать одну понравившуюся.
  • Spider-Sense – во время активации теперь сбрасывает все эффекты контроля.
  • Web-Swinging – новая анимация и эффекты. Больше не стоит духа.
  • Web Shield – эффекты мигрировали в другие навыки.
  • Amazing Smash (сигнатура) – теперь восстанавливает 50% духа при активации
  • Maximum Spider (ультимативная способность) – время продолжительности увеличено до 5с, добавлено 15 ударов.

Тор

На этой неделе разработчики провели улучшения качества жизни Тора. Прогрессирование способностей изменено, что даст возможность получить сильные навыки на ранних этапах игры.

  • Son of Odin полностью восстанавливает вторичный ресурс. Восстановление духа за каждого пораженного противника увеличено на 50%.
  • Вторичный ресурс дает 2% бонусного урона за каждый заполненный бар. Масштабирование Thundering Strike и Crack the Sky также изменено в зависимости от количества заполненных баров. Незначительно увеличена задержка спадания вторичного ресурса.
  • Asgardian Smite установлено фиксированное время перезарядки способности в 4с.
  • Forked Lightning предотвращает спадание вторичного ресурса во время использования.
  • Lightning Hammer и Hammer of Storms дальность способностей увеличена, скорость анимации навыков повышена на 30%.
  • Lightning Hammer наносит более высокий базовый урон и имеет время восстановления 4с.
  • Lightning Strike наносит урон до 3 врагов, когда вторичный ресурс заряжен. Дальность увеличена. Шанс критического удара немного увеличивается, когда вторичный ресурс заряжен.
  • Leaping Smite и Hammer Smash визуально увеличены, когда вторичный ресурс заряжен.
  • Ragnarok наносит дополнительный урон противникам в центре взрыва, а не дает гарантированный критический удар. Базовый урон немного увеличен.
  • For Asgard! теперь увеличивает критический урон так же, как и базовый.
  • Yggdrassil’s Boon здоровье увеличено на 30%, восстановление здоровья увеличено на 50%, отклонение снарядов увеличено на 25%.
  • The Anti-Force (сигнатура) базовый урон увеличен.
  • God Blast (ультимативная способность) увеличение рангов навыков заменено на повышение критического и брутального урона. Базовый урон увеличен.

Кабель

Масштабирование скорости атаки Pulse Rifle было зафиксировано в специализации Ordinance Discipline (всплывающая подсказка уже показывает это). В связи этим внесены изменения.

  • Viper Beam – теперь луч вращается в два раза быстрее, что должно помочь проще отслеживать движущихся противников.
  • Psimitar Slam – время анимации уменьшено, урон увеличен. Вы получается на 50% меньше урона во время использования этой способности.
  • Impaling Thrust – бонусный урон при взятой специализации увеличен до 250%.
  • Telekinetic Overload – время анимации уменьшено, урон увеличен. Вы получается на 50% меньше урона во время использования этой способности.
  • Mind Bullets – бонусный урон увеличен с 30% до 40%.
  • Psionic Illusion – урон увеличен.
  • Psimitar Slam - урон увеличен.
  • Telepathic Illusion - урон увеличен (Mental Discipline).

Гамбит

  • Bo Beatdown – теперь Габмит подходит ближе к цели, прежде чем начать атаку. Это означает, что способность Grand Slam всегда будет в радиусе поражения, когда она чередуется с Bo Beatdown.
  • Bo Vault – сокращена минимальная дальность, что позволит стационарно использовать Bo Beatdown и Grand Slam.

Исправление ошибок

  • Исправлена визуальная проблема с ультимативной способностью Дэдпула.
  • Исправлена проблема мерцания всплывающих подсказок.
  • Leaping Assault (Человек-Паук) больше не оставляет паутину на земле после использования.
  • Исправлена проблема, когда задание на напарника Агент Щ.И.Т.а могло быть активировано всеми героями, вместо одного раза для аккаунта.

Источник: https://forums.marvelheroes.com/discussion/241319/marvel-heroes-2015-1-75-patch-notes


          Marvel Heroes 2015 Патч 1.74        

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Обновление Marvel Heroes добавляет игровое событие Операция Омега, новых напарников, вносит изменения героев и исправляет известные ошибки.

Событие: Операция Омега

Событие под кодовым названием «Операция Омега» возвращается!

