text:
Can't seem to find any code/documentaion or anything downloadable,
And they alrgedly have something working.
Why isn't anyone on topic with this? Who cares what the name is? It's a case of knowing that we can do something, but my question is should we? Should an open source project want to reduce privacy even more so than it is now? Ask yourself that because I read the article and that along with face recognition in Facebook is taking the advertising stuff a little further than what I would think it needs to go to be useful.
Point taken.
I was all excited to think there was a startup that would exploit the Dremel in some interesting way. Affordable machining and DIY numericly controlled tools came to mind.
Then I read the summary and found out it was yet another badly named web technology that will be forgotten in a few years.
According to the wiki, they are trying to reproduce Google's internal Dremel tool, while at the same time extending it to support a multitude of query languages. Not only do they want to reproduce something that took Google who knows how many years of developer time to create, they also want to extend it.
I wish them the best. Dremel seems like a very valuable tool. I can think of a couple use cases for it today. Google offers access to it via an API, but the problem with that is that the data has to be sent to Google. I am not in the position to send Google terabytes of highly sensitive and confidential data.
You can measure a programmer's perspective by noting his attitude on the continuing viability of FORTRAN. -- Alan Perlis


text:
Mills River candidate forum
A candidate forum for Mills River Town Council will be held at 7 p.m. Oct. 22 in the Mills River Community Development Building, Presbyterian Church and School House roads.
The following candidates will participate for their districts: District 1, Larry Freeman; District 2, William (Billy) Johnston and James Cantrell; District 3, Shannon Gonce. Email email@example.com for more information or to submit questions.
Therapeutic Yoga
A Therapeutic Yoga class is being offered in Hendersonville. This form of yoga is particularly helpful for beginners or folks who are returning to yoga after an illness or other long absence.
Classes are designed to allow people with physical issues like aching knees, arthritis, fibromyalgia, bad backs or hips to enjoy the benefits of a gentle stretch. The instructor takes a hands-on approach to each class member.
Classes are held throughout the week in various locations, including the Recreation Center. Each class is $7, or $50 for 10 classes. Call 901-308-8982 to select a class.
'Pulling for Putt'
The "Pulling for Putt" fundraiser will be held from 1 to 5 p.m. Saturday at Mud Creek Family Center of Mud Creek Baptist Church, 403 Rutledge Drive, Flat Rock. David "Putt" Putnam was diagnosed with Non Hodgkin's Lymphoma in May 2012. After treatments, the cancer returned in July 2013. Doctors recommend Putt to undergo a stem cell transplant.
The fundraiser will include Bluegrass Music by Appalachian Fire and Robert and Gary Ballard. There will be hot dog and hamburger plates, a bake sale, corn hole tournament and a silent auction, along with a large play area with inflatables for children.
Henderson County Board of Social Services meets at 1:30 p.m. today in the Social Services Board Room of the Human Services Building, 1200 Spartanburg Highway, Hendersonville.
Flat Rock Middle School Improvement Team meets at 3:45 p.m. today at the school, 191 Preston Lane, East Flat Rock.
Mills River Board of Adjustment meets at 7 p.m. today at Mills River Town Hall.
Park Development Advisory Committee meets at 4 p.m. Wednesday in Flat Rock Village Hall.
Bruce Drysdale Elementary School Improvement Team meets at 3:15 p.m. Wednesday at the school, 271 Bearcat Boulevard, Hendersonville.
Hendersonville Elementary School Improvement Team meets at 3:20 p.m. in room 102 of Hendersonville Elementary, 1039 Randall Circle, Hendersonville.
Mills River Elementary School Improvement Team meets at 3:30 p.m. Wednesday at the school, 94 School House Road, Mills River.
Hendersonville Middle School Improvement Team meets at 4 p.m. Wednesday in room 223 of the school, 825 N. Whitted Street, Hendersonville.
Mills River Finance Committee meets at 7 p.m. Thursday at Mills River Town Hall.
The Camera Club of Hendersonville will meet from 6:30-9 p.m. Oct. 22 in the Chamber of Commerce building, Hendersonville. Guest: Jeff Miller. Visitors welcome.
A MANNA food distribution will be held from 11 a.m. to noon Oct. 22 in the Fellowship Hall of First Baptist Church of East Flat Rock. Bring bags and boxes. Info: 828-692-0765.
Community Briefs Oct. 15
Mills River candidate forum

subset: commoncrawl


text:
Warner Bros. Interactive Entertainment is developing a next-generation, third-person action game based on a story of vengeance and redemption set in Middle-earth. Middle-earth: Shadow of Mordor has gamers take on the role of Talion, a character who's resurrected by a spirit of vengeance after his own life was taken. He's empowered with many abilities and his main mission is to destroy those who have wronged him the night his family was slain in front of him.
Although the background of the game stays the same, each player can create his own experience through the Nemesis System. Enemy relationships and characteristics are shaped by each player's actions and decisions during gameplay. Gamers are even able to craft their own battles, enemies, and rewards within the Mordor world that adapts to and remembers their choices.
Middle-earth: Shadow of Mordor is in development for PlayStation 4, PlayStation 3, Xbox One, and Xbox 360 by Monolith Productions and Middle-earth Enterprises.


text:
Medium red color, deep hue, no bricking apparent, lovely aroma of fruit and spice, very good fruit, spice and earth tastes, well developed and mild tannins, very light acidity, wonderful balance, medium mouth feel, long, lingering finish with a tannic finish on the tongue, quite a pleasant wine. 4*.
Wonderful combination with very rare bison burgers and the first Haricots Verts of our season -- six minutes from bush to pot. What made it so good? The beans? The bison? The wine?
Ah, ... Janet.
And the combination of all those other wonderful consumables. :-)
Regards, Bob


text:
Q&A with Taylor Grad and OCTOBER BABY Co-Star Jason BurkeyBy Jim Garringer Published: Mar 22, 2012
In the five years since Jason Burkey graduated from Taylor University, he has appeared in film, television, music videos and commercials. But on Friday, March 23, Jason's career will reach a new milestone with the nationwide release of the motion picture OCTOBER BABY. Jason is the male lead and is cast as the lifelong friend of Hannah Lawson (portrayed by Rachel Hendrix), who is devastated when she unintentionally learns the details of her birth and who her real mother was. OCTOBER BABY was produced by Jon Erwin and Andrew Erwin.
What was your major at Taylor?
Jason: I studied media production with emphasis on film – it was that new major that was created when John and Kathy Bruner came to Taylor. I was there for the beginning of that.
Did you draw on any Taylor experiences during OCTOBER BABY or other projects in which you have worked?
Jason: In previous projects, I've played that good guy next door. I was fortunate enough to have Jon (Erwin) and his writing partner Theresa write this role for me and tailor it to my personality. I was just putting myself in that scene and these situations and honestly reacting to what was going on.
Were you in any theatre productions during your time at Taylor?
Jason: Yes. My last one was my favorite – Flowers for Algernon – that was in 2006, I believe. I grew up doing theater since middle school and knew that I wanted to do it at Taylor.
Do you consider OCTOBER BABY to be a Christian film?
Jason: OCTOBER BABY is considered faith-based, but not what you expect. For some, faith-based media can be preachy – OCTOBER BABY is not forcing an agenda. It's just a good character-driven story with topics that are universal like forgiveness, truth, hope. And, it's also a love story.
How did you get the part in OCTOBER BABY?
Jason: Rachel Hendrix, most of the cast members and I had worked together on a TV pilot in 2009 – it was one of those God-ordained things. We came together and immediately clicked. We became this tightknit family. The TV pilot didn't get picked up but we wanted to work together. In 2010 the Erwins said, "We are getting the band back together."
How long was production?
Jason: In terms of film production, it was a quick shoot. We filmed for 20 days; we got a lot accomplished. There was a lot more story that had to end up on the cutting room floor. The whole thing was shot in Alabama in Mobile and Dawson.
What is the story about your character's relationship with Hannah?
Jason: We are childhood best friends, but I play this role for her when her whole life becomes a question mark. I'm kind of the one truth she has to hang on to while she's going on this journey of self-discovery. She was the girl next door and we always had these unspoken feelings for each other and they kind of came out on this journey she goes on.
What do you hope will be the outcome of this film?
Jason: I know the Erwins' goal, as it is with all of us, is to tell a good story and not have the right answers, but ask the right questions. I hope this film will spark conversation and provoke thought. We've been doing screenings all over the country and heard countless stories of people being healed from it, whether they've had an abortion themselves or known someone who has. I think that is what is cool, is seeing how the lives of some of these audience members have been touched. I hope that it will continue to do that, but really just be an entertaining, good, solid story.
What impact did your faith have in the process?
Jason: The biggest thing for me, faith-wise, was during the production of it. It was a fun project. I was doing what I loved with people that I loved. It was just a cool thing. I didn't realize how big it was until we started doing these screenings and seeing how God was using it.
God has taken this thing and has blown open doors and is reaching people with this film. The impact I can have in this industry and how the Lord can use me in acting is the thing I've come to realize in all of this.
What was it like working with John Schneider – did you ever watch Dukes of Hazzard?
Jason: I caught a couple of reruns. He was Clark Kent's dad in Smallville – that was more my generation. It was kind of surreal. I met him, like, 10 minutes before we started shooting. He was very approachable. We got to share a few scenes together. He's a professional; he's been in the business for quite a few years. He raised the bar for me in our scenes. He's just a great guy and I'm honored to share the screen with him.
Fellow Taylor alumnus Andrew Belle has music in this film – did you know him in school?
Jason: I went to school with Andrew from third grade through Taylor. All that time I really didn't know him that well. I live in Nashville now and he was in Nashville a couple of years.
Your sister, fellow Taylor graduate Heidi Burkey, is a documentary film maker who has chronicled the plight of post-earthquake Haiti and child soldiers in the Congo. It seems you both are having an impact.
Jason: I know we are both honored to be in this industry and the Lord has paved the way for us to do that, which is awesome.
Do you stay in touch with your Taylor friends?
Jason: I do stay in touch with my Taylor friends. I lived on 2E Wengatz. I run into random Taylor grads everywhere. It is random who you run into, but it is always good when you do.
What happens next in your career?
Jason: With this job you never know what happens; it can be scary but it is exciting. You just keep doing it because you love it. I am not in it for fame or money. I just feel like I'm in it because it is where the Lord has me. I'm going to take it one day at a time.
OCTOBER BABY opens March 23.


