text:
A lot of information regarding the inner workings of the chip has been shared in the public forums, a lot of it coming from the lead designer of the DAC and much of it not even discussed in the data sheet. I summarized what I could find here: [link], and reproduced here for convenience
- Pin 8: Reset: 125: "Reset is not really required at all. You can do a chip reset if it somehow gets into a weird state (I am speculating) but I've never seen the need for it yet."
- Pin 23- XO: 125: This pin can be left open when using an oscillator (rather than a crystal)
- Pin wiring to support Stereo and DSD-I2S-SPDIF: 145, 153
- Pin wiring to support I2S in hardware mode: 147: "If you just want I2S and nothing else, then just simply wire RSD0/RSD1/RSD2/RSD3 together and power-up."
- Register 0-8, volume: 113
- Register 8, 18 Switching input format on the fly: 125
- Register 10 Jitter ON/OFF: 492
- Register 11 DPLL bandwidth: 575, 821
- Register 12, notch delay: 497, 758, 1315
- Register 14 DAC source: 153
- Register 14 true/pseudo diff (bit 3): 1683
- Register 14 IIR filter: 229, 2?
- Register 15 quantizer 35 and here
- Register 16 Automute: 159
- Register 17 Oversample bypass: 1279
- Register 37-45: Programmable filters: 1289
- Switching inputs: 125: "Yes chip can change inputs on the fly (SPDIF to I2S, etc). I would mute the DACs then change the source, then un-mute for a nice smooth transition."
- Output impdeance, each output pin: 114
- Change Input Format (SPDIF-I2S-DSD) on the fly: 125
- Choice of clock frequency: 127
- External oversampling: 241
- Jitter Eliminator corner frequency: 320
- Jitter performance (vs other DACs): 385
- DPLL bandwidth compared 9018 vs 9008: 1256
- DAC design priorities: 388
- Digital Volume Control: 456
- Filter passband ripple: 496
- Input levels and switching frequency: 574
- I2S bitclock requirement: 1578
- DAC SNR and THD Spec: 1532
- Built-in FIR filter characteristics: 241, 1295
- Volume Control is done before Oversampling Filter: 113, 456 : "The volume control is done just before the oversampling filter on the digital data. It can be set to 0.5dB increments, but in order to avoid clicking when changing volume level, it actually goes through 64 intermediate levels to move 0.5dB. And op top of that, the volume does not instantly change when you request, but rather it changes logarithmically to the desired level. This results in a smooth transition."
- Oversample Filter -> Noise Shaper -> Jitter Reduction: 258
- Inputs to DACs 3, 4, 7, 8 can be tied to inputs to DACs 1, 2, 5, 6 respectively: 153
- DAC internal data path (ES9008): 254
- DPLL uses (locks to) bit-clock: 1626
- Data reclocking: 319
- Asynchronous sample rate correction by time domain interpolation
- System and method for digital volume control
- Device and method for signal processing
- Asynchronous Sample Rate Converter
- Low Noise Digital to Analog Converter with Audio Applications
- Low noise digital to signal interval converter with audio applications
You can get a copy of the datasheet through the distributor in your country. Unlike other chip vendors, it is not available for download (don't know why).
Register 12
Notch Delay. There is very little information on this register. This post [785] Indicates that with 6-bit quantizer "the n/64 notch delay should give the best performance"
|0|x|x|x|x|x|x|x| Dither Control: Apply
|1|x|x|x|x|x|x|x| Dither Control: Use fixed rotation pattern
|x|0|x|x|x|x|x|x| Rotator Input: NS-mod input
|x|1|x|x|x|x|x|x| Rotator Input: External input
|x|x|0|x|x|x|x|x| Remapping: No remap
|x|x|1|x|x|x|x|x| Remapping: Remap DIG outputs for "max phase separation in analog cell"
|x|x|x|0|0|0|0|0| No Notch
|x|x|x|0|0|0|0|1| Notch at MCLK/4
|x|x|x|0|0|0|1|1| Notch at MCLK/8
|x|x|x|0|0|1|1|1| Notch at MCLK/16
|x|x|x|0|1|1|1|1| Notch at MCLK/32
|x|x|x|1|1|1|1|1| Notch at MCLK/64
|0|0|1|0|0|0|0|0| Power-on Default
Register 13
DACx Polarity [link]
- Defines the polarity of DACx relative to its input. This may sound obvious but it is not so obvious if the input of a DAC is internally remapped to take its input from another DAC. When the input is remapped, the phase applied propagates to the other (remapped) DAC. This has the following implications:
– When using "in-phase" then there is nothing to worry, all dacs whether with inputs remapped or not will all be in-phase
– When using "anti-phase", then the phase is also propagated to the remapped DAC so that the phase setting in the remapped DAC is also applied to the propagated phase
Example: In register 14: remap the source of DAC3 to be DAC1. In register 13: set polarity of DAC1 and DAC3 to be "anti-phase. The output of DAC1 will be "anti-phase"; the output of DAC3 will be "in-phase": the anti-phase from DAC1 has been propagated to DAC3 and DAC 3 applied "anti-phase" to "anti-phase" resulting in "in-phase"
Register 14
|0|x|x|x|x|x|x|x| Source of DAC8 is DAC8 (D)
|1|x|x|x|x|x|x|x| Source of DAC8 is DAC6 (Use this to match BII input wiring)
|x|0|x|x|x|x|x|x| Source of DAC7 is DAC7 (D)
|x|1|x|x|x|x|x|x| Source of DAC7 is DAC5 (Use this to match BII input wiring)
|x|x|0|x|x|x|x|x| Source of DAC4 is DAC4 (D)
|x|x|1|x|x|x|x|x| Source of DAC4 is DAC2 (Use this to match BII input wiring)
|x|x|x|0|x|x|x|x| Source of DAC3 is DAC3 (D)
|x|x|x|1|x|x|x|x| Source of DAC3 is DAC1 (Use this to match BII input wiring)
|x|x|x|x|0|x|x|x| Pseudo Differential
|x|x|x|x|1|x|x|x| True Differential (D)
|x|x|x|x|x|0|0|x| IIR Bandwidth: Normal (47K for PCM)
|x|x|x|x|x|0|1|x| IIR Bandwidth: 50K (for DSD) (D)
|x|x|x|x|x|1|0|x| IIR Bandwidth: 60K (for DSD)
|x|x|x|x|x|1|1|x| IIR Bandwidth: 70K (for DSD)
|x|x|x|x|x|x|x|0| FIR Rolloff: Slow
|x|x|x|x|x|x|x|1| FIR Rolloff: Fast (D)
Effect of IIR Bandwith on signal (I got these traces from here: [link]). These traces show the effect of the IIR bandwidth setting on an incoming 30KHz signal. Notice the roll-off of the peaks when the bandwidth is decreased. [I don't know what is the audible effect, except that it filters out of band artifacts]
From left to right: IIR=50K, IIR=60K, IIR=70K
Frequency response of the two built-in filters (from Stereophile)
Step response of FIR Rolloff setting: Fast vs Slow (traces are from here: [link])
In comparison, the filters of the AK4399 DAC show the following response: Fast roll off and Minimum phase
The ESS 9018 does not have a minimum phase filter. Minimum phase filters have been incorporated into modern DACs because they do not exhibit pre-ringing. The FIR filters in the ESS DAC are "standard" linear phase filters.
Register 15
Quantizer setting [35] [742] [1695] [2396]
The quantizer value affects one pair of DACs (independently) as follows:
- 00= 6-bit
- 01= 7-bit
- 10= 8-bit
- 11= 9-bit
The 4 pair of DACs are controlled by the 8-bit register:
- |xx|xx|xx|xx| (the 8-bit register)
- |DACs 6, 8|DACs 2, 4|DACs 5, 7|DACs 1, 3|
Example register values:
- |0|0|0|0|0|0|0|0| : All DACs in 6 bit, "best all-around performance" 8-channel input routed to 8-channel output
- |0|1|0|1|0|1|0|1| : All DACs in 7 bit, reduction of out-of-band noise. Also 8-channel input routed to 8-channel output
- |1|0|1|0|1|0|1|0| : All DACs in 8bit, further reduction of out-of-band noise. Inputs 3, 7, 4 and 8 are NOT needed (Input 3 is merged with 1; 2 with 4; 5 with 7 and 6 with 8). This result in 4 inputs routed into 8 outputs
- |1|1|1|1|1|1|1|1|: All DACs in 9bit, further reduction of out-of-band noise. Only inputs 1 and 2 are needed. 2 channels input routed to 8-channels at the output
- |1|1|1|1|0|0|0|0|: Channels 2, 4, 6, and 8 have been combined into a single channel. We have a 5-channel DAC: The even side is one channel; the odd side is 4 channels.
Register 16Automute Loopback
- Default is off (does not mutes when detecting no music. Probably a good idea to leave it off to prevent the volume ramp up after mute to cut into the next track as reported here: [link]
Register 17
|1| | | | | | | | Mono Right (if set for MONO)
|0| | | | | | | | Mono Left (if set for MONO) (D)
| |1| | | | | | | OSF (Oversample filter) Bypass
| |0| | | | | | | Use OSF (D)
| | |1| | | | | | Relock Jitter Reduction
| | |0| | | | | | Normal Operation Jitter Reduction (D)
| | | |1| | | | | SPDIF: Auto deemph ON (D)
| | | |0| | | | | SPDIF: Auto deemph OFF
| | | | |1| | | | SPDIF Auto (Only if no I2S on pins) (D)
| | | | |0| | | | SPDIF Manual (Manually select SPDIF input format)
| | | | | |1| | | FIR: 28 coefficients (D)
| | | | | |0| | | FIR: 27 coefficients
| | | | | | |1| | FIR: Phase invert
| | | | | | |0| | FIR: Phase NO invert (D)
| | | | | | | |1| All MONO (Then select Mono L or R)
| | | | | | | |0| Eight channel (D)
OSF bypass [link]: Bypasses the internal oversampling FIR filter and expects the data to be at 8X oversampling according to the datasheet. The data is sourced directly to the IIR filter. (The DAC expects the incoming data at 8x FS because internally it applies an 8X oversampling when the oversampling is enabled). The next stage is the asynchronous sample rate conversion (the jitter eliminator) where the data is re-sampled to a higher rate still [link]. The "final" sample rate -the rate coming out of the ASRC is entirely determined by the master clock, and it is fixed at MClk/64 [574]. Thus for the 100MHz Buffalo, the resampled rate is 1.5625 MHz and for the 80 MHz Buffalo, the resampled rate is 1.25 MHz [link]
You can read my results on oversampling bypass here: [link]
SPDIF Auto [link]: The chip will autodetect if the input stream on data1 is SPDIF or not. If its not, it will try to see if it is I2S or DSD. This is the default power-on setting for the Sabre32 chip. If the spdif input is wired to data1, then detection of input format is automatic. Buffalo II takes advantage of this feature for automatic detection of input format. Notice that it requires that spdif be wired to "data1" input pin.
NOTE on auto/manual SPDIF selection
Apparentely (while programming the chip), auto detection of spdif and I2S (with I2S/DSD enabled in reg 8), only works when the DAC powers up. Once you turn off auto-SPDIF and then turn on auto-SPDIF, it will not work with SPDIF input format while reg 8 is still set for I2S/DSD. In order for SDPIF to work, reg 8 must be set for SPDIF and reg 17 for auto-SDPIF.
In summary:
|Reg 17: Auto Spdif
|Reg 8: Source
|SPDIF is ON: Only works when DAC starts with these (default) settings
|SPDIF ON: Works even when auto-SPDIF is set to OFF, then to ON. For manual selection of SPDIF, use this setting
|SPDIF OFF, I2S OFF. I am not sure what is this setting for
|I2S ON. Use this to manually select I2S input
Writing to register 18 (selecting the spdif input line) alone will not work if auto-SPDIF is off. You need to turn on auto-SPDIF and if using SPDIF input line other than #1, you need to select the input line with register 18. This behavior has been fully tested [link]
Register 18: Spdif Source
|0|0|0|0|0|0|0|1| SDPIF Input: Data1 pin (D) (In BII, spdif connects to this pin)
|0|0|0|0|0|0|1|0| SDPIF Input: Data2 pin
|0|0|0|0|0|1|0|0| SDPIF Input: Data3 pin
|0|0|0|0|1|0|0|0| SDPIF Input: Data4 pin
|0|0|0|1|0|0|0|0| SDPIF Input: Data5 pin (In BuII, spdif also connects to this pin)
|0|0|1|0|0|0|0|0| SDPIF Input: Data6 pin
|0|1|0|0|0|0|0|0| SDPIF Input: Data7 pin
|1|0|0|0|0|0|0|0| SDPIF Input: Data8 pin
Auto spdif only works if the source is connected to Data 1. If the source data is connected to the other inputs, it requires manual selection.
Register 19
DACBx Polarity [link]. Register 19 is used in conjunction with register 13
- Defines the polarity of DACBx in relation to DACx (thus it does not define absolute polarity). In normal operation, all DACBx should be in anti-phase relation with DACx Thus:
– If DACBx is set to "anti-phase": flipping the polarity of DACx will automatically also flip the phase of DACBx
– If DACBX is set to "in-phase": DACBx will always follow the polarity of DACx
Manual vs automatic: the Sabre DAC has two modes of internal input switching: manual and automatic. In automatic mode, the chip switches to the appropriate input format (I2S, SPDIF or DSD) depending on the signals present in the input pins. In manual mode, you tell the chip what kind of input format to lock to and which pins to use as input.
Buffalo II DAC was designed for ease of use by cleverly combining 4 inputs and automatically supporting and detecting SPDIF, I2S and DSD in stereo mode. The default mode of operation in BII is automatic input format selection. However, there are cases where manual selection is preferred especially when dealing with multiple inputs. For example the chip has an internal MUX for 8 spdif signals and can also internally re-rout and duplicate signals.
I did an experiment having both a SPDIF and an I2S signals wired (and live) to the BII DAC and using one SPDT switch (h/w switch) and firmware (s/w switch) to switch between the two inputs. It works as I expected. Both I2S and SPDIF signals are live at all times. However you must follow a switching sequence in order to avoid noise:
|H/W switch first
|S/W switch first
|Noise. Incorrect sequence
|No Noise. Correct sequence
|DAC is set for I2S and you switched one of the lines to SPDIF. The DAC is still locked to the bitclock line but now it is receiving SPDIF data instead
|DAC switches to SPDIF. It cannot lock to I2S data because it is expecting SDPIF data. In the meantime the DAC is muted
|No Noise. Correct sequence
|Noise. Incorrect sequence
|DAC is set for SPDIF and you switched to an I2S signal. This will cause the DAC to loose lock and be muted
|DAC thinks all data lines are I2S when they are not (one is still spdif until you do the h/w switch). The DAC can still lock to the bitclock line but the LRCK or DATA line is having spdif data which is interpreted as noise
If you are using a manual switch (one pole switch), even thought the solution works, it is not optimal as one cannot follow this sequencing every time. However, if one does everything in s/w (that is, using an Arduino and relay), then one can automate this sequence. Of course if you are using a 4 pole switch where you can completely switch out the I2S signal, then keep the internal switch in automatic and yo get the same functionality.
This is probably the most you can do in terms of combined h/w-s/w switching in BII. The way the input pins are hardwired prevents further flexibility. For example, only one SPDIF input can be used in BII.
Bufflao III
With BIII, all input pins are available and not pre-wired like BII. Therefore you can take full advantage of manual (internal) switching. You could use a combination of h/w (relays) and s/w (firmware) to accomplish different source switching configuration. You could for example:
- Permanently wire 1 8-channel I2S and 3 SPDIF channels to the BIII DAC and do the input switching is software.
- Switch up to 8 channels of SPDIF without external components
- Use the quantizer bit size to switch from 8 channel input to 4-channel or 2-channel input and replicate the signal to all the internal DACs without external h/w switching of the inputs (quantizer section explains how this is accomplished)
A lot of the Sabre DAC quantizer (and related) discussions were made 2-3 years ago when the company first released the 24-bit version ES9008. Since then, ESSTech released the 32 version of the DAC and "recommended" the use of chip default settings. However, the different settings remain available and accessible to diy tweakers like ourselves :-).
The core benefit of changing the quantizer size is that of reduced HF noise as explained here:
6-bit vs 9-bit quantizer: 785
- The HF noise coming out of the DAC in 6bit mode is noticeably more than it is in 9 bit mode. DAC output seems to require less filtering. Running the analog section with a less aggressive filter has some nice benefits (better slew rate etc) to the final audio.
- In 6 bit mode to get the best performance you should use the n/64 notch delay.
In addition, I tested all possible combinations of quantizer settings and determined the valid settings: [link].
Sound impressions on quantizer setting [link]
Reported is a comparison between 9-bit pseudo differential vs 8-bit true differential setting:
Sonice difference, 9-bit vs 8-bit true differential (only register settings were changed)
Under 9-bit quantizer mode, the sound is less bold, and attacks are more solid, noises contained in recordings are more audible. Although those difference are very small amount and It required me repetitive comparison over and over.
Merging channels
A byproduct of the noise reduction setting is a reduction of available channels.
As you increase the quantizer bit size, the DAC internally turns off the digital sections for half of the DACs and replicates the output to all the analog sections of the DACs. Further increase of the quantizer bit size further turns off the digital sections for half of the remainder DACs resulting in using only one quarter of the digital sections of the internal DACs. Thus, whereas all the analog sections are always fully utilized, the number of channels available in the DAC depends on the quantizer setting as follows:
|Input Channels
|8 (All)
|8 (All)
|4 (#1,#2,#5,#6)
|2 (#1 and #2)
According to Dustin Forman in this post: [redacted here for clarity]
One way to add DACs together is to simply duplicate the input to many DACs and sum them up at the output. This buys 3dB DNR improvement every time you double the amount of DACs. Basically uncorrelated noise adds RSS and signals add normally. Another way would be to use a larger bit QUANTIZER and route the signals from the QUANTIZER to 2 DACs, but the noise shaper now has an extra bit in it.
This chip does both. You can 1- simple duplicate the data input header and then add up the outputs in an analog circuit on the board, or 2- you can program the chip to use a larger QUANTIZER. Doing this prevents the need to send the same data to all the inputs since now a certain DAC Channel is routed into 2 DAC outputs (one channel into two channels).
The DAC is normally a 6-bit QUANTIZER, with the DACx being the summation of the 6 bits, and DACxB being the summation of the inverse of the SAME 6 bits. This is the best all round performance mode, and this is why the datasheet says register 15 needs to be set to 8′b00000000.
Setting this register to 8′b01010101, which by the way was the mode I thought would work best base on my prototype design, (and that is why it is the default configuration) the DAC becomes a 7-bit QUANTIZER reducing out of band noise. I simple divide up the 7-bit number coming from the QUANTIZER into 2 6-bit numbers and invert 1 of them. Then I send off these new 2 6-bit numbers which the difference is mathematically identical to the original 7-bit number from the QUANTIZER and ship them off to the analog section. This also results in 8 channels at the input being routed to 8 channels at the output. (A 7 bit number can have 128 levels, a 6 bit number can have 64 levels. Two 64-bit number can represent 128 levels if added together)
Now, let's go further (we are only 1/2 down this road). if you set the register 15 to be 8′b10101010 then you get a DAC with an 8-bit QUANTIZER, out of band noise decreases more and so on. Now I shut off 1/2 the internal logic since it is not required, only inputs 1,2,5,6 are now needed since an 8-bit output can be spliced into four 6-bits numbers. Channel 1 is merged with channel 3, 2 is merged with 4, 5 is merged with 7, 6 is merged with 8. This arrangement is to keep the merged channels analog sections as close as possible for device matching inside the chip.
This gobbles up 2 analog sections [You still have 2 analog sections per DAC-channel active, but ½ of them take the input from another DAC-channel as indicated above] per input now. This is why 1/2 the digital section is shut off. So this can make you a 4 channel DAC while putting data into only the first 4 channels. [4 Channel -> 4 DAC-Channels -> 8 DACs (8-bit quantizer) -> 16 analog sections]
Ok, let's go further, how about a 9-bit QUANTIZER? sure why not. Setting register 15 to 8′b11111111, I shut off 6 of the channels internally and only channels 1 and 2 inputs are routed to the analog sections. Well it is probably obvious by now why, but here it is again: 1 9-bit number can be broken into 8 6-bit numbers. Now route the 8 6-bit numbers to the analog sections (remember that each section is DAC and DACB so there are 2 analog sections per DAC or 16 total in the chip) so now with each input taking 8 analog sections, we have 2 channels.
Mr Bunpei and Mr RayCtech have this to say regarding the quantizer [2229]
The basic hardware design of one Analog DAC section of ES9018 is of 6 bit. A "quantizer bit length expansion" technique is a combination of multiple 6 bit DAC sections to obtain higher resolutions equivalent to those of 7, 8 or 9 bit DAC.
Let's think of a definite case.
A six bit DAC should have 64 levels including 0.
6 bit: values … 63 – 0
A nine bit DAC should have 512 levels including 0.
9 bit: values … 511 – 0
In the case we need to yield 9 bit levels by a combination of eight 6 bit values:
Target value 511
Total 504
Alas, the sum of 8 individual DAC output is less than the ideal target value 511! How can we compensate the shortage?
0 is a value so you get the 512.
In 9 bit true mode it is actually 1024 levels as each phase have 512…
If you read what Dustin have written previously in this thread you will find that there are not any 6 bit DAC engines at all…
It is only a default of 6 bit data that are sent to the DAC section…
The Sabre DAC uses the Phase Lock Loop to lock unto an incoming signal. For I2S, it locks to the bitclock.
DPLL Values: The DPLL bandwidth can be set to the following values: "lowest", "low", "medium-low", "medium", "medium-high", "high", "highest" and "best"; there is also a 128x setting which apparently multiplies the bandwidth values x128.
The DPLL has adjustable bandwidth. Setting the bandwidth to its lowest value results in maximum jitter reduction. However if the bandwidth is "too low", the DPLL will loose lock and you will hear dropouts. Thus the usable lowest bandwidth setting is one where no dropouts occur. I have done extensive testing with the different settings of the DPLL. Here is a summary on how it behaves:
- "Best" setting works all the time for everything
- "Lowest" works for SPDIF input but never works for I2S input except for a few exceptionally modded I2S devices. Thus the lowest setting depends on the input format
- The lowest setting depends on the incoming sample rate. The higher the sample rate, the higher the lowest setting
- The lowest setting will not work when the DAC is cold (right after power-0n). The "warm up" period is 15-30 minutes
I wrote 3 posts on the DPLL describing its behavior further:
Relation of dpll bandwidth setting in SPDIF and I2S
Fidelix indicate that the DPLL bandwidth setting for I2S is 64x smaller than in SPDIF. This was confirmed by the manufacturer. So:
- "Lowest" is 64X smaller in I2S than "Lowest" in SPDIF (1/64 the same setting in SPDIF)
- "Low" is 32X smaller in I2S than "Lowest" in SPDIF
- "Mid-Low" is 16X smaller in I2S than "Lowest" in SPDIF
- "Mid" is 8X smaller in I2S than "Lowest" in SPDIF
- "Mid-High" is 4X smaller in I2S than "Lowest" in SPDIF
- "High" is 2X smaller in I2S than "Lowest" in SPDIF
- "Highest" is the same as "Lowest" in SPDIF
Oversampling frequency of the ASRC
The asynchronous sample rate conversion (the jitter eliminator) the data is re-sampled to a higher rate [link]. The "final" sample rate -the rate coming out of the ASRC, is entirely determined by the master clock and it is fixed at MClk/64 [574].
- For the 100MHz Buffalo, the resampled rate is 1.5625 MHz
- For the 80 MHz Buffalo, the resampled rate is 1.25 MHz [link]
More on oversampling here: [link]
Digital Volume: [Post 133]
The volume control is done just before the oversampling filter on the digital data. It can be set to 0.5dB increments and in order to avoid clicking upon volume level changes, it goes through 64 intermediate levels to move 0.5dB. In addition, the volume does not instantly change when you request, rather it logarithmically moves to the desired level. The way this shows up in a system implementation is that the sound softly changes levels.
DAC Resolution discussion: [link]
A recent Audio Asylum discussion on true 32-bit resolution involved the Sabre DAC and, amongst others, Thorsten Loesch of Abbingdon Music Research and finally the Sabre's own designer Dustin. I've reproduced it here for posterity in the context of our review
Input Pin Mapping:
|Bit Clock
|Bit Clock
|Data 1
|Data 2
|Data 3
|Data 4
|Data 5
|Data 6
|Data 7
|Data 8
BII Input wiring (graphically)
(A newer version of the diagram is in the BII page)
AVCC Power Consumption [link] versus AVCC voltage. The DAC operates from 1.8V to 4.0V. This also means that the output voltage offset of the DAC (=AVCC/2) will also vary with the AVCC voltage.
ASRC bypass [link]
You can use the ASRC if you like – or not by simply clocking the XIN pin synchronously (at an integer multiple) to the BCLK. Then the ASRC drops itself out, reverting in this case to a more conventional method as the other DACs I'm aware of do.
More on ESS's SRC technology [1985]
ESS's claims regarding the SRC pertain to the actual interpolation process. They have done an absolutely splendid job there. The thing that causes problems is the ratio estimator (the bit that works out exactly what sampling time to interpolate). The bandwidth is too high which lets through time quantization errors. The circuit samples the incoming clock signal using its reference clock. This results in the addition of jitter with a peak-to-peak value of one reference clock period (e.g. 25ns for a 40MHz reference clock). Next the number of ref clock periods in one input clock cycle are counted and this constantly changing number is fed into a low-pass filter which outputs a cleaned-up version of the ratio between the reference and input clocks. This ratio is then used to space the "virtual resampling points" calculated by the interpolator. Of course the low pass filter doesn't output pure DC. The spectrum of the counter output consists of mix products between the two clocks. The filter can only attenuate those. The attenuated spectrum shows up as close-in FM sidebands exactly like jitter. DNR and THD measurements ignore those. The SRC successfully removes high-frequency jitter, thus guaranteeing good SNR, but it adds low-frequency phase modulation of the signal that wasn't even present in the input clock. All SRC's do this but the bandwidth of the low-pass filter determines whether this is an issue or not.
Oversampling filters: link
The antialiasing filters built into ESS's parts are linear phase. The default fast rolloff filter is much the same as the linear phase "brickwalls" found on other DACs. ESS's slow rolloff has a noticeably wider transition band than the slow roll linear phase filters chosen by other manufacturers and hence is a good choice if one is attempting to minimize the amount of preringing the antialiasing filter creates in the output signal. However, after doing a variety of ABX trials with similar filters I found the filter's impulse response was audible with just about 100% discrimination. Intermediate phase filters with reduced preringing scored better, though not as well as minimum phase filters. Since ESS's built in filters are all linear phase this means the only compete option ESS has against Cirrus and Wolfson in this regard is for one to synthesize one's own minimum phase-ish filter and program it into an ES901x series DAC. This is somewhat interesting for the control it offers but, in practice, it means you can maybe pick slightly different tradeoffs than Cirrus and Wolfson did and then do quite a bit of optimization work to make your filter as good as the turnkey options available in other parts.
Two presentations by Martin Mallison, CTO, ESS Technology
October 4, 2011 at 07:31
How would you do the software input switching with the Buffalo III ?, is there any special register that can be setup for this purpose ?
October 4, 2011 at 21:53
Thank you for the answer !, It seems that register 17 is the one appropriate for this matter, isn´t it?. Can I setup that register within your last arduino release 09g ?
October 4, 2011 at 21:53
Register 18 I meant, sorry about the typo
July 19, 2013 at 20:33
My partner and I stumbled over here by a different page and thought I should check things out.
I like what I see so now i'm following you. Look forward to checking out your web page yet again.
July 22, 2013 at 02:06
That is a very good tip particularly to those fresh to the blogosphere.
Short but very precise information… Appreciate your sharing this one.
A must read article!
August 16, 2013 at 03:57
I built a commercially available DAC using the 9012 Sabre 32 in hardware mode. We had an issue during development whereby the measured dynamic range (measured with an Audio Precision 2722) varied with power-up cycle. At best we were getting 122dB unweighted, and at worst we were seeing 118dB, far below what we were expecting. At first I thought it was a mistake in our design, until we tested ESS's own 9012 eval board, and measured a paltry 112dB unweighted.
Contacting ESS for guidance proved fruitless. They pretty much blamed us for the error in spite of the fact that their own eval board was underperforming. We eventually solved the issue–it turned out to be a weird quirk not published in the datasheet–and ended up with the full published dynamic range we were expecting to see. I figured if ESS didn't implement the chip properly on their eval board they probably aren't aware of the problem, but since they were so unhelpful I refused to share our findings with them.
I'm curious if anyone out there in DIY land ever bothered to measure the Buffalo or other DIY projects based on the 9012?
September 11, 2013 at 21:20
@ Big Gear: We only ever used the 9012 because ESS insisted the two were exactly the same internally. The 9018 is difficult to obtain (six week lead time IIRC) but the 9012 is readily available.
In spite of my complaints I won't even consider using another brand of converter for design work. All delta sigma mfrg companies have their quirks, and ESS' stuff seems to perform the best once you implement it properly.
May 29, 2014 at 12:56
Hi Bhupathy,
I have also found that the ESS DAC chips have an noise bumping issue which degrade the DNR and the THD+N performance.
I can make it work without this issue sometimes, but it seems not valid all the time.
Can you share your comment?
Thank you in advance.
September 14, 2016 at 15:11
3d printing machine
September 14, 2016 at 16:18
watch dogs trainer
September 14, 2016 at 16:55
Maklerzentrum Krankenkassenvergleich
September 14, 2016 at 18:52
leer m?s
September 14, 2016 at 19:23
tarjetas plastico
August 21, 2011 at 07:41
October 18, 2011 at 06:06
January 22, 2012 at 04:44
January 28, 2012 at 23:31
June 24, 2012 at 09:51
August 27, 2012 at 04:29