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Омега является 24й и последней буквой греческого алфавита. В системе греческой алфавитной записи чисел имеет числовое значение 800.
  • Событие начинается с 24% прибавке к опыту, поиску редких и специальных предметов.
  • Каждый день бонусная прибавка будет возрастать на 24%.
  • Случайные противники в любом месте игры будут обладать увеличенной силой на 24% и повышенной добычей на 240%.
  • В ходе Операции Омега за первое выполнение ежедневных заданий вы получите двойную порцию Омега сфер.
  • Скорость прокачки Омега Системы увеличена на 24%.
  • Агент Колсон предлагает задание во время Омега недели. Каждый день вы можете завершить пять или более волн в Голографическом симуляторе за вознаграждение.
Файлы Доступа Омега

В ходе операции игроки смогут получить до 100 Файлов Доступа Омега каждый день.
  • 10 Файлов Доступа Омега за ежедневный вход в игру.
  • 30 Файлов Доступа Омега за выполнение задания Агента Колсона.
  • 60 Файлов Доступа Омега за выполнение всех ежедневных заданий.
Агент Дум-Дум Дуган обменяет их на награды.

Напарница Гвен-Паук

Напарница Гвен-Паук присоединяется к команде Marvel Heroes 2015.

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Напарник Агент Щ.И.Т.а

Ник Фьюри впечатлен вашей помощью в содействии Щ.И.Т.у (Шестая Интервенционная Тактико-оперативная Логистическая Служба) по борьбе с самыми опасными злодеями. Отправляйтесь в 3 главу Safehouse (S.H.I.E.L.D. Recon Post) для получения вознаграждения.

Балансировка и настройка

Гамбит
  • 52 Pickup теперь наносит урон по площади. Все противники, которые подвергаются ударам, получат завершающий урон от взрыва. Кроме того, способность предоставляет дополнительный бонус к навыкам Dead Man's Hand (выстреливает по 10 карт) и Bo Beatdown (20% к скорости атаки и гарантированный критический удар)
  • House of Cards теперь наносит урон моментально (в дополнение к периодическому урону).
  • Bo Vault и Royal Flush в настоящее получают бонус к урону в ближнем и дальнем бою.
  • Сменен уровень разблокировки способностей Royal Flush и Ace of Spades.
Черная Вдова
  • Снижены затраты духа для способностей Черной Вдовы Widow's Kiss, Rolling Grenades, Anti-Personnel Grenades и Acrobatic Assault.
Капитан Марвел

Мисс Марвел была переименована в Капитана Марвела. Кроме того, она получила новый костюм по умолчанию и новые иконки способностей. Для получения нового костюма Captain Marvel All-New All-Different введите код «DANVERS» на официальном сайте в личном кабинете игрока.

Исправление ошибок
  • Исправлена проблема, когда многие способности не масштабировались должным образом со скоростью атаки, несмотря на правильное отображение всплывающей подсказки.
  • Исправлена ошибка, когда Avatar of Vengeance (Лунный Рыцарь) некорректно восстанавливал здоровье в определенных локациях игры.
  • Подсказка Kinetic Wave (Феникс версия Джин Грей) в настоящее время отображает периодический урон.
  • Phoenix Inferno (Джин Грей) теперь правильно масштабируется от рейтинга урон в дальнем бою. Способность теперь имеет 1с восстановления, чтобы предотвратить быструю активацию.
  • Подсказка Psychokinetic Implosion (Джин Грей) правильно отображает периодический урон.
  • Исправлены некоторые проблема, которые позволяли Китти Прайд использовать меч в неподходящее время.
  • Большинство сигнатур, ультимативных и канальных способностей теперь имеют иммунитет к контролю во время использования.
  • Выход из зоопарка Бранкса должен возвращаться вас к последней контрольной точке.
  • Решена проблема со случайным передвижением некоторых продавцов в штабах.
Источник: https://forums.marvelheroes.com/discussion/239615/marvel-heroes-2015-1-74-patch-notes
          Marvel Heroes 2015 Патч 1.66        

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Обновление Marvel Heroes вводит игровое событие Дары Одина, вносит корректировки Джин Грей, добавляет новые достижения, а также исправляет ряд ошибок.

Дары Одина

Событие Дары Одина возвращается в Marvel Heroes 14 августа в 13:00 по московскому времени. Расписание будет доступно позже.
  • Событие основано на ротации повышенной добычи в определенном режиме игры.
  • Каждый игрок имеет редкую возможность получить коробку с артефактами (Mystery Crimson Box) и Благословление Одина, которое включает в себя чрезвычайно увеличенную добычу.