text:
Beauty is a very subjective concept. Thus there exists a large variety of treatments and therapies to cater each individual perception. Highly modern technology combined with and applied by specialised doctors and other experts are the ultimate key to the Woman & Health beauty concept.
These are the main areas of the Woman & Health beauty concept:
- Acne & acne scars
- Treatment for cellulite
- Treatment for wrinkles
- hormone therapy / Anti-Aging
- Injection lipolysis (fat-removal-injection)
- laser therapy using IPL-technology
- fractional laser
- medical cosmetics
- Hydrodermabrasion (Microdermabrasion)
- Peeling
- Permanent Hair Removal
- Correcting ear shape
- Correcting and removing scars
- Liposuction
- Breast augmentation
- Breast reduction
- Breast lift
- Weekend-lift
- Face-lift
- MACS-lift
- eyebrow-lift
- mesotherapy
An interdisciplinary team consisting of aesthetic dermatologists, plastic surgeons, endocrinologists (hormone experts) and experts in the field of medical cosmetics practices harmoniously together to achieve the optimal result.
All our surgeries are equipped with highly modern medical facilities in order to guarantee the safety of our patients at all times.
At Woman & Health you will find a modern operating theatre and anaesthetic recovery room so that most procedures can be performed on site.


text:
Please note: This is NOT the most current catalog.
Art and Art History
Chair, 2008-09: Wendell H. Arneson, painting, drawing
Vice Chair, 2008-09: Irve Dell, sculpture
Faculty, 2008-09: Steve Edwins, architectural drawing; Jill Ewald, director, Flaten Art Museum; Ron Gallas, ceramics; Mary Griep, drawing, painting; Karna Hauck, art education; Karil Kucera, art history; Asian studies; Meg Ojala, photography; Matthew Rohn, art history, environmental studies; Dave Ryan, new media; John Saurer, printmaking, drawing, sculpture; Nancy Thompson, art history
The mission of the Department of Art and Art History at St. Olaf College is to provide liberal arts students with opportunities to experience, create, and learn about visual images so they may better understand themselves and the role of art in a global society. An oustanding, professionally-active faculty, a broad curriculum, and a fine exhibition program in Flaten Art Museum provide a wide range of experiences in studio art, art history, and art education. The department has a strong foundation program and is committed to teaching technical skills as well as critical thinking and creative innovation in visual media and in the study of art history. Graduates have received national acclaim in many professional art fields across the country, including museum and gallery administration, advertising, architecture, graphic design, illustration, animation and fimmaking, studio art, and teaching.
Requirements for a Studio Art Major
Students majoring in studio art must earn a minimum of ten credits including Art 343. Students elect courses equaling two art history and eight studio. The department strongly recommends Art 252 or 253 as one of the art history courses taken. Majors must take three foundation courses (102, 103, 104). Foundation courses may be taken in any order. One 200 level course must be selected from each of three different areas. See course listings by areas below.
|Two-Dimensional Media
|225, 232, 233
|221, 222
|226, 227
|Three-Dimensional Media
|207, 234
|223, 224
|New Media
|205, 238
|Interactive Image
|Digital Video
|229, 239
Majors must participate in the annual juried show. To fulfill the requirements of the studio art major and studio art education major, each student must enter at least two juried art exhibitions on or off campus by the beginning of their senior year. Students unable to meet this requirement must speak with their advisor or the department chair.
Requirements for an Art History Major
Students majoring in art history must earn nine credits in the following:
(1-2) 150, 151. It is recommended that a student take Art 150: Introduction to Art History I and Art 151: Introduction to Art History II as early as possible.
(3-7) A minimum of five courses chosen from among Art 250-275 and Art 370 and approved courses in other departments. Approved courses include: Asian Studies 270, 310; Environmental Studies 270; Philosophy 243. See the department's website for an updated list. A maximum of two courses in art history taken in off-campus programs may, upon approval of the department, be applied to the major. At least one of the five 200-level courses must concentrate on European and/or North American art, and at least one course must concentrate on Asian, African, and/or Latin American art.
(8) One credit in Studio Art.
(9) Art 350: The Methods of Art History.
(10) Majors must also successfully complete the non-credit-bearing Senior Art History colloquium or its equivalent.
Requirements for a Visual Arts Education Teaching Major
Students undertaking a visual arts education teaching major complete the graduation studio major and the required Education Department courses.
Information about the criteria considered in conferring distinction is available in the Department of Art and Art History.
Off-campus Study
Many students arrange for part of their work in London, Florence, Rome, New York City, Washington, D.C., Chicago, or Minneapolis. With departmental permission, a qualified junior or senior can enroll in specialized studio courses within the normal 14-course maximum for a major in the following independent art schools as part of their St. Olaf art major: Kansas City Art Institute, Minneapolis College of Art and Design, and the School of the Art Institute of Chicago. Internship opportunities are possible in specialized fields of study that involve students in the workaday professional art world. Both art history and studio students can take advantage of the Minneapolis Art Institute, the Walker Art Center, and other Minneapolis-St. Paul art institutions. Studio majors also can gain professional experience in the Twin Cites in the areas of graphic design, illustration, architecture, etc.
Studio Art
Students interested in studio-related careers or study are strongly encouraged to complete extensive coursework in the media/discipline of their choice and to develop a strong portfolio. Also recommended is participation in special programs incorporating advanced work, such as internships or one-semester study at cooperating art schools. A unique fifth-year program of apprenticeship offered by the Art and Art History Department provides studio space to a limited number of exceptional art student applicants who wish to spend the year after graduation concentrating on building a strong portfolio in preparation for graduate studies.
Art History
The prospective graduate student, following the completion of one or two survey courses, should take at least one course each in medieval, Renaissance, modern, and a non-Western area of art and a second course in an area of interest and should at least start studying an appropriate world language. Those interested in the museum professions should also seek an internship. Art 350: The Methods of Art History is taught as a seminar with student presentations and discussions patterned on typical graduate school offerings. The department reserves the right to retain student work for its file.
Most advanced courses require the completion of one or more Foundation Courses.
102 Foundation Two-Dimensional Media
This foundation-level studio course introduces the aesthetic, conceptual, and technical foundations of two-dimensional art-making and ways two-dimensional media inform the creation and understanding of art in cultural contexts. Students explore the form and space of two-dimensional images through a wide variety of materials and media. The course emphasizes strategies for idea generation. Students engage in dynamic activity, spirited investigation, and thoughtful creative expression. Materials fee. Offered each semester.
103 Foundation Three-Dimensional Media
This foundation-level studio course introduces the aesthetic, conceptual, and technical foundations of three-dimensional art-making and ways three-dimensional media inform the creation and understanding of art in cultural contexts. Students explore the form and space of three-dimensional images through a wide variety of materials and media. The course emphasizes strategies for idea generation. Students engage in dynamic activity, spirited investigation, and thoughtful creative expression. Materials fee. Offered each semester.
This foundation-level studio course introduces the aesthetic, conceptual, and technical foundations of new media art-making and ways new media inform the creation and understanding of art in cultural contexts. Students explore the form and space of new media images through a wide variety of materials and media. the course emphasizes strategies for idea generation. Students engage in dynamic activity, spirited investigation, and thoughtful creative expression. Materials fee. Offered each semester.
106 Drawing from Nature/Islands
San Salvador is a small Caribbean island boasting a great diversity of marine and terrestrial habitats. Students explore intersections between art and science as they develop basic drawing skills. Emphasis will be placed on observation of the natural world. Lectures and field trips are coordinated with the Island Biology class (Biology 287). No prerequisites. Apply through International and Off-Campus Studies. Offered during Interim. Not open to first-year students.
116 Foundation Ceramics -- Handbuilding (0.5)
In this introductory course that employs handbuilding techniques, the primary emphasis of the class is the student's imaginative approach in solving visual problems. Students are introduced to historical/contemporary approaches to clay. Included in the course are clay mixing, kiln loading, various firing procedures and glaze and surface embellishment. Materials Fee. Offered annually.
119 Foundation Ceramics -- Wheel Throwing (0.5)
This introductory course employs wheel-throwing techniques in clay. Students are introduced to historical and contemporary approaches to clay. Course includes clay mixing, kiln loading, various firing procedures, and glaze and surface embellishment. Materials fee. Offered each semester.
This course introduces students to analog and digital photographic processes as means for creating works of art. Students learn terminology and critical approaches to photography. The course includes presentations on concepts and photographers' works, discussions of articles, and regular critiques. Students are introduced to the history of the medium through presentations, readings, and hands-on work such as constructing a camera obscura. Students develop critical skills and the ability to analyze and interpret photographic work. Materials fee. Offered each semester.
This course introduces students to the ceramic processes of wheel throwing and hand building as means for creating works of art. Students learn terminology and critical approaches to ceramics. Students develop critical skills and the ability to analyze and interpret ceramic art work. Class emphasizes creative approaches to solving visual problems through ceramic work. Slide presentations on contemporary and historical ceramics provide background for assignments and highlight the role of ceramics in various cultural contexts. Materials fee. Offered each semester.
This course develops and stimulates research into the emotional/expressive properties of art-making in the painting media. By investigating thematic compositional and technical problems, students develop a personalized approach to ideas and content. Students learn the importance of process, need for flexibility, how to seek alternatives and how to recognize that a painting has a life of its own. Prerequisites: Art 102 or Art 111 and 112 (or 110), and 113. Materials fee. Offered annually.
This course explores the fundamental principles of design, color, and composition through the watercolor medium. Through advanced techniques, strong drawing, and exploration of personal ideas, students develop a personal, expressive, visual language. Students are encouraged to move past trite and predictable solutions to seek alternatives, take initiative, and celebrate creative risk-taking. Prerequisite: Art 102 or Art 111 and 112 (or 110), and 113 . Materials fee. Offered annually.
This sculpture course introduces lost wax bronze casting, an art and industrial process that changed the course of human civilization. Students learn to cast, finish, and present cast metal work, building upon concepts from the foundation course and exploring the next level of sculpture topics, issues, and concerns. The course makes use of hands-on instruction, readings, slide talks, and discussion. Materials fee. Offered annually. Fall Semester only.
This sculpture course introduces students to metal forming, shaping, fastening and brazing, and welding, building upon concepts from the foundation course and presenting the next level of sculpture topics, issues and concerns. Both majors and non-majors discover an art and industrial process that has great artistic and practical application The course makes use of hands-on instruction, readings, slide talks, and discussion. Materials fee. Offered annually. Spring Semester only.
225 Architectural Drawing and Design I
Through a sequence of projects, architectural design students learn about drawing (hand drafting and computer-aided drawing and design) and architectural design processes that require the integration of social, artistic, technical, and environmental issues. Prerequisites: Art 102 or Art 111 and 112 (or 110). Materials fee. Offered alternate years.
226 Printmaking: Relief and Lithography
Emphasizing individual concepts, personal expression and strong composition, this course explores relief and lithography. Using large-scale, multicolor moveable block, collograph, wood or lino block techniques and lithography stones or aluminum plates in both black and white and color, students produce multiple images on one of the department's three presses. Students become familiar with the heritage of old masters as well as contemporary artists in printmaking. Prerequisites: Art 102 or Art 111 and 112 (or 110). Materials fee. Offered annually.
227 Printmaking: Intaglio and Monoprints
This course provides a strong foundation in the array of copper plate processes of etching, aquatint, lift ground, soft ground, and polymer plate printmaking processes as well as in painterly monoprinting techniques. Students address personal sources of ideas, experimentation, drawing skills and compositional concerns and draw upon examples of master printmakers to discuss how images reflect culture. Critical thinking skills are necessary in discussion and critiques. Prerequisites: Art 102 or Art 111 and 112 (or 110). Materials fee. Offered annually.
This course provides an introduction to the computer as a tool for creating visual art. During the semester, students explore digital painting, drawing, scanning, image manipulation and digitized sound and video. Class projects include digital artist books, posters, and multimedia presentations. Relationships between traditional and electronic art forms are explored. Prerequisites: Art 104 or 117, or permission of the instructor. Materials fee. Offered annually.
229 Narrative Video Production
This course focuses on the art of the narrative video short. Students study the rudiments of visual storytelling by developing their own short projects. Students study all aspects of production from concept to screening, including idea generation, pre-production planning, lighting, shooting, editing, and sound mixing, with special emphasis on innovative approaches to narrative form. Prerequisites: Art 104 or permission of instructor. Materials fee. Offered alternate years.