text:
About Us
Company Profile
Wegiel Tours/WCS World Convention Services was founded in 1956 & operated since by the Wegiel family
in West Springfield, Massachusetts. We are dedicated to providing our clients with the most comprehensive and personalized
level of service in the industry. Whether you are planning an intimate group of fifteen or a conference for thousands,
we are committed to providing each client with the same unmatched level of service, care and
attention to detail in a thorough and timely manner. The customer focused service and respect
shown to our clients is evidenced by their ongoing loyalty through repeat business.
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subset: commoncrawl


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So, your spouse had an affair. Nothing worse than the feeling that your life has just been turned completely upside down!
You have options of course. You can leave. You can insist they leave. You can get a divorce. You can malign his/her name all over the internet.
OR you can take a deep breath and stay. In many cases the relationship can be mended. And like fine china that has been shattered, it can be stronger after it is glued back together. Your choice.
There are many things to consider: the kids, your hopes and dreams, your common goals, the extended family and community that you are in. The finances. Yikes, the finances. It's at least worth a try. It is possible to regain your footing after a devastating blow such as an affair.
Counseling is usually the most effective way to help sort things out. Having a third party who is not invested in your decisions emotionally and not offended or triggered by the same things you are triggered by, helps you look at things from different perspectives. A therapist can help see through your blind spots. He/she can help you learn to communicate again, recognize your strengths and weaknesses and those of your spouse and help you love in the way your spouse needs to be loved.
The first thing to keep in mind is to not play this drama out in front of the kids.
Do not expect them to align with one or the other. They love you both and are devastated as well at the threat to the stability of their home and family. With this in mind it's important to always be respectful of one another, even if you disagree or have been wounded emotionally. Your kids will mirror you. They will likely be more relaxed if you are relaxed. They will feel steadier if you are steady. So it is very important to take care of yourself physically and emotionally throughout this process. It will be difficult.
Here Are Some Main Points That I Tell My Clients:
- The offending party must come completely clean. Little surprises cropping up over the course of weeks or months will severely restrict any healing of the relationship. Don't wait for things to be exposed. As painful and embarrassing as it is, you must be the one to lay it all out there.
- The offended party must learn to forgive. Forgiveness doesn't make it OK. It is a choice. It doesn't excuse bad behavior. It doesn't mean that all is forgotten and will never be brought up again. It doesn't even necessarily mean that there won't be a divorce or a custody battle. But it does mean that you choose to move forward without bitterness and thoughts of revenge or dragging up the past and blaming continually.
- Each can make a list of what you want the marriage to look like so you have something to work toward.
- Each can even make a list of what must happen for the marriage to continue.
- I always recommend learning about each other in ways that you may not have taken the time to do before. Two books I recommend are "The 5 Love Languages" by Gary Chapman and "Personality Plus" by Florence Littauer. Each book has a little quiz associated with it that is fun and informative to take; and it helps communication for you both to read the books and talk about the findings.
- Make an effort to be kind. You can always be kind. Yes you can.
- The offended party should have some latitude to ask questions about the affair (I don't recommend asking sexual details.) The offending party must be patient in answering, and assuring the other of his/her love.
- Resist being defensive. "You are right. I am so sorry I hurt you" goes a long way.
- Resist accusations and condemnation. "If you hadn't screwed around none of this would be happening" is not only not helpful, but counterproductive.
- Make repairing the relationship a priority.
- Create times to be together having fun.
- You may even want to create a bit of a ritual to confirm your plan to start over: Buy new bedspread and sheets. Renew your vows. Create a Saturday morning out to breakfast time. Establish a regular date night alternating things you each like to do. Start cooking dinner together. Work on mutual fun projects together.
Refrain from expecting the relationship to go back to "the way it was." It must not go back to the way it was because that's where the problems festered.