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Балансировка и настройка

Джин Грей
  • Telekinetic Throw получает больше урона, критического и брутального удара в Темном Фениксе.
  • Способность Phoenix Drain наделена эффектом «казни», когда активен Темный Феникс. При выборе специализации Omega-Level Mutant навык получает дополнительный рейтинг критического и брутального урона.
  • Способность Psychic Hammer наделена эффектом «казни» вместо критического и брутального урона при выборе специализации Omega-Level Mutant.
  • На форму Темного Феникса больше не влияет аффикс продолжительность способностей.
  • Kinetic Wave/Psychokinetic Implosion снижено процентное соотношение силового поля от максимального количества здоровья.
  • Исцеление Kinetic Wave в форме Темного Феникса снижено.
  • Исцеление в форме Темного Феникса (Феникс форма) от других способностей снижено.
Немного снижен урон для следующих способностей:
  • Psychokinetic Implosion
  • Kinetic Wave
  • Phoenix Inferno (в том числе ДоТ эффект)
  • Mind Crush (только Феникс)
  • Dark Phoenix explosion (только Джин)
Новые достижения

На основе обратной связи в игру добавлено десять новых достижений.
  • Father of the Bride (Циклоп)
  • Keychain with Attitude (Дэдпул)
  • Shot Through the Heart (Соколиный Глаз)
  • My Little Menagerie (собрать все артефакты животных в зоопарке Бронкса)
  • Teenage Dream (Джин Грей)
  • You Didn’t See That Coming? (Алая Ведьма)
  • Save the Acanti (Гроза)
  • The Long Night (Существо)
  • Planning Ahead (Росомаха)
  • + 1 секретное достижение
Изменения и исправление ошибок
  • Руны низкого качества больше не имеют указателей, что позволит предотвратить заспамленность экрана.
  • Исправлена ошибка анимации способности Rope-a-Dope (Джаггернаут).
  • Исправлена проблема появления противников в локации Brood Jungle (7 глава).
  • Торнадо, призванные способностью Sudden Tornadoes (Гроза), не имеют индикатора здоровья.
  • Исправлена проблема, когда способность Whirling Dervish (Икс-23) показывала неправильную иконку в панели баффов.
  • Обновлено описание достижения "Something Like Peace" (Каратель), чтобы более четко указать на способность Full Auto.
  • Обновлено описание достижения “Mean Green Medallion”, чтобы указать на необходимость получения эпической или космической медали Халка.
  • Исправлена проблема, когда звук не пропадал в оконном режиме, если окно игры не активно (например, после Alt + Tab).
  • Исправлена ошибка, когда в некоторых ситуациях способность не могла быть активирована при многократном использовании в быстрой последовательности.
  • Исправлена проблема, когда урон способности Boom Goes the Dynamite (напарник Пират Дэдпул) не увеличивался при вкладывании очков навыков.
  • Исправлены различного рода проблемы с названиями и описаниями способностей Алой Ведьмы и Звездного Лорда, когда используется португальский язык.
Источник: https://forums.marvelheroes.com/discussion/227009/marvel-heroes-2015-1-66-patch-notes
          Marvel Heroes 2015 Патч 1.65        

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Обновление Marvel Heroes добавляет игровое событие Космический Хаос/Фантастическая Четверка, вносит корректировки героев и Космических Врат, а также исправляет ряд ошибок.

Событие: Фантастическая Четверка

  • Серверный бонус увеличен на 50% для четырех основных членов Фантастической Четверки.
  • Уникальные предметы Человека Факелы получили переработку.
  • Новый уникальный предмет для Фантастической Четверки добавлен в игру.
  • В течение ограниченного времени во внутриигровом магазине Marvel Heroes объявлены 25% скидки на оригинальную Фантастическую Четверку и все их костюмы, а также на некоторых дополнительных героев и предметы.
  • Добавлено новое достижение «Фантастическая Четверка против Доктора Дума».

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Событие: Космический Хаос

Космический Хаос возвращается в Marvel Heroes.

  • Поиск предметов, специальных предметов и опыт увеличены на стороне сервера на 42%.
  • Космические терминалы – боссы обладают двойной добычей.
  • Космический Манхэттен и Бруклин – боссы обладают двойной добычей.
  • Космический престиж - прокачка вдвое быстрее.
  • Поставщик Мундрагон обменяет космические камни на ивентовые предметы.
  • Дуп руну можно приобрести за 500 космических камней.
  • Шанс на выпадение Дуп руны со всех Дупов увеличен.