This course explores 3D computer animation as a tool for creating visual images with movement and sound. Emphasizing concept development and creative expression, students investigate time-based software, including animation and video capture programs. The course introduces students to the work of traditional and computer animators. Prerequisites: Art 104 or 117 or permission of the instructor. Materials fee. Offered annually.
Drawing the human form from life has been a mainstay in the training of artists since the Renaissance because of its unparalleled discipline in the training of the eye. Along with becoming better observers, students reach a personal understanding of the figure and an appreciation of its art-historical uses. Various media and techniques are explored as a means to understand the expressive possibilities of the figure. Prerequisites: Art 102 or 111 and 112 (or 110), and 113. Offered annually.
This course, designed for students who want to heighten their drawing skills, emphasizes using expressive qualities of drawing by investigating various media, techniques, and content. Assignments are both traditional and nontraditional within historical contemporary perspectives. Experimentation is encouraged. Developing a personal visual language is stressed, culminating in the production of a series of drawings that relate thematically. Critical thinking and discussion skills are important. Prerequisites: Art 102 or 111 and 112 (or 110), and 113. Materials fee. Offered annually.
This intermediate-level course assumes students have a substantial understanding of ceramic processes, plus a good awareness of their own interests in the realm of ceramic expression. The instructor helps students focus their efforts by proposing specific areas of investigation. Prerequisites: Art 103 or Art 207, or 116, 119, or 121. Previous studio experience in ceramics is accepted when approved by the instructor. Materials fee. Offered annually.
In this intermediate photography course, students explore a variety of techniques and topics. Techniques include historic processes such as cyanotype and salted paper printing, digital photography, Polaroid materials and traditional black and white photography. Experimental approaches and nontraditional forms for presentation are investigated. Photography is investigated from a broad historical, aesthetic and social perspective. This course includes field trips, readings, discussion, and slide presentations. Prerequisites: Art 102 or 205 or 124 or permission of instructor. Materials fee. Offered annually.
This course explores video as a creative medium. Students learn basic video production and editing techniques, producing a number of individual and group projects. During the semester students examine a wide variety of videos and films, exploring experimental, documentary, and narrative approaches. The class also considers the history of video art and its relationship to other time-based and static art forms. Prerequisites: Art 104 or Art 117 or permission of instructor. Materials fee. Offered annually.
240 Topics Seminar in Fine Art: Creating Visual Spectacle
The boundaries between the fine arts disciplines of visual art, music, dance, and theater are now seen as completely permeable. This course allows students to combine visual art making with movement, sound, and performance to create visual spectacle. The course is organized around a theme or text set each year by the instructor. The course emphasizes process and collaboration and incorporates readings, discussion, critiques, field trips, guest artists, and studio practice. Prerequisites: At least one full credit (or equivalent) in art, dance, music, or theater. Offered occasionally.
246 Manhattan Interim in New York City
This course provides intensive exposure to career opportunities in the field of art including advertising, graphics, illustration, film, television, computer graphics, architecture, textile design, and fine art (painting, sculpture, etc.). Working five to seven hours a day, students interview over 25 artists/designers during the month, visit more than 100 galleries and museums, and write extensively about artists and artwork. This course does not count toward the minimum major in studio art or art history. Prerequisites: Art 253 (preferred) or Art 252. Offered Interim only.
298 Independent Study: Studio Art
Prerequisites: three foundation courses and two upper division courses in area of study.
340 Topics Seminar in Studio Art
This course enables the advanced studio art student to pursue further work in any chosen two or three dimensional medium or combination of media including performance, installation, and collaborative ways of working. This course is organized around an interdisciplinary theme set each year by the instructor. Within a seminar format students read, discuss and write on the selected topic in conjunction with topic driven individual studio work and critiques. Prerequisites: three foundation studio courses plus a minimum of two Level II studio courses. Offered annually.
343 Senior Studies in Studio Art
This capstone course in the studio arts program consists of advanced studio work, a visiting artist series, weekly critiques, and discussions with faculty and peers. Each student's independent work with a faculty adviser culminates in a senior exhibition at Flaten Art Museum. Weekly sessions also cover such topics as preparing a resume, taking slides of one's work, framing and producing exhibition announcements and posters.
398 Independent Research: Studio Art
Prerequisites: three foundation courses and three courses in area of study.
All art history courses except Art 298, 350 and 398 have no prerequisites and may be taken in any order.
150 Introduction to Art History I
Discussion section. This introduction to art history examines select artistic traditions among ancient and medieval cultures of Asia and Europe. Through lectures, discussions, and presentations, students develop skills in visual analysis and interpretation, as well as a broad historical exposure to a variety of major historical periods. The course considers a variety of artistic media, including painting, sculpture, and architecture, in addition to broader issues of aesthetics, function, and patronage. Offered annually.
151 Introduction to Art History II
Discussion section. This introduction to art history examines select artistic traditions of Europe and Africa from c. 1400 to the present. Through lectures, discussions, and other activities, students develop skills in visual analysis and interpretation. The course considers a variety of artistic media, including painting, sculpture, architecture, and textiles, as well as broader issues of aesthetics, function, and patronage. Offered annually.
250 The Arts of the African Diaspora
This course surveys the diverse arts produced by people of African descent in the Americas (U.S. and the Caribbean), from the colonial period to the present. An examination of selected West and Central African cultural practices and art forms serves as a basis for understanding creative transformations in the African Diaspora. Important issues to be addressed include art and resistance, survivals and transformations, and ideas about race and the construction of beauty.
251 Art 1776-1880, Revolutionary Art
This lecture course surveys how art (mostly painting and sculpture) in Europe unfolded in remarkable ways relative to values signaled by the French Revolution. The course examines Neo-Classical art as it expresses Enlightenment thinking, the tumultuous Romantic and Realist imagery and times and ends with Impressionism. Offered periodically during Interim. Open to first-year students.
252 Art 1880-1945 "The Shock of the New"
This course introduces modern industrial culture and thought through a study of painting, sculpture, architecture, and related arts. Students learn about the strikingly new modes of art created in Europe and the United States after 1880, examining work by Edvard Munch, Frank Lloyd Wright, Pablo Picasso, Hannah Höch, and many others. Offered annually.
This course is an introduction to modern and postmodern art and thought after World War II through a survey of painting, sculpture, and new-media arts. Students learn about celebrated art and artists, major values such as issues of identity informing their work, and ways of analyzing and making sense of newer art. Offered annually. Prerequisite: at least one college art history or studio art course recommended.
This course explores painting, sculpture, architecture, and urban development in Italy from c. 1300 to c. 1600. The course focuses on the major urban centers of the period: Florence, Rome and Venice. Students address the ways in which art functioned in its original Renaissance context and explore issues of artistic identity and the importance of patronage in the period. Offered periodically.
255 Italian Art in Context (abroad)
This course is an intensive introduction to the history of the art and architecture of Florence. Through a study of Florence's topography, its built environment, and painted and sculpted imagery, students study the history of Florence from its inception as a Roman colony through the 19th century when Florence was the capital of the newly unified Italian nation. They study of Florence is enriched by travel to other Tuscan cities such as Cortona, Siena, and Lucca. Offered during Interim in alternate years.
This course is intended as an introduction to the history of Chinese art, offering a survey of major artistic developments from neolithic times to the present. Among the topics considered: ritual bronzes, funerary remains of the Qin and Han, Buddhist sculpture, and the evolution of landscape painting. Important issues discussed include production and patronage, function, and borrowing and influence in the evolution of artistic works across time and space. Offered annually.
This course introduces the history of Japanese art, offering a survey of major artistic developments from neolithic times to the present. Among the topics considered: funerary remains of the neolithic through Kofun eras; indigenous as well as imported religious traditions and their imagery, and the secular arts. Issues discussed include production and patronage, function, and borrowing and influence in the evolution of artistic works. Offered annually.
261 History of World Architecture
This course examines architectural monuments and their symbolic forms combined with evidence of earthly and divine concepts. From cave dwellings to geodesic domes, from Eastern to Western systems, students review sacred and profane structures from a variety of cultures. Each student investigates a living reality of space, function, and form found in human-built environments. Offered periodically.
This course explores the arts and architecture of western Europe from c. 300 to c. 1300. Through lectures and discussions, students study paintings, sculpture, manuscripts, metalwork, and stained glass windows created by the many cultures of this rich and diverse period in the history of art. Students approach the material in a variety of ways; in addition to issues of style, technique, and iconography, students address issues of viewing, patronage, and gender throughout the semester. Offered periodically.
265 The Arts of India and Southeast Asia
This course examines visual forms that reveal Hindu, Buddhist, Jain, and Islamic religious concepts in painting, sculpture, and architecture of sacred precincts and royal palaces of India. Included are monuments that incorporate the axis mundi, as well as religious images carried by monks into East Asia. Students probe into the meaning behind artistic expressions. Offered annually.
This course is an introductory exploration of Scandinavian visual arts and the cultural and historical forces related to them. The span of time, specific cultures covered, and art forms studied varies depending upon the instructor, but it usually focuses on the "Modern Era" (mid-18th through early 20th centuries). Offered periodically during Interim (open to first-year students).
This course serves as an introductory survey of the diverse arts and cultures of sub-Saharan Africa. Students investigate material culture in its original context to understand the social roles that art plays in many aspects of life. Students also learn to identify and discuss styles, materials, techniques, and the roles of artists. Special topics considered may include: contemporary versus historical art in Africa, notions of "authenticity" and tourist art, cultural heritage and repatriation of art works, and the politics and history of museum display. Offered periodically.
This course explores the art created in Western Europe from 1140-1400 and the revival of the Gothic style in nineteenth-century and twentieth-century Europe and America. The course addresses the rise of the medieval city, the importance of the Cathedral, and ways that new forms of spirituality gave rise to new styles of pictorial arts and architecture. The course ends with a discussion of what Gothic art came to symbolize for people in the centuries after its origins. The course will consist of class discussions, short quizzes, writing assignments and required field trips. A course lab fee will cover the cost of a course reader and the field trips.
This seminar-style course focuses on a specific art-historical topic, and students learn how to pursue art-historical practice beyond the introductory level. Topics change with each offering. Prerequisite: at least one art history course or permission of the instructor. Offered periodically.
This course explores the roles of women as creators, subjects, and patrons of art. It helps students lean about how gender permeates culture and art. Specific topics vary. Each topic introduces a time period and place that has revealed much about gender and visual culture. Students work seminar-style yet at an introductory level for those new to art history or women's studies. Counts toward major in Women's Studies and Art and Art History. Offered periodically.
294 Internship
298 Independent Study: Art History
Prerequisites: two upper-division courses in area of study.
350 The Methods of Art History
This seminar explores methods by which art historians and curators analyze works of art. Students develop an advanced understanding of these methods by application of various methods to works of art, by examining historical factors surrounding principle movements in the study of art history and by engaging in lively class debates about them. Readings, discussions, and presentations culminate in an independent research project that allows each student to find his or her own place in the discipline. Prerequisite: two upper division courses in art history.
This course is for experienced studio and art history students and those interested in contemporary theory. Students directly encounter art and new theory, explore art criticism (in part through practicing it) and learn about ethics to help think about value judgments. Recommended for students contemplating art history or studio graduate work. Prerequisite: completion of BTS-T and at least one studio and one art history course recommended.
394 Internship
396 Directed Undergraduate Research: "Topic Description"
This course provides a comprehensive research opportunity, including an introduction to relevant background material, technical instruction, identification of a meaningful project, and data collection. The topic is determined by the faculty member in charge of the course and may relate to his/her research interests. Prerequisite: determined by individual instructor. Offer based on department decision.
398 Independent Research: Art History
Prerequisites: three courses in area of study.
Courses IN OTHER DEPARTMENTS APPROVED FOR ART HISTORY CREDIT
Asian Studies 270, Visual Culture of Modern China
Asian Studies 310, Buddhism thru Text and Image
Environmental Studies 270, Nature and American Landscapes
Philosophy 243, Aesthetics


