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Unicode support

 Description: Squeak's support for Unicode can be improved:

 more unicode to character code translators.

 review existing code and clean it up, some classes have methods that have different code to do same thing.

 check the code for correctness, and fix it (example: the unicodeToMacRoman actually does unicode to latin1).

 improve performance of the translators: as an example the UTF8 translator creates a write stream, but then actually writes out bytes to your file system one byte at a time as it considers if the unicode byte needs to be made into a utf8 sequence. Needless to say if you have a multiple MB text file this suddenly takes millions of file I/O requests to the operating system which is really slow.

 Mentor: Todd Blanchard

Squeak Improving the New Compiler

Mentor: Mathieu Suen and Marcus Denker

Level: Intermediate

The goal is to enhance the new compiler.

One of the task is to provide a better error handling:

 Report error of token that is not in the Scope (ie Class not define, variable not in the scope,..)

 Provide a way to capture errors. For example when Monticiello load code it should be able to mute errors and make a report at the end of the load.

 Another task is to work on the Parser.

 Parsing is slow. May be a hand written Parser would be better and be easier to report errors.

 The Parser should also be able to work with a syntax highlight (eg Shout)

 Work on a Bootstrap compiler:

 When you are working on the compiler often you break it then since you have no rescue compiler you will be jammed. The solution is to automate a copy of the compiler and make it possible to switch between them and also adopt fixes...

 Make a better model of Scope and Varaible:

 Now the scope and variable models are very complex. The idea would be to design a better model. It would be profitable for the ir-decompiler and the ast-to-ir-generator.

Student: Jannick Menanteau.

Minimal UI For Embedded Systems, Mobile computing and Kiosks

 Mentor: Tansel Ersavas

 Level: Intermediate

This project is about creating a minimal UI in Squeak suitable for embedded systems, kiosks, mobile phone platforms such as "Android" and internet devices such as Nokia N810 and Chumby. Many complex looking UI functions can be developed using a minimal set of tools and some simple code using Squeak. This UI only requires basic Squeak graphics and text support and doesn't use MVC or Morphic. The code can be harvested from a project that was done 8 years ago for an 8MB PDA handheld device and refined to be published to be used in open source projects. An early draft of the code was ised in a system that can be seen at: http://www.squeakonline.com/downloads/cedemo.zip. The system also lends itself to code generation and the project will address this part also.

Squeak OpenDBX plugin

 Mentor: esteban ...

http://wiki.squeak.org/squeak/6052

OpenDBX is an extremely lightweight but yet extensible database access library written in C. It provides an abstraction layer to all supported databases with a single, clean and simple interface that leads to an elegant code design automatically. This is an excellent option to make an application support different databases with little effort and in a very efficient way.

The project plan has been split into two phases:

First phase: OpenDBX squeak plugin

This is the phase I consider to be reachable during Google Summer of Code.

During this phase, the squeak plugin for OpenDBX, which will be like an OpenDBX wrapper, will be developed.

The intention is to make this abstraction the more object oriented possible. This wrapper will allow objects to send messages which will represent data base operations. The wrapper will then, of course, talk to the OpenDBX library. To make this possible, the Squeak Foreign Function Interface (http://wiki.squeak.org/squeak/1414) will be used.

FFI is used to call functions located in shared libraries which are not part of the Squeak VM nor its plugins.

After finishing this first part of the project, a truly object oriented access to mayor RDBMS will be obtained.

Second phase: GLORP driver:

I believe, getting this feature completed within the GSoC dates, will be a little difficult. However, I will, for sure, do it as soon as I finish with the first phase.

GLORP (http://www.glorp.org/) is an open-source object-relational mapping layer for Smalltalk.

As the dirver for postgreSQL works very well with GLORP, I will inspect it and try to reproduce a similar driver architecture for the first phase result.

As a result of this feature, people will be able to use an ORM (GLORP in this case) with a generic driver that cantalk to almost all RDBMS.

students: Mariano Martinez Peck

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On Wednesday, the Edinburgh Festivals Innovation Lab announced that I'm their inaugural Geek in Residence:
This is an exciting and experimental new role in which Ben will work with and across the festival set to spot and develop project opportunities and bring his expertise and experience to explore what it is to be a festival in the 21st century.
The Edinburgh Festivals include some of the world's largest arts festivals – twelve in all – and I'm hugely excited to be part of the mix. Long-term readers will know that it's not technology as such that excites me, but the human impact of technology – and what could be more human than a set of international arts events that spans the breadth of what global culture has to offer?
The Edinburgh Festivals Innovation Lab is a new experiment and resource for the twelve Edinburgh festivals to explore how they can use digital technology to create new value for audiences, artists, the city and the festivals themselves.
Over the next two years, the twelve festivals will work together and with a wide range of partners to identify, develop and prototype high potential projects which use digital technology to improve the festival experience, for audiences, for artists, for the festivals themselves and for everyone.
We recorded a short interview on Wednesday that serves as an introduction to me and my background, but also why I'm so excited about working with the arts in this way.
Photo: Edinburgh Festival by Bex Ross, shared under a Creative Commons license.