text:
Sell for Change. Kiiboo for Change.
Who are we exactly? And why do we do what we do?
We are just like you. We were a group of friends who worked together in different companies and got together on occasion to socialize. During our talks, we realized that we all shared a couple of common goals in life. Obviously, making money was in the forefront of many of our discussions. However, we also noticed that all of us had a genuine care for the world and a heart of wanting to make a difference. This is where he idea of kiiboo was born.
Our goal with kiiboo is to create a sustainable donation website. We all want the world to be a better place. However, giving is limited to the amount of money each individual has. In turn, the frequency in which one can give is also limited. We genuinely believe that to create the best donation model, an income-generating system must be implemented. This is how kiiboo is designed to work.
- The Kiiboo Staff
We strive to be a transparent company that takes minimal profits to remain sustainable and growing. By sharing our donation accounting, you can be assured that when we say 100% of donations go to a charity of your choice, that actually 100% of donations go to the charity of your choice. We want you to trust us - this will help us to grow and make our company successful.
- The Kiiboo Staff


text:
Thank you for your interest in Patterson Digital Marketing and our services. For any questions you may have about us, kindly fill out the contact form on this page. We'll get back to you as soon as possible. For faster correspondence, you may call us at (09) 449 1005.
Patterson Digital Marketing is conveniently located at Level 1, 507 Lake Road, Takapuna, Auckland.
We look forward to working with you.


text:
I was 16 when JFK Jr. married Carolyn Bessette. I can remember buying the issue of People magazine that week that had the couple on the cover looking so perfect, so happy, so much in love and everything I had ever imagined an ideal relationship to be. For three years I devoured every bit of information I could find about the two. Carolyn Bessette, who at the time was Calvin Klein's head of PR, was my style icon. Even in jeans and a cap, she looked like the American dream. This woman made fashion look easy, effortless even.
I was 19 when JFK Jr. and Carolyn Bessette Kennedy were killed in a plane crash over the Atlantic ocean. The USA was devastated by the news and it was the first time I cried about a "celebrity death." Of course I knew nothing of these two. The only thing I knew about the couple was what I had read in magazines and newspapers. Yet, Carolyn Bessette Kennedy acted as a such a huge inspiration in my "style mind" that I felt almost as if I was losing a leader in the arena of style. More than anything I was saddened by the fact that we would lose the future of Carolyn Bessette. There was no "what she did next." It was all just over, and over way too soon.
So this week, I had mixed emotions at seeing JFK Jr. and Carolyn Bessette back in the limelight. 15 years after their tragic accident and People magazine choose to go back to reopen the file, as it were. Naturally I expect there will be reports of Carolyn's unhappiness at being propelled into the limelight when they were together - as every story seems to tell that tale. But it seems People is leaning towards a more positive slant and a tell all about the real love between the two. Fingers crossed that's what I find when I open the weekly rag.
Some things are better left untouched. For now, however, I'll just say if you don't know of Carolyn Bessette and her style legacy, it's worth a look.


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I genuinely believed I would have more time to scribe for this blog. I just haven't. Things are settling more and I need to get back to writing.
Here's what's been burning my ears up this year thus far:
Katatonia's Sanctitude, Steven Wilson's Hand. Cannot. Erase., Luciferian Light Orchestra's Luciferian Light Orchestra, Napalm Death's Apex Predator, and a few more things here and there.
I intend on getting back to writing reviews for music, but it's been so difficult to find the life, family, work, and other stuff balance that I've got to consider in my design.


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I have a problem regarding Flash detection: I have a Flash introduction which often can not be viewed in offices where Flash and Shockwave are dissabled. How can I make a browser move on to another page (HTML), if Flash is not detected.
I suppose I need an HTML code for this? Any idea?
Thanks in advance!


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Why Would I Want An Ankle Brace?
An ankle sprain or strain is no doubt one of the main things that might causes you to need to wear a lace up ankle brace. An ankle sprain is a tear of one or more ligaments in the ankle. The most common sort of ankle damage is an inversion ankle sprain which leads to tearing of the ligaments inside of the ankle. When the ligaments don't heal completely or correctly, or they heal in a lengthened place, instability and other problems can result. Previously, the focus was on ligament harm in the ankle after a sprain, however new research has found that the leg muscle tissues are also compromised during strains and sprains. Researchers at Brigham Younger College and University of Michigan evaluated muscle power and response in 21 strong-ankled people and 21 weak-ankled individuals. The group with weak ankles had a past of ankle sprains and the sturdy-ankled group acted as the control group in the experiment. The study contributors walked down a runway hooked to a lot of sensory equipment. The runway had doorways constructed that would abruptly invert their ankle 30 degrees, which is sufficient to set off muscle response. They then documented the muscle response (particularly the peroneal muscle tissue), however thirty degrees is not enough to cause injury. They found that the muscle groups of the weak-ankled individuals had a slower response compared with the stronger ankled control group. The muscle tissues of the weak-ankled group additionally had less strength. The theory is that prior injuries cause their muscle receptors to have less sensitivity and this impairs their potential to react shortly and strongly. Additional investigation on what components contribute to ankle instability will assist enhance treatment and therapy of people who have sustained strains and sprains in their ankles.
Sprain or Strain: Is there a difference?
To put it as simple as possible, strains are injuries of the muscle and fascia. In a mild strain only some muscle fibers are injured and the fascia is completely unbroken, and little or no function is lost in the ankle. A extreme strain may be very painful and accompanied by discoloration caused by blood vessel rupturing. The fascia and a lot of muscle fibers tear, and muscle performace could additionally be lost completely. Sprains are the end result from overstretching or tearing of the connective tissues, ligament, and/or tendons. In severe sprains the tendons can tear or draw back from the bone inflicting fracture. These two can happen simultaneously. This is what can make ankle injuries notoriously complex and hard to treat.
Do Lace Up Ankle Braces Really Make The Ankle Weaker?
One of many things I've always heard is that lace up ankle braces, infact ankle braces in general, make your ankle weaker. This would be against conventional logic wouldn't it? After all, you put them on as a way to deal with injuries and weaknesses that already exist.
I wore ankle braces throughout my high school soccer career because I had weak ankles(or maybe because our practice field was covered in sprinkler heads which were practically invisible while running). My ankles were weak as an outcome of repeated ankle sprains and never getting the correct rehabilitation and treatment.
Even after I found the best ankle sprain rehab program you can get locally, I still chose to wear ankle braces to provide me with the added safety and assurance that I would not get damaged during heated competition or practice. And with the quality in addition to the low stature of the footwear obtainable(soccer cleats sit very low on the ankle) at this point in time, I would still be wearing ankle braces right this moment only for the added protection they provide, however I no longer have to because I am no longer playing soccer on a daily basis.
The one ankle brace I feel has value in just about all respects is the McDavid lace up ankle brace. It supplies compression of the ankle joint thereby offering support, however it does not prohibit motion of the ankle that might hinder your ability to play aggressive sports such as soccer.
The one ankle brace that I do not recommend sporting throughout competitors of the McDavid is the aircast. For me, it didn't present the support I needed and at all times ended up cutting into my ankle bone after I wore it during a game or practice. What's humorous is that almost all hospitals send aircasts braces with patients who've had an ankle sprain. This is likely because they are considered "effective" and are very cheap. A
They could give you the results you want, but they didn't work for me and likely won't work for most people playing aggressive sports. If you're ankles are weak and you want some support throughout sports or simply throughout your everyday tasks, you really can't go wrong with the McDavid lace up ankle braces.
McDavid just released a new ankle brace that carefully mimics the taping job of someone who really knows what they are doing. Its referred to as the X brace and has 2 velcro straps that cross the highest point of the foot and wrap across the bottom like a good basket weave tape job. You might get the straps as tight as you need and in contrast to tape, they never seem to get unfastened no matter how much your sweat.
When I played sports in high school, if you were injured you were required to get your ankles taped each and every practice just to make sure that you didn't have any kind of injury while playing.
Ankle braces present extra assistance and protection to prevent harm, but its definitely critically vital that you just get started on a stable ankle rehab program if your ankles are weak and you proceed to have ankle sprains.
No matter how good the ankle brace is, if your ankles are weak you'll always suffer frequent and more extreme sprained ankles than those who have strong ankle. Lace up ankle braces do not make your ankles weaker, but in case you have weak ankles they do provide you with protection till you can get them stronger.