text:
Story highlights
- Fire on nuclear submarine caused $400 million in damage
- "Preliminary indications" link the fire to a vacuum cleaner
- The sub's nuclear plant was not operating at the time
A fire last month aboard a U.S. nuclear submarine that caused more than $400 million in damage may have been caused by a vacuum cleaner, the Navy said Wednesday.
"Preliminary findings indicate the fire started in a vacuum cleaner used to clean work sites at end of shift, and stored in an unoccupied space," the Portsmouth Naval Shipyard Congressional and Public Affairs Office said in a news release. "Specific details as to the cause and subsequent damage assessment are still being evaluated as part of ongoing investigations and will be released at a later date."
Public Affairs Officer Deb White said she did not know what kind of vacuum cleaner had been implicated in the blaze or whether the same machine was used by any other nuclear submarines.
The May 24 incident affected the forward compartment of the USS Miami, where the crew's living quarters, command and control spaces and the torpedo room are, the release said.
"Miami's nuclear propulsion spaces were not affected by the fire," the release said. "The ship's nuclear propulsion plant was not operating at the time and the plant had been shut down for over two months. Nuclear propulsion spaces were isolated from the forward compartment fire early and spaces remained habitable, manned and in a safe and stable condition throughout the entire event. There were no torpedoes or other weapons onboard the submarine."
Cleanup in the forward compartment began last week and the Navy estimated an "initial rough repair cost" of $400 million, plus some 10% for what it called "secondary effects," including disruption to other planned work in the shipyards and the possible need to contract work to the private sector.
The submarine was commissioned in 1990 and carries a crew of 12 officers and 98 enlisted personnel, according to the Navy.


text:
Monty Haltiner is counting his tequila. All because of shoplifters.
Monty Haltiner, says, "We had a couple guys working the store stealing, shoplifting high end bottles of tequila." Something Haltiner's 16 camera surveillance system captured digitally.
Haltiner, says, "They usually bring someone in that goes up toward the counter that distracts the clerk while the other gentleman goes behind some shelves and just puts a bottle of tequila down his pants."
Haltiner hopes this video will help catch the thieves but just by catching someone on camera doesn't mean the crime will be solved.
Sergeant Tony Clayton with the Grand Junction Police Investigations Unit says, "It does really no good to tape the top of some one's head or the back, you want the facial shot." When good video is available Clayton says chances of catching the perpatratpr do increase, like when police say this video surveillance at Johnny's liquor helped them nab James Joseph Jones, the man they say robbed the store.
All Sound Designs installed the camera system at Crossroads Liquor and says they look to set up a few key shots.
Eric Landis with All Sounds says, "Facial recognition coming in and out of doorways as well as at the register (is best)." Landis says one of the misconceptions of video surveillance is that the picture will be perfect every time. "A lot of times we just have height, approximated weight and skin color and that's what we end up going off of."
Police are still looking for a man who stole cigarettes from seven local convenience stores. Something that surveillance video captured.
Clayton says, "We may not get a facial feature but can identify clothing, how tall they are, what particular weapon they might have used if they left on foot or did they leave on a bike."


text:
Premium Workouts
Here are my top picks for workouts available. I've got each one (even the lady's workout) and these are without a doubt some of the best you can get.
Workout for Men
Visual Impact Muscle Building – This workout contains three separate muscle building phases that target size, density and strength.
Workout for Women
Visual Impact for Women – Don't worrying about getting big and bulky – the tagline "Slim, Fit and Feminine."
Fat Loss Cardio
Visual Impact Cardio – For those who want to lose the last 5-10 pounds of stubborn body fat. It's tough, but it works.
"Wow Kevin… this is really motivating. Personally I've been slacking off. Not good. You've motivated me to get up my arse and do it!"
– Jeff
"Kevin you rock, seriously… You just saved me a lot of frustration in the gym, and you are correct, most trainers are pushing the reps. Great info!!"
– Jennifer
"Thanks to guys like you I am learning new techniques and strategies. I enjoy your website very much. Keep up the good work.!"
– Gene
"Thanks for writing this article. It's was so helpful! There is a lot of confusing info on the internet about weightlifting for women."
– Misha


text:
I've been using this program on the national geographic channel for teaching science. its very detailed, easy to understand and extremely informative. I have it set on the dvr to record each episode. My son loves it. So do we actually. So far they have covered the creation of the moon and then the creation of the earth. There is one about the core of the eath and super volcanoes this week. Well here is a link you guys can look at it.
http://channel.nationalgeographic.com/c ... sodes.html
naked science
Discuss the pros and cons of various curriculums, or get help on which to choose!
Moderators: Theodore, elliemaejune
3 posts • Page 1 of 1
- User
- Posts: 21
- Joined: Wed Dec 13, 2006 7:39 pm
- Location: Russellville Arkansas
- Contact:
- User
- Posts: 33
- Joined: Mon Jan 08, 2007 1:59 pm
- Location: Magnolia, Texas
Looks cool! :D
Thank you I think my kiddos will love this. Recording them on the DVR is a good idea because you can go back as a parent and make review sheets for the kids to see what they grasped from watching the episode.
so kudos to you
so kudos to you
3 posts • Page 1 of 1
Return to "Curriculum Discussion"
Who is online
Users browsing this forum: No registered users and 0 guests


text:
Brazil has the world's most successful ethanol economy, with sugarcane as the stock. The U.S. has the second most successful ethanol program, but it's held back by the limitations of corn, the primary stock used here.
Why not switch over to sugarcane? The U.S. doesn't have the climate to grow enough sugarcane, but we can grow sugar beets, a whole lot of sugar beets.
A group of North Dakota agribusiness specialists formed the Green Vision Group to explore sugar beets – actually, the company wants to use a variety called "energy beets" – as a stock for ethanol production. The group is planning to build a $20 million plant to demonstrate the viability of energy beets as an ethanol stock.
So maybe sugar beets could have a seat at America's energy table. With the price of gasoline surging past $4 in some parts of the country, now might be the time to grow the ethanol market, which currently stands at 13.8 billion gallons, according to Danish biotech company Novozymes.
Cole Gustafson, a professor at North Dakota State University, thinks so. Gustafson, who is working with Green Vision on plans for the processing center, said sugar plants have an advantage over corn because they require one less processing step. Corn's starches have to be converted to sugar before the conversion to alcohol.