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Человек-Муравей

  • Big Foot Sighting – Увеличивает максимальный запас здоровье в течение 30 с. Время восстановления способности осталось прежним – 20с. Количество наносимого урона увеличено на 8% как во внутреннем кольце, так и во внешнем.
  • Ant-Swarms – Время продолжительности увеличено до 45с (ранее 30с).
  • Inch-High Good-Bye – Дальность способности увеличена на 20%. Способность наделена эффектом «казни», которой дает 1% урона за 1% потерянного противником здоровья.
  • Способности, требующие затрат духа, получили глобальную настройку.
  • Ant Decoy – Теперь наносит примерно на 33% больше урона.
  • For the Colony - Теперь наносит примерно на 29% больше урона.
  • Drone Strike - Теперь наносит примерно на 14% больше урона.
  • Fistful of Ants - Теперь наносит примерно на 14% больше урона.
  • Red Hots - Теперь наносит примерно на 14% больше урона.

Космические Врата

  • Выстрел из пистолета Мадам Гидры снабжен указателем.
  • Красная стрелка была добавлена к анимации быстрых выстрелов Халкбастеров. Кроме того, сама анимация была немного изменена, чтобы стать более понятной и заметной.
  • Урон Халкбастеров был скорректирован и немного снижен.
  • Телохранитель Мадам Гидры больше не пропадает, когда вы находитесь вне зоны видимости.
  • Радиус появления Стражей значительно увеличен.
  • Зелья больше не отсчитываются в Космических Вратах.
  • В Космические Врата добавлены небольшие таблицы добычи. В первую очередь это касается Осколков Вечности и Реликвий.

Джин Грей

  • Скорректировано время анимации, чтобы сделать применение Psychokinetic Implosion быстрее.
  • Скорректировано время анимации, чтобы сделать применение Mind Crush быстрее.
  • Скорректировано время анимации, чтобы сделать применение Psychic Lethargy быстрее.
  • Анимация Inferno изменилась, чтобы стать полностью мгновенной.
  • Множитель урона снижен в форме Темного Феникса.
  • Psychokinetic Implosion / Kinetic Wave количество поглощаемого урона снижено.
  • Количество урона в подсказке Темного Феникса исправлено.
  • Специализация Powerful Harmony больше не масштабируется с рангом Dark Phoenix. Базовый урон от проков увеличен в качестве компенсации. Урон проков теперь зависит от эффектов, которые увеличивают ментальный или энергетический урон.
  • Phoenix Drain (Феникс) теперь получает дополнительный урон при включенной специализации Cosmic Avatar, как и предполагала подсказка.
  • Исправлена проблема, когда Джин Грей застревала в форме Феникса.
  • Подсказка Темного Феникса обновлена.
  • Полет в настоящий момент не потребляет дух и на 100% бесплатный.
  • Dark Phoenix (Феникс) энергетический урон по площади теперь начинается после получения бонусов к энергетическому урону.
  • Unleash Phoenix больше не применяется, если не вложены очки навыков.
  • Текущая выживаемость героини значительно превышает допустимые настройки и будет тщательно регулироваться в ближайшие 1-2 обновления.

Другие изменения

  • Исправлены проблемы с некоторыми способностями при нажатии правой кнопки мыши на панели навыков (например, способности Джин Грей или Вижна).
  • Повышен шанс выпадения медальона Носорога в Манхэттене и Голографическом симуляторе.
  • White Hole Gauntlets добавлен в достижение "Best of the Best" (Мисс Марвел).
  • Задание в сюжетной линии по сбору доказательств и победы над семьей Фиска скорректировано. Это должно решить проблему, когда игроки застревали на этой миссии.
  • Задание «Битва за Асгард» в 9 главе исправлено и теперь полностью функционирует.

Известные проблемы

Ежедневные задания и миссии для прокачки влияния отображаются как заблокированные или недоступные в момент первого просмотра. Закрытие и повторное открытие вкладки отслеживания заданий позволит решить данную проблему. Исправление ожидается в следующем обновлении.

Источник: https://forums.marvelheroes.com/discussion/225722/marvel-heroes-2015-1-65-patch-notes


          Jeffrey Spivak, Author of Buzz: The Life and Art of Busby Berkeley to Visit the SSO on 8/22 & 8/23