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The land near Navlakha bus stand was cleared from encroachments last year by the civic body. The IDA board members had asked the IDA chairman Shankar Lalwani ensure the construction of inter-state bus terminus (ISBT) near MR-10, which has been hanging fire since 2012.
According to Lalwani, the land near the Navlakha has been earmarked for the commercial activities as per the Master Plan . And its current market valuation is estimated to be around Rs 100 crore. The matter of Navlakha bus stand was first raised in one of the IDA board meetings, where members had asked the chairman to seek possession of the land from the civic body. But the matter was not pursued further after it was found that the land has been encroached by private bus operators.
Board member Hari Narayan Yadav, said that IDA has proposed to construct an inter-state bus terminus (ISBT) near MR-10, and another bus stand near Kumbhedi.


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and never leave work (or your job) without them…..
My friend was fired from her employment last week. After 18 years, severance package in hand, she is skipping all the way to Hong Kong to reflect on her life:). Sensing her imminent dismissal, she printed all her 800 + contacts in Outlook. When she realized she had to manually re-enter all of her contacts to a new system, she gave up. Don't let that happen to you. From now on, when you get a new business card, here is an easy 1-2-3 system to move your contact management to Evernote via Shoeboxed.
Step 1: Scan your business cards with Shoeboxed.com using your iPhone/iPad
I created my workflow system in Evernote with the help of Shoeboxed. Shoeboxed is an online service which helps digitize bills, receipts for your accounting and tax system. However, they have a free service to digitize business cards. You can download the app on your iPad/iPhone for free. All you do is take a picture of your business card and then upload it for scanning and human review. You get a digitized version of the business card along with a photo of the card the very next day via email.
Step 2: Get Evernote
If you don't have Evernote, you don't have an online anchor system (video). Remember when you first discovered Google? No one does. It just entered our lives, seemlessly. It is the same for Evernote. All my research, my ideas, my marketing materials, pictures of favorites wines, recipes, are all there. But the power feature is my contact management system. When I moved contact management to my Mac, the synchronization between my computer and my iPhone went crazy. I got stuck with 3 or 4 versions of duplicate contacts. I refuse to move my contacts to Gmail because Google knows too much about me. Moreover, being a lawyer, I still have major issues about privacy and Google. I needed a "safe haven" for my contacts where I can easily upload, access, email and call. Evernote is the easiest, most powerful online contact management system out there.
Step 3: Create a Contact notebook in Evernote
All your contacts will be located in this easy file in Evernote. When Shoeboxed emails you your digitized card, upload it in your Evernote's contact notebook. From there, search keywords (maybe name, business, context) in Evernote to access your contact. Done. Easy.
Watch the workflow in this video below:


text:
- Read more about Commencement
- 1256 reads
Thu, 05/23/2019 - 11:11am
J.Z. George High School Class of 2019 took its last walk on the high school's campus as they all celebrated becoming the new alumnus. Above: Samantha Blackmon, Keorra Phillips, Destiny Brewer, Shauntina Ezell, Jazmine Gatewood, TeQuila Flowers, & Sharicka Ezell pose for pictures while they wait for graduation to begin.