text: Nice to see Bobby Brown is tying the knot with manager and business partner Alicia Etheredge. Looks like his 14 year stretch with Whitney didn't put him off from getting hitched again. Brown is determined to make this relationship work he told Sister 2 Sister in a recent interview. But didn't he say that time and time again when he was with Whitney? Wonder if Bobby Kristina will be flower girl or even Karrine Steffans. You know she will have to get her face in their somewhere, more on her to follow anyway.


text:
|2011-02-05, 13:20
|Link #21
Graphic Designer
Join Date: Jan 2009
Location: Vancouver, British Columbia
Age: 26
Okay, who started the debate of good points without me?
Like I've been saying, I'm really against 2 separate themes; if Harper Lee and Shakespeare were to enter this competition, they'd be stifled by the fact that they can write about one thing but not the other. That's exactly my point; if we separate the themes, half the people will never see the 2nd theme brought back. Unification allows everyone to write about the theme at some point if they wish to do so.
That being said, I'm also against the idea of a coin flip. Felix made some solid points in that luck should not decide between the two winners; you may trust me to an extent but it's quite true that I could easily rig the toss to work in my favour. I'm not saying I would, but it's certainly a possibly that can't be overlooked. My suggestion is to have a small challenge between the two winners to decide who picks the next theme, like a riddle or tiny writing challenge. The other person doesn't necessary lose, they just don't get to pick the next theme. They can take pride in knowing that they still won in that month.
Having a theme cannot be helped. I've entered competitions where there was no theme set, and my goodness was it busted. The judges could be insanely biased by picking something they like over something with quality, and the fact is that when you're granted limited omnipotence with your writing, you will get writer's block in some way. Happens to me EVERY time this rule is set. We can keep it organized by having one theme; should people want to enter or not is not our concern.
That 3 votes point is quite a good one, felix. My main guess is that people are still composing. My entry was somewhat rushed to clear up space for my other projects and whatnot, but we should consider that everyone has their own writing speed and free time. The first week of entries has not even ended yet and we have a TON of views; something is happening.
In the rare case that we do only get a few entries, I'll set a certain variable that only allows 1 vote per person for that month.
Any other concerns, folks? I'm glad we're sorting these out.
|2011-02-05, 17:00
|Link #22
Join Date: Dec 2005
Location: event horizon
I am a little confused about this "2 separate" themes that keeps being brought up. I did bring up the topic last page, but nowhere there did I mention anything about being forced to pick just one of the two. Mario's post now is the second to use that interpretation.
But anyway, no matter.
Which brings me back to the earlier point, isn't this contest about writing? If Harper Lee and Shakespeare were here they'd probably wonder the same thing.
Since currently we seem to have reach some pitfall in the debate whereas apparently we're going nowhere because we lack alternatives to please everybody I'll get the ball rolling and propose one...
Challenge System
The idea is simple, truth supports itself. As such, based on the general opinions in the thread (and the other thread), limits give better results. Thus, the statement should be able to support itself...
(for simplicity, namely avoiding floating point calculations, all units have been multiplied by 1000)
You may submit any entry you wish, the only limitation is that you follow the style rules and keep it all into one post. Once submitted your entry is given a base rating, which will be used in the voting phase. The base rating is awarded as follows:
Each contest contains a set of preset challenges. The challenges are picked by the winner or winners of the last contest. Challenges increase your base rating, equally they can decrees it. Challenges that increase the rating are called buffs, while challenges that decrees are called penalties. Be it buff or penalty the following are mandatory: challenge title, description, exception clause (when applicable), and points awarded or subtracted
Example challenges:
Everyone loves a pervert! [Buff]
Moonwalker [Penalty]
Wordsmith [Buff]
Loudmouth [Penalty]
Anon.inc [Penalty]
Harem [Buff]
Attack of the clones [Buff]
Mai Recycling [Buff]
Kiss of death [Buff]
Sharpshooter [Penalty]
Small world theory [Buff]
etc etc
Any kind of writing habit or writing strategy is valid, however any kind of forced writing is invalid. The following are examples of invalid challenges:
Ninja wars [Buff]
Robots [Buff]
Oblivion [Buff]All of these are invalid because they force a plane for the story, and equally force a direction. A challenge should be no more then a point in space which the writers are free to intersect via any plane or direction they desire. A good hint of this is the complexity of deciphering if a challenge is met, if it requires thinking, it's probably not very good.
Anyone can submit a challenge, the process is as follows:
Once chosen Buffs are given each their own color. Contestants need only color the "proof", such as words, character names or a notable sentence to get the reward.
Voting Phase
Everyone is free to vote for as many people as they like. As long as you vote for at least one. You can not vote for yourself since that is already counted by default.
Everyone's rating is then calculated. Your buffs are added directly, however penalties work differently. If penalties exceed -200 points they are simply taken as -200 points. With your rating calculated, it is then simply multiplied by the number of votes you got. Everyone's score is then compared and winner(s) decided.
Notes on system:
Keep in mind this is just a proposal. I tend to... overly engineer these things, so don't treat it as some kind of final product. I'm sure there are other methods we could use as well; that have nothing to do with the one I just described.
|2011-02-05, 18:20
|Link #23
In scientific terms only.
I'm more or less okay with what we have now, honestly. A general theme gives a good amount of legroom while not be too constricting. If having multiple winners is a problem, let it go to run-off or, as papermario said, leave it up to a challenge of some sort.
|2011-02-05, 18:29
|Link #24
Join Date: Dec 2005
Location: event horizon
|2011-02-05, 22:37
|Link #25
Senior Member
Join Date: Feb 2011
Location: Singapore
I like the idea of using challenges to encourage the incorporation of certain story elements. I feel that felix's idea can work, but the proposal seems a bit unwieldy, and should be simplified. In particular, the proposal of new challenges seems to open room for contention, and may be slow.
How about the winners of the story and poetry sections each add in two challenges? Not enough challenges? Also include the previous month's challenges, but make them contribute less points. The winners will have some advantage, but since they only know half of the new challenges their advantage is not as great.
|2011-02-06, 03:27
|Link #26
In scientific terms only.
|2011-02-06, 06:52
|Link #27
Join Date: Dec 2005
Location: event horizon
Of course the challenge can be re-worked based on feedback and it can be proposed again. Also, because anyone can submit, even if say something silly like half of them don't make it happened, we would still have a ton of them.
Additionally, if they are contested, that's all for the best; that's what we want. It means contests would have very refined challenges, that everyone can work with.
Anyway, I'm not against the idea. The only problem I see is that, the challenges would be less refined since winners would propose them on a whim. They would still have to go though papermario, but if the way SotM works is any indication, this kind of system tends to get rusty over time, ie. sometimes papermario might not have enough time, delays might happen, etc. Community powered systems just are more responsive then any one person.
Also, the pool for picking challenges would be very very small.
To make a analogy, in my proposal, replace all base ratings with 1000, and add two penalties each, one of -1000 for not using the theme, and another of -1000 for not writing within 1500 words (remove the -200 limit on penalties) and voila, the current system. Considering I only made things harsher, what does that make the current system...
Note that I clearly stated you don't have to do any of the challenges! You can play as the underdog, even go over the 1500 word limit. If you can show us you can get the 2 times greater number of votes then any other (and that's in the best case scenario) then I really think it's a fair win. Currently you could be a Shakespeare, if your entry doesn't have something like "unicorns" (example theme) then you lose by default.
|2011-02-06, 07:49
|Link #28
In scientific terms only.
I'm not necessarily against it, since it sounds like it could be fun times if the challenges aren't too advantageous. I'll pass the buck to the runner of this here contest.
|2011-02-07, 00:56
|Link #29
Graphic Designer
Join Date: Jan 2009
Location: Vancouver, British Columbia
Age: 26
Wow, I appreciate all the work you did to come up with such a concept, but we're already straying from the "simple writing competition for everyone" idea. Like I said, I want to run with just one theme and one winner for a few months; we're brainstorming like mad over simple speculations at the moment. What if the two sides can be evenly matched? I've won several contests of free writing by entering 3 line haikus. Majority of the entries were stories too, if you were wondering. And by the way, this is a writing contest, you're right! That's exactly why we need to promote creativity, but not let it roam wildly beyond control.
Don't get me wrong, I really like the idea and think it would be quite interesting if we weren't making this apply to everyone. If this was a more serious competition, other little tidbits would be included for sure, but we're just trying to have fun here, nothing else. It should be very simple: each month has a theme, the community decides on the best entry. That entrant picks the next month's theme, and the only major limitation is that you must use 1500 words or less (in order to allow voters to...vote, instead of having them read for hours on end).
You say that having the winner choose the next theme is advantageous for them, but is it really? They have a couple of days to decide or they basically forfeit that right so that the competition can move on. I don't know how imaginative you are, but I can't come up with an entire concept that works without problems in that timespan.
I'd truly prefer a one-theme, one-winner competition. Trust me, we're doing all of this because we think poetry doesn't stand much of a chance against short stories. The truth is, those who are bold enough to try probably have enough skill (and will receive enough criticism) to have a standing chance. If we try this for a few months and it really doesn't work for some reason, then I'd come to the one-theme, two-winner idea. Like I said, 2 themes means that non-poets will never be able to write about the secondary theme, and vice versa for the others as well.
In the end, I'm just asking that this stays...a competition for fun. Write something creative, have fun doing it, and if you're not picked, at least you get a good supply of constructive criticism and brownie points for trying. Take them in and try again next month. When we overcomplicate things, then we start to lose the crowd, for we start to lose the core idea of this contest.
And hey, I'm just ranting my points here; stop me if I'm being rude or if I'm incorrect in any way. I don't mind the creative opinions at all.
|2011-02-07, 06:01
|Link #30
Join Date: Dec 2005
Location: event horizon
I would like to agree with the idea of letting it run for two months as-is and then debate it further. However from my experience over the years, this only leads to arguments such as "it has already been running for so long, too late to change it now" or "this should have been brought up earlier" or "it would be too strange to change it now". Time breads complacency. There have been a fair amount of complaints so far, not attempting to solve them is not going make them solve themselves and it is only going to cement a reputation of the current status quo.
[edit] Also small correction, just so nobody gets the wrong idea here. If YOU or anyone has another idea or any idea, I would like to hear that too. Anything that just solves the current problems is fine by me.