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Radical Geometry? The Patricia Phelps de Cisneros Collection at the RA
The perversity of an exhibition centring upon 'Radical' art being drawn entirely from a collection which serves as the philanthropic 'cultural veneer' to one of Latin America's largest business dynasties, and indeed being co-curated by the Director of that collection, seems to have gone largely un-noted. Perhaps the arrival of Patricia Phelps de Cisneros at the press preview prevented those gathered from delving too deep into the sources and cultural impacts of the family wealth (Pepsi, fast-food, supermarkets and mass media holdings which have earned her husband Gustavo Cisneros the title of 'Venezuela's Murdoch'; long term alliances with the far from 'radical' forces of world politics; the role performed by their television company in the US backed 2002 military coup in Venezuela; a long-running support of the pronouncedly racist Miss Venezuela beauty pageant; the pioneering of the tele-novela across the world).[i] Or perhaps it is just accepted that 'radicalism' is merely a buzzword for ticket sales in a culture industry in which it is considered either rude or irrelevant to ask the interests served by the historical accounting of exhibitions. Either way, it is unfortunate – as some acknowledgement of the potential conflicts would seem essential to a measured response to this small but intriguing show.
The situation, of course, is familiar – having haunted the avant-garde across the 20th century. But this exhibition serves as a potent reminder that what Clement Greenberg called the 'umbilical cord of gold' continues to cause complications far beyond the womb. As Benjamin Buchloh has observed in an examination of the decline of the critic, 'management and control, validation and affirmation can just as well be performed from within the ranks of the given institutions and their networks of support, in particular the museum and the market'.[ii] Patricia Phelps de Cisneros – who sits on the boards of various museums across the world, as well as wielding the force of her extensive collection – is in a remarkably strong position to exercise such control. At the Royal Academy the result is an exhibition that looks at geometric abstraction in four different countries, across a thirty-year period. Heralding formal purity and 'radicalism' as symbolic of the 'progress', 'reform', 'aspiration' and 'economic prosperity'[iii] of Latin America in the post-war era, the exhibition elides the distinctions between 'formal' and political modes of 'radicalism', obscures all but the most general and convenient of social and political contexts and bestows a sense of cherry-picked canonical triumph, in line with the elites' lip-service to neo-liberal progress in the 'New World' (though perhaps less so with the disinvestment Cisneros has engaged in since the 1990s[iv]).
Uruguayan Joaquin Torres-Garcia provides a convenient, if in some ways incongruous, start to this exhibition: the direct lineage affirmed by his connections with the European avant-garde, and in particular with the Art-Concret movement in Paris, presumably outweighing the considerable divergences between his metaphysically inflected, symbolic art and the 'hard geometry' of the other artists in the show. It is, however, Torres-Garcia's apparent ill-fit which makes his inclusion poignant – his attempts to ally European Modernism with references to Latin American Pre-Hispanic art, as well as a certain Dada crudity in object making and a Surrealist interest in juxtaposition (surprising given the hostilities at work in Paris), offering a clear reminder of the manner in which preceding Latin American avant-gardes had tended to process Modernism through the filter of local variance. As the Argentine journal Martin Fierro put it in 1924: ''Martin Fierro believes in the importance of the intellectual contribution of the Americas, after taking the scissors to each and every umbilical cord. But extending the independence movement begun in language by Rubén Darío, to all intellectual manifestations does not mean we have to give up or, even less, pretend we don't see the Swedish toothpaste, French towels and English soap we use every morning'[v].
Despite appearances it is within this paradigm of contested influence, and combined and uneven development (rather than a fully formed invention conjured from the scraps of European modernism here symbolised by Torres-Garcia) that the succeeding work is brought into greater focus. The claims to autonomy, universality or purity, so clearly implicit within the artists' statements, must themselves be seen within the complex, dynamic and historically transient relationships of Latin American modernity. It is this complexity that is overlooked in this exhibition – which in concentrating on formal 'radicalism' as though it were a universal category, robs the art of its social anchor. As Roberto Schwarz has said of a passage in Caetano Veloso's autobiography, 'the play of conflicting forces disappears, the class alliances and antagonisms that underlie aesthetic invention, without which beauty is deprived of its social meaning'.[vi] Whilst the apparent purity of geometric abstraction was bound up with the developmentalism of the post-Second World War period, it is here presented as a crystalline symbol of it. This accounting neglects the balances and contradictions within the work, the contexts, meanings and answers it sought or gave form to, and the frequent abandonment of these explorations, in the face of diverse social realities.
The group of Argentine artists with whom Torres-Garcia shares the first room are represented by a busily hung corner of fairly inert looking shaped canvasses, and later large-format works by Tomás Maldonado and Alfredo Hlito. Whilst wall labels and exhibition catalogue note the radical Marxism of the group, no explanation is made of the manner in which this Marxism was touched by international debates, contemporary events in Argentina (amidst three years of military rule and on the eve of Peron's populist rise), or more crucially, how it impacted on the production of their art. We would be forgiven, as such, for thinking that the artists' Marxism was, in fact, incidental. The catalogue fails to bring us much closer to either the work, or the political position, with statements that the artists subscribed to 'the notion that the apparently abstract language of geometry could incorporate fiction, humour, the unstable and the unexpected' falling notably short of an illuminating context. A look to their manifestos is more revealing. There, concrete geometric art is conceived as a historically justified means of expression, giving form to 'man's constant, all absorbing desire to invent and construct objects within absolute, eternal human values, in his struggle to construct a new classless society, which liberates energy, masters time and space in all senses, and dominates matter to the limit'.[vii]
Rather than the receivers of foreign soap, towels and toothpaste, the artists now included themselves within the 'highly industrialised countries', in which 'naturalism is beating a retreat', and in which concrete art had emerged as the vanguard of expression. For all the positivist idealism of the pronouncements, the positioning of their 'Madí' art[viii] within the historical continuum of global capitalism is telling, as is the alignment of this formal and historical progression with the struggle for a classless society. The internationalist (and political) associations of both constructivism and concretism no doubt lent themselves effectively to this position. But within the local context it seems crucial that Argentina's standing within the combined and uneven development of the capitalist world was no longer viewed as a shackle, but a liberation – the relative industrialisation of Argentina combining with a revolutionary politics and the absence of 'European taboos'[ix] which restricted 'pre-Madí work'. Buoyed, it would seem, by the carnage of an 'Old World' in the midst and aftermath of the Second World War, the 'creation' and 'invention' of concrete art were coupled, at least for a time, with political ideals and an implicit confidence in the future of the 'New World'.
The shaped and curved canvases, interactive sculptural objects and neon light pieces (not included here), which emerged alongside such theories are remarkable in their rapid and varied movements away from the notion of a rectilinear support. (Somewhat regrettably photographs of contemporary exhibitions included in the catalogue seem to include more interesting selection of work than that presented in this show). Approached from an awareness of the Modernist canon this formal experimentation seems particularly remarkable for its derailing of the historical claims for novelty laid out, in particular, by North Americans in the succeeding decades[x]. Yet, presented within the context of a new canon building exercise, the dynamism of the pieces falls somewhat short of the polemic: they defeat the frame to fizzle underwhelmingly across the corner of the Royal Academy, and fail, somehow, to live up to the large-scale echoes which minimalism and later North American shaped canvasses have left imprinted on our minds.
For all their universalist discourse, without the support of an enlarged bourgeoisie, or the hoped for arrival of a classless society, the artistic explorations of the Madí and post-Madí groups were confined to a reduced scale suitable for exhibition in friend's apartments (and occasionally even upon the exterior walls of their studios[xi]). Indeed amidst relative public indifference, the emergent hostility of the Communist party under renewed directives from Russia and the changing field of Argentine politics as Peron assumed power in 1947, the group split and split again with many of the artists seeming to fall off the radar of historical record. All this, no doubt, would make for a fascinating study. Here, however, the attempt to force the work into the context of a newly established lineage wilfully ignores the pathos of historical failure. An awareness of this failure is crucial to a full understanding of the works' 'radicalism' and historical positioning.
The Brazilian artists who came to prominence in the 1950s found themselves in a much more hospitable environment – with an emergent museum culture and industrial elite throwing their support behind modern art and architecture in a period in which 'developmentalist ideology' had become 'hegemonic'[xii]. The apparently untroubled synthesis of this moment of economic progress and 'radical' art, is central to the Cisneros narrative and yet, once more, evades the inconvenience of complications. As Michael Asbury notes, 'it is not coincidental that the constructivist tendencies emerged alongside the inauguration of the museums of modern art in São Paulo and Rio de Janeiro during the late 1940s and declined shortly after the inauguration of the new capital Brasilia in 1960 as faith in the industrial development of the nation dissipated with the political and economic crisis brought by the excessively accelerated modernisation of the 1950s'. Whilst the exhibition offers an unusually complete picture of the Concretist movement of the 1950s – showing the work of the São Paulo-based artists (such as such as Waldemar Cordeiro, Hermelindo Fiaminghi and Geraldo de Barros) alongside the more familiar Rio-based Neo-Concretists – it follows what Asbury notes as an established pattern in obscuring the decline in the Neo-Concretist consensus after 1960.
For all the historical interest in the chance to see the first wave of São Paulo based Concretists, it is hard to avoid the conclusion (reached most decisively by the Neo-Concretists) that there is something amiss in their rather staid engagements with gestalt theory. Against the perceptual charge of Willys de Castro's totemic red and white Active Object (1961) Lygia Clark's Counter Relief No. 1 (1958) and Lygia Pape's woodblock prints (1959-60), the São Paulo works seem to move little past the realm of elegant graphic design.[xiii] The Neo-Concretist exploration – by de Castro, Clark or Pape – of the ambiguities of perception, by contrast, yielded objects that remain dynamic and somewhat mysterious – as we flit between their physical simplicity and perceptual dissonance. Once more there are interesting parallels with US minimalism: physical presence, simple geometry and an interlocking of perceptual modes forcing the viewer into increasingly active and physical modes of spectatorship. Supported by institutional patronage – and indeed (perhaps equally crucially) a strong selection – the Brazilian work sustains the cross-cultural comparison much more robustly than the Argentine. In its simultaneous demands for dynamic interaction and visual contemplation the work seems to transcend the po-faced literalism of much minimalist art, and resist its dependency on and sanctifying co-option of the exhibition space. Clark's Counter Relief, No. 1, for example, brings to mind something of Elsworth Kelly's early wall pieces, whilst summoning a very Juddean notion of three-dimensional objecthood, yet its power rests in an enduring sense of discovery – the relative simplicity of its indented form and black on white contrast, never fully succumbing to the understanding we feel it should. In this in fact, the Neo-Concretists seem almost closer to what Roger Coleman observed as a tendency among English painters at the 1960 Situation Exhibition towards works which were 'cartographically simple but perceptually complex'.[xiv]
The existence of such parallels in the work of artists in London, New York and Rio de Janeiro across these years would seem to offer another potentially fertile field of comparative study.[xv] The manner in which the Brazilians developed their investigation of spectatorship and perceptual charge across the early 1960s, however, remains distinct. In this respect Lygia Clark's Bichos series fall at a juncture – their demands for direct physical interaction highlighting a concern with redefining ritual that was shared by many of the artists in this exhibition.[xvi] Against Gyula Kosice's earlier movable sculpture in the first room, Clarke's Bichos combine a formal integrity with a greater promise of tactile revelation (though in the context of this exhibition, the tactile experience which both demand must remain unrealized).[xvii] In the succeeding years, as Brazil ignited with political uprisings and counter-cultural happenings – both before and after the commence of dictatorship in 1964 – an interest in transformed modes of ritual and interaction was to take centre stage for many of the former Neo-Concretists. As they positioned their work within wider social movement of the time the 'radical' geometry of their earlier work was displaced and a rupture with their Neo-Concretist roots completed.
If Clark's Bichos stand poised at the edge of this rupture Oitícica's Parangolé (a costume from a 1965 performance) is firmly on the other side. The costume, which carries the statement 'We Live from Adversity', hung as a banner from a burlap sack was originally worn in performances by Samba dancers of Rio's favelas a year into the dictatorship. Having negligible interest in geometry it is wholly out of place in the context of this exhibition, where it appears like some relic of Beuysian mystification. Its inclusion here thus serves to obscure the rupture in the career of Oitícica and other former Neo-Concretists – allowing the counter-cultural allure of the later work to rub off on the cultural isolationism of the earlier, and in the process undermining our understanding of both. This is doubly regrettable as seen properly Oitícica's growing attention to the persistent inequalities of Latin America, and his attempt to make art by fusing local popular traditions with avant-gardist tactics in fact offers a telling antithesis to the narratives of uninterrupted progress which form the central premise of this exhibition.
If the political climate of Brazil in the early 1960s led to a disintegration of the Neo-Concretist interest in the autonomy of the cultural and perceptual spheres, and a movement towards interactive and performative work, the Venezuelan artists with whom the exhibition concludes found themselves confronted by no such rupture. With government funding for travels to Europe later replaced by large-scale commissions for Universities and private patrons in Venezuela, Jesús-Rafael Soto, Carlos Cruz-Diez and Alejandro Otero became members of a 'post-ideological' international-avant-garde. They moved between bases in Europe whilst maintaining connections with Venezuela. With close links to Op and other European movements and a certain light-hearted charm that makes it well-suited to the decorative schemes of capitalism's semi-public realms the world over, there is an unmistakably cosmopolitan edge to the work. Yet, I cannot help lament that the compellingly bleak and dystopian feel of Soto's early wire pieces, the sense of alienation they express, was subsumed in the large-scale institutional pieces of later years. In these later works, like Carlos Cruz Diez' Physichromie No. 500 (1970) the alienation moves from expression to effect – the work is experienced as a spectacle, isolating the individual as he progresses through a pre-conditioned series of physical positions to the bright-coloured visual muzak of an artificial sublime. Gego's work is set against the mass schemes of the 'Big Three', (Soto, Cruz-Diez and Otero) and seems set for a wide-scale reassessment, with an exhibition at Henry Moore Institute running to the end of October. For all the contrast, however, it seems afflicted by a similar lack of expressive intensity – the hollow technocratic networks of wires, as well suited to theoretical ambiguities as they are resistant to profound engagement.
There is much to think about within this small and in some ways underwhelming exhibition. Whilst the work is deserving of considerably more attention than the small upper galleries the Royal Academy allow, the opportunity to view this selection of largely unfamiliar work is surely to be welcomed. The parallels thrown up with international Modernism, provide a challenge to canonical art historical narratives and deserve to be better known. But the exhibition also highlights the difficulty in approaching such unfamiliar art – the means by which selection and presentation can be manipulated to provide support to dominant ideologies, by obscuring the complications of historical positioning. In this instance the focus on 'radicalism' in fact serves as a cipher for a developmentalist history, whilst blinding us to the failures, fractures and transitions that history has been marked by – and the continuing inequalities and underdevelopment it has left behind. In so doing the exhibition establishes a false exoticism, perfectly compatible with the cultural imperialism of elite Venezuelan business dynasties, whilst obscuring the historical situation of a diverse, forward looking and at times engaged art, replete with contradictions, failures, and its own fascinating genealogies.
'Radical Geometry: Modern Art of South America from the Patricia Phelps de Cisneros Collection' is at the Royal Academy until the 28th of September
[i] For an analysis of Cisneros' career see Richard Gott, Venezuela's Murdoch, New Left Review 39, May-June 2006
[ii] Benjamin Buchloh, Periodizing Critics, in H. Foster ed., Discussions in Contemporary Culture, Dia Art Foundation Number 1, Bay Press Seattle, 1987, 70.
[iii] All recurrent words across wall labels and catalogue.
[iv] Richard Gott, Venezuela's Murdoch, New Left Review 39, May-June 2006.
[v] Martin Fierro, Manifesto, translated in Dawn Ades, Art in Latin America: The Modern Era, 1820-1980, Hayward Gallery, 1989, p.313
[vi] Roberto Schwarz, Political Iridescence, New Left Review 75, May-June 2012.
[vii] Madí Manifesto, Gyula Kosice, 1946, translated in Dawn Ades, Art in Latin America…, p.330
[viii] One of the series of groupings which emerged amongst these artists in fast succession.
[ix] 'a scholastic, idealist historicism; an irrational concept; an academic technique; a false, static and unilateral composition; a work lacking in essential unity; a consciousness paralysed by insoluble contradictions, impervious to the permanent renovation of technique and style' all come under attack. ibid
[x] A tendency that Michael Asbury has pointed out in an absorbing essay focussing on the relationship between Brazilian Neo-Concretism and US Minimalism: Michael Asbury, (2005), Neoconcretism and minimalism: on Ferreira Gullars theory of the non-object. In: Cosmopolitan Modernisms. InIVA / MIT, pp. 168-189.
[xi] A point made in passing in Dawn Ades' chapter on Argentina in the fascinating catalogue made for the 1989 exhibition of Latin American Art at the Hayward.
[xii] Michael Asbury, Brazilian Neo-Concretism and US Minimalism
[xiii] Many of the Concretists in fact did worked as graphic designers.
[xiv] The work of Marc Vaux, for example, seems to strike a number of unconscious parallels in this show.
[xv] Michael Asbury and Anna Dezeuze ('Neo-Concretism and Minimalism') have done this notably with Minimalism, but not London based work.
[xvi] From Torres-Garcia's Cosmic Monuments, through Kosice's interactive objects right through to Cruz-Diez's Physichromies
[xvii] This negated interaction is one that has been picked up on by reviewers of Clark's New York retrospective (eg Ben Davis, 'What You Won't Find at MOMA's Lygia Clark Show: Lygia Clark', For ArtNet) and one which has befallen a great deal of work which sets out to question the standardized rituals of museum viewing.
Interesting. Your comment on Gego's work "as well suited to theoretical ambiguities as they are resistant to profound engagement" is right but not the last word. There are further levels of negation beyond that resistance and ambiguity, which in a way are two sides of the same experience.


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boyblu7878 R needed a new car, truck or van wrap design and created a contest on 99designs.
A winner was selected from 42 designs submitted by 4 freelance designers.
Sitko Services
We are a service and repair company that does residential plumbing. Our target audience is 35 to 65 and up. Two income households.
I want to look bigger than I am. I want a professional design, nothing cheap looking. I'm trying to build a brand that I could possibly franchise. I would like the Primary Color to be yellow. I will leave it up to as far as other colors to go with it. Please remember that I want a professional look, something that appeases the audience. Down below are examples of designs I like.
The yellow I would like to use, is in the picture down below that I have provided


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Tonight while reading a copy of the New York Tribune from 1903 I came across a story titled, well, I'm not real sure which title is the correct title since this story has what appears to be 5 various levels of titles. Here I thought the SEO ninjas of today's online world were title-crazy.
Aside from the awesome fact that this was a 110 year old Cannonball Run and that the New York Tribune was writing about it was just how detailed and blunt the account of the injuries and deaths were from that race.
Most of the written accounts included either the occupation, i.e. Machinist - Broken head or the activity, i.e. Bicyclist - broken knee bone. Again - very informative, very blunt.
That is, unless you're the "unknown peasant woman."
"Nixon was thrown underneath the car which caught fire and then exploded. The guard tried to rescue Nixon, but found his body burned to a cinder."
In 1903 there seemed to be very little compassion and editorializing and just hard facts. No filter, no opinion just the news.
At times it's refreshing to read this style of news but does a lack of opinion or compassion make it seem a bit heartless? A better question might be should reporters fill tragic stories with heartfelt sympathies for loved ones, families and friends? Or should they just report the facts, find more facts and report those facts?
Do we really need sentiment from reporters?
While sentiment is absent in this story, as a reader I don't feel cheated reading it. I was provided and consumed a great deal of facts and information.
But because the news I read today, news filled with political correctness, editorial punditry and dramatic compassion; what might have been standard news reporting 110 years ago now comes off as unsympathetic and rude.
What say you?


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Jim Moss
Family: Wife – Tabi, Sons – Liam, Noah and Eli.
Why I coach: I've had an incredible passion to be a coach since my early twenties. It's been a part of my thinking and life since I was a young man growing up highly involved in competitive sports. I get energized by tackling difficult tasks and am somewhat addicted to winning and seeing my clients win at life. Helping others take a step toward their dream is the highlight and ultimate fulfillment of my life. I can't wait to help the next individual begin thriving in all that God has created him or her to do.
What I do for fun: I love hiking and enjoy anything outdoors that involves the element of nature. Visiting the mountains or a nearby lake is the pinnacle of my outdoor enjoyment.
My personal "Why": Inspiring others to live out their God-given dream.
Brad Sprague
Family: Wife – Marty, Daughter – Amy and husband Joel, Son – Chris and wife Joanie, Daughter – Abby and husband Andy.
Why I coach: I love helping people discover their unique contribution. When people bring who they are to what they do, they are living out God's unique purpose for their life. Coaching is all about facilitating breakthroughs in thinking and translating these breakthroughs into behaviors. Helping a person achieve what they really desire is what coaching is all about. I have been coaching individuals and groups for over twenty years.
You can always go farther with a coach.
What I do for fun: I love the outdoors, fly-fishing, photography, and all kinds of hunting—especially bow hunting. I enjoy spending time with my bride of 37 years and entertaining people with her in our home. I enjoy all kinds of traveling, especially to Big Sky, Montana and the North Shore of Oahu.
My personal "Why": Living the life you were meant to live.
Amber Day
Family: I am not married so my family currently consists of my mom Diane, my sister Allie, and my cantankerous grandparents, all with whom I'm very close.
Why I coach: I have always lived a lifestyle of coaching, but didn't consider pursuing it as a career until I had my life personally changed by my first coach. Fifteen minutes with him did more to launch me forward than years of trying to do so by myself, and I quickly grew passionate about becoming that catalyst for others. I left a "stable and successful" full-time career in oil and gas to pursue a much less lucrative but significantly more fulfilling career and am now addicted to helping others find the freedom and fulfillment that's experienced by living a lifestyle that is consistent with their passions. Because of my experiences, I love getting to the heart of WHY someone has a certain goal or burden, developing a personal mission based on that WHY, and then helping them take courageous steps toward living out that calling. One of my biggest natural skill sets is networking (a powerful influence tool when used correctly), so I love to resource my clients with the right people and tools to move their vision forward!
What I do for fun: Since my careers are social in nature, my fun times are usually spent on solo time. Whether to the movies for the afternoon or to the coast for some personal beach time, I thrive on intermittent bouts of spontaneous adventure.
My personal "Why": To weaponize your influence, enabling you to have an exponential impact on the injustices of this world.
Jason Fitch
Family: Sara, Colin & Liam (13 – twins), Ethan (11), Jude (8)
Why I coach: For over twenty years, I've been a coaching leader. During the past five years I've identified coaching as its own art and the more I study and practice it, the more I know it's what God has made me to do. Personally, coaching has helped me navigate some of my lowest lows and maximize some of my highest highs. I love sharing those types of experiences with my clients, as well. I find it fascinating that each and every person has the answers to all life's challenges inside them, although many don't know how to draw that out. I love being the one who helps draw that truth out. I specialize in coaching and life-planning for pastors and church leaders. I also facilitate staff-wide strategic operating plans for churches.
What I do for fun: I love working out and watching sports. My favorites are MMA and college football. I've recently gotten interested in trail hiking too. Let's just say I have a growing love for the outdoors. However, my favorite thing is taking long walks with my wife, Sara.
My personal "Why": God has placed me in this world to help you find your future.


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guitar string ring
beaded bracelet
beaded ring
Long strand dangles. Assorted colors. 2.5" x 2.5"
*Note: Actual colors may vary from those depicted on our website. Although we will try to do our best to accomodate specific requests, please allow us to choose the colors we send to you based on the season, current trends, and your location.