I can see your point about reading them; but it's not like your forcing or guaranteeing they are read if they have 1500 words or less, either. People will happily read what they like, and will equally happily ignore what they don't like. Skimming though the story is also an option, and doesn't really care how long your story is. If having them longer means they have a chance they won't be read, then just adds one more to the handicaps for them. To guarantee they would be read you would have to be something like 200 words.
Here's another little fun fact. Discussions on this board can rage for pages with overly long posts. If people were so allergic to reading would this really be happening.
Speaking of which, can you give me a link to this "3 line haikus" contest, and the other four (I think it was). I want to see for myself what kind of community those were run in, what kind of standards they have, etc.
Last edited by felix; 2011-02-07 at 09:16.
|2011-02-07, 09:47
|Link #31
Join Date: Dec 2005
Location: event horizon
I'm not retracting the previous proposal, but to simplify discussion lets try a systematic approach; as just throwing something out seems to not fair well.
A. What type of entries/content the contest needs to be able to support:
Tackling one goal at a time, for the initial goal the following (independent) systems have been proposed so far:
(b) mitigates some problems of (a), seems to conflict with goal 5
(c) fails goal 5
(d) is probably undesirable, because it applies the solution of "unfairness" to goal 1
Anyone got other ideas?
[edit] gonna post before I forget
e. word rating
Set a baseline wordcount and a base rating, you then have a exponential reduction formula; basically the more words you use the lower your rating. However the formula works exponentially, so it gradually takes less and less away (it will never reach zero, and in theory should never go bellow the baseline). The idea is the more words you use the lower your rating, thus encouraging you to make use of every little word you have.
The current system doesn't really encourage say poetry from trying to use good wording, but in this one it doesn't matter what the source is, less words just equal higher rating. You are encourage to write say short stories that are 200 words or less and so forth; not just big ones as with the current fixed limit.
The rating follows the same principle as the proposal I gave above. It's a multiplier for your votes, so higher is better.
Goal 5 is accomplished because the rating that is obtained from this in combination with votes will be almost never equal to someone elses. The rating numbers would just never be equal, and calculation would be able to go in floating point precision where as even with distorted votes, you would still have a difference of things like 0.005 and so forth.
Last edited by felix; 2011-02-07 at 10:06.
|2011-02-07, 11:25
|Link #32
Senior Member
Join Date: Feb 2011
Location: Singapore
How about something like rating brackets? Eg (just throwing penalties and word counts up randomly), -0 points for up to 500 words, -50 points for each 100 words beyond that up til 1500 words, -50 points for each 250 words beyond that up til 5000 words, and no or a small penalty beyond 5000 words.
|2011-02-07, 11:43
|Link #33
Join Date: Dec 2005
Location: event horizon
Oh actually making a formula is simple, you just do something like add the baseline
baseline + (any formula that exponentially goes towards 0)The problem with doing a stepped rating is you encourage behavior like "word cutting" (which keeps popping up at the moment in the entry thread). My opinion is given a fixed step, people will try to make their work worse, just to reach that step. I'd rather they just try to improve tacking "less words" as just a nudge in the right direction. Also your threshold scheme defeats the idea of wordcounts acting as unique IDs and making ties hard to happen; but that's of less importance.
Given we also want simplicity I'm all for your hybrid threshold idea. Though how about a lower threshold at the start. Let's take my little writers quote in my signature, curtsy of Mr. Wright as a example of "small" entry:
So how about the threshold be: 0, 50, 100, etc
|2011-02-07, 15:28
|Link #34
Join Date: Dec 2005
Location: event horizon
Man mario you must live in the complete opposite time zone as me. Well since that's the case, while I would have preferred to bring this up later so as to not clog the discussion, in the interest of time there's no helping it and we'll just have to do it the hard way.
First of all, this was brought up in the entry thread: we need a official word counting script
I propose the following site: http://www.wordcounttool.com/ just because it seems to specialize in it.The second order of business is the word count. Since the other thread we have been bickering over it, so I propose the following solution. We use a external official and renowned writing contest/award as the source for our word count limits. This way we can rely on the experience and professional opinion, instead of guessing.
I propose the Science Fiction and Fantasy Writers of America (SFWA) which have been running since 1965. SFWA members select the Nebula Award winners each year for the best short story, novelette, novella, and novel. The following is their classification for each:I only gave a example, papermario, you said repeatedly (in every post? ) how you've been to so and so many contests, if you know of a more prestigious english oriented organization that works as well.
Of course if anyone else knows of another that works too.
Oh and, it should be a organization that has been active for some respectable period of time. The advatage of using the limits of prestigious contests is that we can rely on their wisdom for the past decade or so and thus using them as reference would mean the entire issue of word count doesn't require debating.
|2011-02-08, 05:15
|Link #35
Join Date: Dec 2005
Location: event horizon
Just gonna throw this out there:
baserating - (ln(wordcount / 50) * 100)
It's not perfect, but:
1 500 - (ln(50 / 50) * 100) = 1 500If value goes under 1000 (baseline) it's taken as 1000 (baseline).
If it goes over 1500 (baserating), it's taken as 1500 (baserating).
I've made the current formula work with 50 (as minimum) and 7500 (as maximum).
Now lets have a little fun! I'll use the current entries and see what we get:
felix — 1 500 - (ln(1 458 / 50) * 100) = 1 162.72021Opinions? Suggestions? Other proposals?
|2011-02-08, 05:57
|Link #36
Graphic Designer
Join Date: Jan 2009
Location: Vancouver, British Columbia
Age: 26
|2011-02-08, 06:18
|Link #37
Senior Member
Join Date: Feb 2011
Location: Singapore
The rating scores seem close enough for votes to still be (largely) the determining factor, which is good. We should try to think in terms of votes; i.e. 5 votes for an entry with 1500 words is about equal to 4 votes for an entry with 80 words. Personally I don't think that there'll be too much of an advantage or disadvantage for typical entries, though the disparity will be obvious between a haiku and a lengthy epic.
Don't forget though that challenges also come into play. We'll probably want challenges to partially or completely negate the length penalty. Lengthy works should be able to pick up points from meeting challenge criteria, whereas short works make up the difference with through having less length penalties. Some form of cap should be in place to prevent people from gaming the system.
|2011-02-08, 06:33
|Link #38
In scientific terms only.
And whoosh, I've been plopped right back into ninth year math. Oh, logarithms, how I've not missed you.
|2011-02-08, 07:32
|Link #39
Join Date: Dec 2005
Location: event horizon
Also, as contest organizer you have a responsibility to take feedback and clearly reply if you agree, or don't agree and why. I feel you're ignoring more then half of what's being said, and also avoiding answering obvious questions and inquiries. Each post now you've just been skirting the discussion and just repeating your opinion, again; with out even defending against the rebuttals broth against it. If this is just some indication you're just giving us the black eye and just don't know how to tell us "shutup, all your opinions are invalid" because of something petty such as standards, by all means please just take the most direct approach. Silence will not solve problems, and having a pointless discussion is disrespectful to everyones time.
I'm sorry if this sounds harsh, but I come from a wikipedia like system. In this sort of debate, should the organizer(s) not listen a debate is pointless; and will just carry on forever.
Personally I like the idea of optional/author-decides. The system would be equal to all, as long as "you play by the rules" as it were. Of course like I said in previous posts, if someone thinks they can win, bearing the handicap, they should be allowed to.
Amusingly just like my proposal, lordshadowisle proposal is also compatible with the current state of things, in the sense the current system is a corner case of his system. Basically, the current system is mandatory/fixed-order variant, with one challenge (the theme) set at 1500.
An alternative would be to alter the voting system. But we probably don't want to mess with that…
1 have the person who wins and the person who picks the next theme/challenge/whatnot decided seperatly; thus balancing out things like poetry with longer stories, etc.
|2011-02-08, 13:52
|Link #40
Graphic Designer
Join Date: Jan 2009
Location: Vancouver, British Columbia
Age: 26
Okay, if you want the entire story then I am more than willing to comply. First off, I don't have lots of free time; you'll notice I don't multi-quote or anything on this topic. I'm usually posting in between breaks. I apologize if I miss things but this is not the only thing I do with my life.
Second, I slowly lose support over some of these ideas because they keep changing. From the start I wanted one winner and they would choose the next theme. Then multiple people complained that poetry would have difficulty over stories. I've complied by starting a discussion to try and come up with a two-person method, and now apparently we're trying to go back to one winner? If your excerpt is your opinion, what's the point of winning if we're going to choose somebody else to pick the next theme? We've only been switching between ideas over and over and I think you've been ignoring my words as well; if it works, I don't want to deviate from the original idea. There is one contest winner, and they choose the next theme. I fail to see why this wouldn't work; shelter's poem in all honesty would have my top vote at the moment. Good poetry will not always lose over a short story.
Also, 1500 words does not change because readers need to read one entry, and move on. Allowing a 7500 word count is way too much, as many others have said in the original proposal topic. Learn to summarize; this is a competition, not a publishing company.
Another reason why many of the suggestions are not addressed is because they've come up before. And we discussed them. And then we moved on. As I said, check the proposal thread; we covered ground on the word count and I even upped the limit to 1500 for everyone who said I should (which was majority). Now I'm being pushed to up it to 7500 or even make it unlimited. As I've said over and over throughout this topic, that's too many, 1500 stays.
Ultimately, I see not the reason for long suggestions and debates. Have a competition where all the entrants are forced to follow the same rules; whoever can comply and be liked by the majority wins and picks the next theme. With the current ground we constantly tread, I feel we're getting nowhere as well, but only because we've covered this so many times. Just a note that it's in my nature to ignore something if I've seen and answered it multiple times already. Another post about changing word count and it will probably won't be considered.
Seriously, I appreciate all the ideas that everyone's coming up with, but I ask that we keep the word count at 1500 (there is good reason to) and that you can remember that this is a simple forum contest; if any of you were planning on walking away with a Pulitzer Prize from this, I'd have to tearfully inform you that you won't. Also, as I've said multiple times as well, I want to run with the original idea for the first few months. We only need to discuss further IF something fails; if I see poetry in at least third place anywhere, there's no need to change it.
Finally, I noticed that you said your entry was quickly forced and you were troubled. That would be good reason to look over it, summarize and edit, no? Even to this point you still have almost another week to change it and come up with new ideas.
I apologize too if I sounded rude, but I needed to get my point across and stop this retreading of old ground. Why not go with the original idea and see how it works out first? I think you'd be surprised. That's my suggestion.
|Thread Tools


text:
At Bethesda Home for Boys, the nurturing of young men has led to the nurturing of organic vegetables.
Standing along a row of red ripe bell peppers, John Wright, 17, and Isaac Ceaser, 15, got to work harvesting in the hot sun Tuesday.
"You pick from this side and I'll pick from that," John told Isaac. They snipped off peppers for use in Bethesda's cafeteria, dropping them in blue buckets.
This 4-acre organic garden has evolved quickly since its start last year as a half-acre plot. Boys work in the garden for 90 minutes a day, pulling weeds, making compost, or cultivating the soil as part of their required work experience. They eat the fruits of their labor in the cafeteria. And they sell it at a popular produce stand off busy Whitefield Avenue.
Soon they'll also be propagating organic seedlings in a new 1,400-square-foot greenhouse.
The greenhouse, which is being dedicated at a noon ceremony today, is a gift from the Trustees' Garden Club.
The club's history with Bethesda dates back to 1932 when it began planting more than 1,000 trees and shrubs on Bethesda's 600-acre campus.
Over the next 25 years, the club began a plant nursery and helped with the design of the outdoor amphitheater and the landscaping surrounding Bethesda's iconic arch.
"I'm so excited about Bethesda because it fits perfectly with our mission," said Ruth Goldsmith, president of the Tustees' Garden Club. "With the current focus on locally produced agriculture and knowing where your food comes from it's perfect. And for the boys, it's not only a skill they can take with them but they're learning to enjoy healthy, high-quality food. It's just a good fit all around."
Nine Bethesda students, including John and Isaac plus seven of their football teammates, raked the earth around the greenhouse Tuesday, added a limestone gravel walkway and set up tents for today's dedication.
The new $56,000 greenhouse, complete with an irrigation system plus heating and cooling, is just what Bethesda needed to ramp up its organic gardening program, said Reid Archer, the young farmer who runs the program with his wife, Caroline. The couple, who interned at nearby Heritage Organic Farm, lives on campus and wrestled with starting seedlings in their house their first year at the school.
"With a small organic farm you depend a lot on seedlings," he said. "We have intensive planting dates. We're always growing stuff. It allows us more profit on a small space."
"This was a huge gift to us."
In addition to fruits and vegetables sold weekly at Bethesda's farmer's market, which opens again the first Tuesday in October, the greenhouse will also enable Bethesda to offer hard-to-find seedlings.
"As far as I know this is Savannah's only source for organic seedlings," Goldsmith said. "Savannahians can now purchase organic foods that they can be confident are safe, with no pesticides or toxic chemicals. You know where these products came from."


text:
Nearest station to Bayswater Underground Station
Location map of Bayswater Underground Station
Underground Stations
126 Bayswater Road, London, Bayswater, W2 4SS
3 mins from Bayswater Underground Station
Notting Hill Gate, London, Notting Hill, W11 3HT
8 mins from Bayswater Underground Station
Lord Hills Bridge, London, Bayswater, W2 6ET
9 mins from Bayswater Underground Station
Mainline Stations
Praed Street, London, Paddington, W2 1HQ , Underground lines: Hammersmith & City, District, Circle, Bakerloo
11 mins from Bayswater Underground Station
Melcombe Place, London, Marylebone, NW1 6JJ , Underground lines: Bakerloo
24 mins from Bayswater Underground Station
Olympia Way, London, Kensington, W14 0NE
27 mins from Bayswater Underground Station
Docklands Light Railway
Cornhill , London, City, EC3V 3LA , Underground lines: Waterloo & City, Northern, Central, DLR (Bank Branch)
4.27 miles from Bayswater Underground Station
Minories, London, City, EC3N 1JL , Underground lines: DLR (Tower Gateway Branch)
4.89 miles from Bayswater Underground Station
Cable Street, London, Tower Hamlets, E1 2QF , Underground lines: DLR (Bank Branch)
5.65 miles from Bayswater Underground Station
Hotels near Bayswater Underground Station
Booking multiple rooms?
Visit our group bookings page or call 020 7437 4370 for assistance
Room 1
The London Borough of Westminster
City of Westminster It is impossible to even begin to capture everything that Westminster - the seat of Britain's government - has to offer. From stately Buckingham Palace and the Houses of Parliament to the raucous Soho nightlife, from the bustle of Oxford Street, to the rolling vistas of the Royal Parks it would take weeks to describe everything to see and do in London's heartland. It also contains some of the best shopping in London, with Covent Garden's bustling market, the boutiques of Soho and Carnaby Street, and the towering department stores around Oxford Circus. As the shops close, London's West End comes alive, with dozens of theatres and music venues, and hundreds of bars and restaurants making sure that this is a borough that never sleeps.
Hotels Near
Bayswater Underground Station
What's On Today
Near Bayswater Underground Station
Effigies Of Wickedness
Theatre | Until 2nd June 2018
Gate Theatre 9 minutes walk from Bayswater Underground Station
The Gate Theatre and English National Opera collaborate on a tribute to the subversive underground scene of the Weimar cabaret ...More
Red Riding Hood
Theatre | Until 8th July 2018
Puppet Theatre Barge 13 minutes walk from Bayswater Underground Station
Specially commissioned by the Puppet Theatre Barge, prize winning writer Deborah Jones retells the popular story of Little Red Riding ...More
Festival of Science: Space
Exhibitions | Until 28th June 2018
Royal Albert Hall 17 minutes walk from Bayswater Underground Station
Build your own rocket, see Chris Hadfield and Robin Ince's science show and hear Star Trek 'in concert' at the ...More
Joan Baez
Concerts | Until 29th May 2018
Royal Albert Hall 17 minutes walk from Bayswater Underground Station
The New York-born contemporary folk singer brings her extensive back catalogue to the UK's stages on this, her farewell tour....More
New on LondonTown
Life in the Dark
Exhibitions | From 13th June
A new exhibition at the Natural History Museum, Life in the Dark explores how different breeds of animals thrive without light. From the middle of the night to the darkest of caves and into the ...More
The Importance Of Being Earnest
Theatre | From 20th July
Concluding the Classic Spring Oscar Wilde Season, The Importance of Being Earnest is staged at the Vaudeville Theatre this summer. Olivier Award-winner Sophie Thompson takes the role ...More
The Star Seekers
Kids Events | From 8th August
Children aged between three and eight are invited to join The Star Seekers, Alph, Betty ...More
Free Open Air Theatre at The Scoop
Theatre | From 8th August
The Wonderful Wizard of Oz and King Arthur ...More
Sounds and Sorcery celebrates Disney FANTASIA
Theatre | From 3rd July
In the year Mickey Mouse celebrates his 90th ...More
Soft Serve Society
Premium soft serve ice cream, occasionally topped with a cloud of spun sugar - this ...More
Soft Serve Society
Ever looked at those clouds of ice cream on Instagram and wondered where on earth ...More
All Star Lanes Shepherd's Bush
Forget about ugly shoes. Beautifully done with Art ...More
SMUK London
Danish design meets beauty at SMUK London, the Eccleston Yards studio founded by hairstylist and ...More
Eccleston Yards
Pedestrianised square on the Victoria and Belgravia border that's home to SMUK London, The Jones ...More
Wellbourne Brasserie
All-day restaurant in White City with a lovely south facing terrace from former head chef ...More
The Butchies journey started at Broadway Market in 2014, four years on it arrived in ...More
Claude's Deli
At the entrance to Market Halls Fulham Claude's Deli supplies locals with homemade bread and ...More
The Bootlegger
Celebrating the glamour of the Prohibition era, The Bootlegger brings alive America's roaring twenties in ...More
Maison St-Germain
Exhibitions | From 15th June
This summer, St-Germain, the French elderflower liqueur, is in partnership with fashion label House of ...More
Tailor Made
Bespoke London menswear brand Tailor Made, headquartered in Shoreditch, opens its first retail store in ...More
Secret Cinema: Romeo + Juliet
Film Events | From 9th August
For the largest experience they've ever produced Secret ...More
Pop Up Screens: Greenwich
Film Events | From 17th August
Central Park Greenwich Peninsula
Pop Up Screens has been popping up around London for six years, bringing outdoor cinema ...More
Wimbledon at Flat Iron Square
Sporting Events | From 14th June
The big screen is up at Flat Iron ...More
London Celebrates 250 Years of the Circus
In 2018 London celebrates the 250th anniversary ...More
Best Summer Terraces in London
Picture perfect petals and gorgeous floral blooms make ...More
The Best Boutique Hotels in London
They're the most stylish places to stay in ...More
November in London 2018
There's an explosion of fireworks on the 5th, Star Wars gets the full orchestra treatment ...More
November in London 2018
There's an explosion of fireworks on the 5th, Star Wars gets the full orchestra treatment at the Royal Albert Hall and Gainsborough's Family Album opens at the National Portrait Gallery, it's all in London in ...More
Best Immersive Experiences in London
At the best immersive experiences in London the ...More
Dorsett City
Next to Aldgate tube, Dorsett City is an Asian owned four star hotel with ...More
London Hotels
From cheap budget accommodation to luxury 5 star suites see our discounts for Bayswater Underground Station hotels, including Thistle Kensington Gardens from 64% off.