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About NETEC
To increase the capability of United States public health and health care systems to safely and effectively manage individuals with suspected and confirmed special pathogens
A sustainable infrastructure and culture of readiness for managing suspected and confirmed Ebola and other special pathogen incidents across United States public health and health care delivery systems
The National Ebola Training and Education Center is comprised of faculty and staff from Emory University, the University of Nebraska Medical Center/Nebraska Medicine and the New York Health and Hospitals Corporation, Bellevue Hospital Center. All three of these health care institutions have safely and successfully treated patients with Ebola and have worked diligently to share their knowledge with other health care facilities and public health jurisdictions.
Emory University
Emory University, recognized internationally for its outstanding liberal arts colleges, graduate and professional schools, and one of the Southeast's leading health care systems, is located on a beautiful, leafy campus in Atlanta, Georgia. Emory maintains an uncommon balance for an institution of its standing: our scholars and experts generate more than $521 million in research funding annually, while also maintaining a traditional emphasis on teaching.
Emory University Hospital is a 733-bed facility specializing in the care of the acutely ill adult. Located on the Emory University campus, more than 24,000 inpatients and 80,000 outpatients come to Emory University Hospital each year. They receive care from physicians of The Emory Clinic, who also are faculty of the Emory University School of Medicine, and from a highly trained staff of nurses and other clinical professionals. Our hospital provides a full range of specialized care. We are recognized as one of the nation's leaders in cardiology and cardiac surgery, neurology, oncology, ophthalmology, orthopaedics and transplantation. Emory University Hospital has been included in U.S. News and World Report's "America's Best Hospitals" for several years as one of the nation's top 10 cardiology centers. U.S. News & World Report has again ranked Emory University Hospital as the number one hospital in metro Atlanta and Georgia.
Professor of Medicine
Medical Director, Serious Communicable Diseases Unit, Emory University Hospital
"Emory University is excited to be a part of the NETEC consortium whose mission is to improve Ebola and other infectious diseases preparedness in the United States. We look forward to working with facilities around the country as we help them advance the competency of health care and public health workers and the capability of health care facilities to deliver safe, efficient, and effective patient care."
UNMC/Nebraska Medicine
University of Nebraska Medical Center (UNMC)/Nebraska Medicine is the most esteemed academic health system in the region offering exceptional patient care combined with innovative research and education. Committed to advancing quality health care, Nebraska Medicine represents the clinical integration of The Nebraska Medical Center, the state's largest and highest rated hospital, Bellevue Medical Center and UNMC Physicians. Our newly integrated organization allows us to strengthen our services by expanding collaboration with our partners and providing patients access to more than 1,000 physicians and 678 licensed hospital beds as well as approximately 40 specialty and primary care clinics in Omaha and the surrounding area. Nebraska Medicine – Nebraska Medical Center handles nearly 29,000 inpatient admissions and more than 530,000 outpatient visits each year.
As Nebraska Medicine's academic partner, UNMC is committed to the education of a 21st century health care work force, to finding cures and treatments for devastating diseases and to serving our state and its communities through award-winning outreach, in addition to providing world-class patient care. Together, Nebraska Medicine and UNMC have a $4.2 billion annual economic impact.
U.S. News & World Report consistently ranks Nebraska Medicine as one of the top hospitals in the country in multiple specialties, including oncology, cardiology, neurology, nephrology, urology, gastroenterology and pulmonology. U.S. News has also been ranked Nebraska Medicine the #1 hospital in Nebraska for several years in a row. Becker's Hospital review has named Nebraska Medicine as one of 100 Great Hospitals in America for two straight years. On Newsweek's list of "Top Cancer Doctors 2015," 75 percent of the top cancer doctors in Nebraska are at Nebraska Medicine.
JOHN LOWE, PhD
Assistant Vice Chancellor, Interprofessional Health Security Training & Education, University of Nebraska Medical Center
Associate Professor, Environmental, Agricultural and Occupational Health
Director of Research and Development, Nebraska Biocontainment Unit.
"The University of Nebraska Medical Center/Nebraska Medicine highly values our partnership with Emory University, the New York City Health and Hospitals Corporation (NYHHC), the Office of the Assistant Secretary of Preparedness and Response, and the U.S. Centers for Disease Control & Prevention to establish the National Ebola Training and Education Center. The national center represents a new model in advancing health care preparedness for infectious diseases through delivery of educational and simulation training as well as on-site assistance provided by Nebraska, Emory and NYHHC. Our ultimate goal is to extend beyond Ebola to other global emerging infectious diseases that pose a threat to the U.S."
Bellevue Hospital
Bellevue Hospital is the oldest continuously operating hospital in America with roots back to 1736 when a six-bed infirmary opened on the second floor of the New York City Almshouse. This was just four years after the birth of George Washington and 40 years before the signing of the Declaration of Independence. Since its humble beginnings as a haven for the indigent, Bellevue has become a major academic medical institution of international renown and the major teaching site for New York University School of Medicine. Bellevue has 844 beds, handles nearly 670,000 outpatient clinic visits, 116,000 emergency visits and 26,000 inpatients each year. More than 80 percent of Bellevue's patients come from the city's medically underserved populations.
Over the centuries, Bellevue has served as an incubator for major innovations in public health, medical science and medical education. Often referred to as a national treasure, Bellevue defines the very best traditions of public medicine as a public service vital to the well being of our civil society.
Assistant Professor, NYU School of Medicine
Director, Infection Prevention & Control, Bellevue Hospital Center
Section Chief, Infectious Diseases, Bellevue Hospital Center
"Bellevue Hospital and the New York City Health and Hospitals Corporation are very excited to partner with Emory University and the University of Nebraska with support from ASPR and CDC to form the National Ebola Training and Education Center (NETEC). NETEC will help to enhance the level of preparedness of US hospitals and health departments to address both Ebola virus disease as well as other highly infectious diseases through a combination of online resources, educational courses, technical assistance, training exercises and site visits from subject matter experts"


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We are rehabbing approximately 22 homes in the counties of Gallatin, Wayne and White along with the tornado stricken areas of Ridgway and Harrisburg.
This program is the Single Family Owner Occupied Rehabilitation program funded by the Illinois Housing Development Authority.
Appointments for these applications will be taken at 110 Latham Street in Enfield. Please call 618-963-2387 and speak to Judy or Tia to schedule an appointment.
You must provide:
1) Proof of all household income for the past six months
2) Proof of home ownership
3) Copy of paid real estate tax bill
4) Proof of homeowners insurance (Tornado victims without homeowners insurance are still eligible)
If the household is eligible, some of the following work may be done:
Heating Systems
General Repairs to bring the home up to standards


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Watercolor Cards
Taught by Private Picassos
Private Picassos provides custom art lessons and activities throughout the Tri-State area and at our Art Studio in Park Slope, Brooklyn.
We believe in the intrinsic power of the arts and strive to help build self confidence in our students. We emphasize art instruction grounded in the intuitive elements of the fine arts, not merely on arts and crafts and strive to provide our students with a better appreciation of the arts and their own thoughts and abilities.
In this two-hour class, students will learn basic watercolor techniques and then complete a series of watercolor paintings!
Techniques such a dry brush and wet into wet will be demonstrated by our teacher, followed by ample time for students to experiment with the materials and techniques on their own. Create your own masterpiece without the restrictions of "copying" the teacher. We'll work towards creating a small series of painted cards.
All materials provided and no experience with watercolors in necessary!


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Nintendo Preps New Super Mario Bros. 2 DLC for Oct. 2
Nintendo's about to enter a brand-new world, combining one of its oldest franchises with the microtransaction model that most gamers are likely quite used to dealing with by now across competing consoles, handheld systems, and PC titles.
We're talking, of course, about the world of downloadable content DLC, for short, or the ability to enhance a game with new levels, modes, items, and tweaks by ponying up cash for these add-ons.
Developers for Microsoft and Sony's consoles have long since embraced the model, and roughly 14 percent of all gamers reported that they were likely to purchase a microtransaction or game add-on across the last three months. That figure's up around three percent from the numbers reported for the entirety of 2011, according to the latest research from the NPD Group.
Nintendo has shied away from the DLC craze, choosing to wait until the April 2012 Japanese release of the Nintendo 3DS game Fire Emblem: Awakening to even allow gamers to purchase extra content for a title after-the-fact. According to Computer Entertainment Suppliers Association Chairman Shin Unozawa, speaking at the Tokyo Game Show 2012, the game's DLC has already netted approximately $4.8 million in sales or 15 percent of all of Nintendo's earnings from the game itself, if you add in the approximately $25 million in sales from the game's 1.2 million copies sold.
Next up on Nintendo's DLC list is new content for its New Super Mario Bros. 2 side-scrolling 3DS title, released in August of this year for U.S. audiences (July, for Japan). Three new levels for the game's Coin Rush mode will be purchasable via one large, "Go Mario Go! Go! Pack," retailing for around 200 yen or $2.50 U.S. A second DLC pack same price will allow gamers to compete against each other in a variety of time-driven Mario challenges, which will presumably be posted online on a series of leaderboards. And the third pack, the "Survival Panic Pack," will feature three super-tough levels for gamers to try and navigate their way through.
Nintendo plans to release the three DLC packs on October 2 in Japan, but hasn't announced when these new bits of content might make their way over to U.S. gamers.
For more tech tidbits from David Murphy, follow him on Facebook or Twitter (@thedavidmurphy).


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It may have been a great premise for cartoons, but, of course, the moon is not made out of cheese.
Still, hear us out. There's actually some fascinating things that would happen if our moon was made of cheese, and it wouldn't be all that tasty.
For starters, the moon would expand out more than 500 miles in diameter, since cheese is less dense than rock.
Then, the water and casein protein that make up the cheese would begin to separate out, with caseins moving closer to the core of the moon.
As pressure increases, the caseins would start to break down, with nitrogen and ethane rising up to the surface to create an atmosphere.
With that atmosphere in place to trap sunlight, the surface would be warm enough to form oceans with all the water that got separated out from the cheese.
But unfortunately, this cheesy, water-filled environment wouldn't last for long. The moon's gravity couldn't sustain an atmosphere, so eventually the atmosphere would go away, leaving the oceans to sublimate away, exposing a carbon-filled shell that likely wouldn't taste very much like cheese.
Sorry, moon-cheese lovers.


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Friends. This is something I have seriously been struggling with for a few months now. If you know me in real life, once I bring a problem to the surface (speak it or write it) I can begin dealing with it and kick it's butt (I seriously need to stop waiting months before addressing issues, for reals).
The absolute hardest thing in my life, my entire life, is making and KEEPING friends.
As many of you know, I am little out there. I do my own thing. I am way to honest. I have tattoos and piercings. I like to color my hair weird colors. I cuss. I smoke (but not for much longer). I eat like crap.
In spite of all this I am one of the most loyal person you will ever meet. I have a real, deep compassion for people of all shapes, sizes and colors. If you let me into your life, you will have some drama, but you will be filled with love and laughter from me.
Making friends is still super tough. I have tried at church, my kids football teams, Emma's cheer team, etc. I am very blessed to say I have made a few spectacular friends. There are some that I really would like to get closer with but they don't seem to like me. And folks, that's what really kills me.
I want everyone to like me. I want to be included in everything all the time.
Ummm, yeah, that's not going to happen. It's never happened. There are always people who don't like me. There are always events or parties I am not invited to. It's been happening since I was a little girl. So why cannot I understand this and move on? Why can't I just be happy with the awesome, amazing small group of friends that I do have?
How can I teach my daughter this when I struggle with it? How can I teach her to be happy with what she has instead of always wanting what you can't have? How can I teach her that she doesn't have to be in ever clique out there?
Sidebar: Cliques are the worst. And they are everywhere. For me it's church and my kids sports. I could write a whole big post on this, but today is not the day.
After much thinking and prayer these past few weeks (yes, I have been eaten by jealously and depression bug), I am going to put my effort into people who want to spend time with me. People who actually care about my well being. I cannot waste anymore time chasing people, trying to force them to like me.
It is what it is.
I am going to choose to be happy. I am going to continue to pray. I am going to continue to be a great friend to those who choose to have me.
I am not going to sit on my depression. I am not going to whine and complain about why so and so doesn't want to talk to me anymore or why so and so doesn't hang out with me anymore. That is their choice.
I am who I am. Love it or leave it.
Thursday, June 12, 2014
Wind beneath my wings........
Friends. This is something I have seriously been struggling with for a few months now. If you know me in real life, once I bring a problem to the surface (speak it or write it) I can begin dealing with it and kick it's butt (I seriously need to stop waiting months before addressing issues, for reals).
Posted by Kelly Wolfe at 12:00 PM 0 comments