text:
The Third Street Corridor Project is searching for local artists to create a series of 6-10 iconic images to represent the Bayview Hunters Point District of San Francisco. These images will be stylized illustrations of local landmarks that capture the spirit of this part of the city and will be used on a series of street banners and other collateral such as T-shirts. An example of a similar campaign is artist Michael Schwab's series of prints for the Golden Gate National Parks.
Final selections for scenery will be communicated to the artist at the time of the commission. These scenes may include:
- Bayview Opera House
- T-Line
- Quesada Gardens
- View of Downtown from 3rd
- Shipyards
- Candlestick Park
- Local Art and Murals
- MLK Municipal Pool
- Bayview Library
- Industrial Buildings
Images pictured here are quick-sketch examples provided for reference:
Candidate Selection
The ideal candidate for this commission will be a local artist who lives and/or works in the Bayview Hunters Point District of San Francisco and can bring his or her personal style into the project and offer an authentic view of these neighborhoods. The artist must also be able to work within the established color palette of the 3rd Street logo (red, yellow, green and black- see samples for reference). To be considered for this project please submit three (3) JPEG images of your past work that best communicates your style. If you are selected as a finalist you may be commissioned to create one sample illustration before the final contract for the rest of the series.
The selected artist will receive a $6,000 stipend for the final series of images. Artwork and reproduction rights will become property of the Third Street Corridor Project. In the event that finalists are asked to create a sample illustration as part of the selection process then they will be compensated $500 for their time.
Application Deadline
To be considered for this project, please email three JPEG samples of your work, a brief description of your background and a written statement of why you think you would be an ideal candidate for this project to firstname.lastname@example.com no later than:
MONDAY, MARCH 22, 12:00pm.
Project Schedule
March 22: Artists application deadline.
March 24: Artist finalists selected.
Mid April: Final selection of artist. Work on final illustrations begins.
May 24: Final illustrations complete.
June 11: Public unveiling of art on 3rd Street.
Call Ben Kaufman, Outreach Coordinator of the Bayview Merchants' Association, at 415-647-3728 x407 if you have any further questions.


text:
While shopping at a "big box" retailer this week for some items
I needed around the house, I was presented with a situation that,
while not shocking given the volume of customers for that business,
gave me a good reason to think about the type of practice I want
and another point on why I chose to practice naturopathic medicine.
Keep in mind that while the first part of the story may sound a bit
like I'm griping, I'm sharing this incident to reinforce why I am
choosing to become a naturopathic doctor. :)
The store was huge and packed with weekend shoppers, like me,
who wanted to get errands completed and back home as quickly as
possible. I was at the checkout and an item was mispriced. The
clerk called for the mislabeled item's department over the store
intercom for a price check. No answer came from the department, so
the clerk asked someone else at the front counter to make a quick
run and check the price.
The clerk then turned to me and asked me politely to step aside
for the next customer to be checked out. While I was reluctant to
move, I understood that others simply wanted to get their errands
finished so they could relax at home. So, I moved out of the way
for the next three customers to pay for their items as the
mispriced item was researched. Once the price was corrected, the
clerk asked me for my payment; I paid, and was given a cursory
"thank you" while being handed the bag full of merchandise.
The most shocking thing to me during this experience was no
apology for the mispriced item, and no apology or explanation for
asking me to step aside for the error on the part of the store. I
was simply another body in the line and my mispriced item was
preventing the line's movement. The store needed to keep the line
moving. This is done by tracking the number of customers per hour
that the clerks bring through their line. If a clerk doesn't have
"x" number of customers per hour, then they are retrained,
reprimanded or disciplined until they lose a sense of customer
service and concentrate more on "keeping the line moving."
As I processed this experience, this made me remember one of the
reasons I chose naturopathic medicine. I am becoming an ND because
each patient is an individual and not a number or statistic, nor
one of six patients I need to see each hour to satisfy numbers for
an insurance or reimbursement program. I am choosing to learn this
trade, this profession, this practice, so that I can get to know my
patients along with their pathologies, motivations, compliances,
and best path to a healthier life where at all possible.
Since I cannot predict the future, I don't know exactly how I
will practice. I will do my best to stay away from a high volume
practice model. I know that any business needs a break-even point
and profitability to keep the doors open. I am certain that I can
build a practice schedule that will allow time with my patients up
front to get to know them along with shorter duration follow-up
appointments. As we progress together on the healing path, our
meetings, if all goes well, will become more economical with time
length. We can accomplish all we need and plan our next steps until
the day comes when as many of our patients as possible will be able
to exit our practice as healthier individuals and not as
Here's my whole food pic for the week. This is wild caught Ahi
Tuna marinated in lemon juice and capers. The sides are my roasted
root veggies from last week (carrots, parsnips, beets…all organic)
along with steamed organic baby spinach.
Doc Rosco's Lemon Juice and Caper Wild Caught Ahi
• Combined Classes
• Observing in Clinic
• Botanical Medicine
• Minor Surgery
• Intern Skills
To read older blog posts, scroll to the bottom and click the "Older Posts" button.


text:
THE oldest Australian Open winner fittingly went on a bit to do it. At 7.43pm on a bleak and blustery Sunday night at the Lakes, Peter Senior became the Australian Open champion for the second time - his two triumphs coming 23 years apart. Of his 30 tournament wins as a professional, Senior rated this one his ''most special''.
As the rest of the field crumbled in the windy conditions, Senior held his nerve and his game, finishing an even-par round to beat the record for oldest Open champion by a decade. At 53, Senior won the Australian Open by one shot from Brendan Jones, who was forced to endure a wait of more than an hour as the clubhouse leader before conceding to the veteran.
''I can't believe how many people stuck it out,'' Senior said. ''I would have been in bed by now.'' Stuck it out is an understatement. After play was suspended because of high winds, Senior said he did not want to start his round after the resumption.
''Geez, at one o'clock, I didn't even want to go out,'' Senior said. ''It's amazing how this game turns around. I didn't think we'd get finished. I thought when we went back out there it hadn't improved at all … it was probably one of the toughest days I've ever seen on a golf course.''
So on a dramatic day and early evening, the veterans broke the youngsters; Tom Watson, the oldest player in the field, recorded the best score of the day (a three-under 69), admittedly playing in the best conditions of the day. Only Watson was Senior's senior in the tournament field. The Australian didn't have the best of the conditions, though, having started his final round after the resumption in play.
Thus he lifted the Stonehaven Cup in near darkness, the gloom only broken by the flash photography.
''It doesn't get any better than this,'' Senior said. ''I really thought these days were over. God, golf is such a funny game. One minute you think you're down, next minute you're up. I didn't play particularly well this week.
''[But] everybody was going to have trouble - it didn't matter who you were out there. I was just lucky enough to finish in front.''
Senior, humbly, reckoned that in better conditions a younger and better player would have prevailed.
''Winning golf tournaments, you just have a good week at the right time,'' he said. ''Justin Rose and the other guys, they're great players. Not for one moment do I think I'm as good as those guys. I've had a good week this week. I got it done.
''I'm getting a bit long in the tooth now, but if the conditions were good, the really good players would have shone this week. These are the conditions I thrive in, where I just battle it out.''
It was Senior's first tournament win with his son Mitchell as his caddie, which gave his win added meaning.
''It is probably the most special [tournament win],'' Senior said. ''We've been close over in America - we've lost three play-offs. We came pretty close in a few other events. Just once I would have liked to say, 'Mitch, well done mate, we've done it.'''
Now he can. Senior rushed around the course and looked about as relaxed as a golfer could be with the Stonehaven Cup almost in their grasp. Even Rose, the world No.4, faded around him; he was well in contention until a bogey at 16.
When Rose found sand on the 18th, needing a hole in one to force a play-off, Senior could breathe easy in the knowledge he had beaten the record held by Peter Thomson, who won at 43 in 1972 at Kooyonga.
John Senden, the leader after three rounds, faded dramatically with a ten-over round of 82, leaving him three-over for the tournament and in a tie for 18th.
Thus, for the second consecutive Australian Open, Senden had led into Sunday but failed to lift the cup.
Despite shooting one-under on Sunday, Jones was full of praise for Senior. ''You've got to take your hat off to him,'' he said. ''He's been an unbelievable ambassador for Australian golf and a champion over the years. He deserved to win this year.''
Glenn Jackson is a Rugby League Writer for The Sydney Morning Herald
Most Viewed in Sport
Morning & Afternoon Newsletter
Delivered Mon–Fri.


text:
After losing a recent patent lawsuit regarding glasses-free 3D utilized in the 3DS, a judge has ordered Nintendo to pay $15.1 million in damages to former Sony employee Seijiro Tomita.
Nintendo still claims that none of its products infringe upon the patent and that it will continue to appeal. However, the plaintiff must decide if he will accept the amount. Originally awarded $30 million, Judge Rakoff called the amount "intrinsically excessive" and halved the award.
Reuters reports that Judge Rakoff called the amount unsupported by the evidence presented at trial." According to the ruling, the 3DS itself is not profitable, and most games don't use any technology covered by Tomita's 3D patent.
Rakoff gave Tomita until August 23 to decide if he will accept $15.1 million instead. If he refuses, he'll have to proceed with an entirely new damages trial, and risk getting nothing at all. That's good news for Nintendo, but Rakoff also denied Nintendo's requests to overturn the jury's verdict or grant a new trial.
Joe Diamante, Tomita's lawyer, said, "We are still reviewing the decision and have no comment."