subset: commoncrawl


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*Product availability is subject to suppliers inventory
About the Book
World record fever grips the second grade, and soon Ivy and Bean are trying to set their own record by becoming the youngest people to have ever discovered a dinosaur. But how hard is it to find one? Illustrations.Book Synopsis
World-record fever grips the second grade, and soon Ivy and Bean are trying to set their own record by becoming the youngest people to have ever discovered a dinosaur. But how hard is it to find one?Review Quotes
Best friends Ivy and Bean return for a very welcome third outing. When Bean's desperate boredom forces her to the pages of The Amazing Book of World Records, she determines to break one herself, no matter what. But after her attempt to stuff 257 straws in her mouth falls short by some 217 straws, and her loudest scream fails to shatter her sister's glass octopus, she combines her newfound interest in one-of-a-kind stunts with Ivy's fascination with paleontology to purse dreams of fame in her backyard. Barrows balances the two girls' personalities perfectly, Ivy's quiet studiousness the steady counterpoint to Bean's restless ebullience. The odd happy piece of information "It took [Mary Anning] a whole year to get the whole [ichthyosaur] out. . . . Chip, chip, chip, a tiny bit at a time" is conveyed effortlessly without impinging on the terrifically childlike voice "Lookit! I got one." Blackall's black-and-white spot illustrations share equal billing with the text, punctuating the written narrative with wry, spiky visuals that capture the kids' personalities beautifully. The resolution deflates Ivy and Bean's ambitions but leaves both dignity and enthusiasm intact other record attempts can wait till tomorrow. Just right. -Kirkus ReviewsWhen Bean's teacher introduces The Amazing Book of World Records, everyone in the second grade vows to set new records. Bean tries stuffing her mouth full of straws, speed washing dishes, and screaming (with predictably disastrous results); finally, Ivy involves her friend in digging for dinosaur bones so they can become the world's youngest paleontologists. Barrows' dynamic duo is as appealing here as in the first two books, and emergent readers willidentify with their outrageous antics. Also intriguing are Bean's sister, Nancy (who never misses an opportunity to put down her sibling), and her ever-supportive dad, whose banana bread fixes almost any problem. -Booklist
Rambunctious second-grader Bean and her more conservative friend, Ivy, are back for another easy-chapter-book adventure. This time, a book of world records gets the class thinking of feats they can accomplish. Bean unsuccessfully (and hilariously) tries to break some records, then decides to be the youngest person to discover dinosaur bones and starts digging in the backyard. Ivy has read a book about Mary Anning, who found a dinosaur skeleton at the age of 12. Anning is held up as a model of patience and perseverance, two qualities from which Bean would benefit. Her father is home during the day, and readers see their wonderful, positive relationship. He supports their efforts and agrees that the bones they ve discovered are mysterious. It's not a terribly original story idea, but Barrows has a fine touch. Blackall's humorous drawings add to the fun. This is a great chapter book for students who have recently crossed the independent reader bridge. -School Library Journal
About The Author
Annie Barrows has written many books for adults, but Ivy and Bean is her first series for kids. She lives in northern California with her husband and two daughters. Sophie Blackall is an Australian illustrator whose previous books include Ruby's Wish and Meet Wild Boars. She lives in Brooklyn, New York.


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Mothers are women who inhabit or perform the role of bearing some relation to their children, who may or may not be their biological offspring. Thus, dependent on the context, women can be considered mothers by virtue of having given birth, by raising their child(ren), supplying their ovum for fertilization, or some combination thereof. Such conditions provide a way of delineating the concept of motherhood, or the state of being a mother. Women who meet the third and first categories usually fall under the terms 'birth mother' or 'biological mother', regardless of whether the individual in question goes on to parent their child. Accordingly, a woman who meets only the second condition may be considered an adoptive mother, and those who meet only the third a surrogacy mother.
The above concepts defining the role of mother are neither exhaustive nor universal, as any definition of 'mother' may differ based on how social, cultural, and religious roles are defined. The parallel conditions and terms for males: those who are (typically biologically) fathers do not, by definition, take up the role of fatherhood. It should also be noted that mother and fatherhood are not limited to those who are or have parented. Women who are pregnant may be referred to as expectant mothers or mothers-to-be, though such applications tend to be less readily applied to (biological) fathers or adoptive parents.
Mothers (Macedonian: Мајки / Majki) is a 2010 Macedonian drama film directed by Milcho Manchevski. The film was selected as the Macedonian entry for the Best Foreign Language Film at the 83rd Academy Awards, but it didn't make the final shortlist. It was screened in the Main Programme of the Panorama section at the 61st Berlin International Film Festival.
Mothers (formerly the Carlton Ballroom) was a club in the Erdington district of Birmingham, West Midlands, during the late 1960s and early 1970s. Mothers opened above an old furniture store in Erdington High Street on 9 August 1968. The club, run by John 'Spud' Taylor and promoter Phil Myatt, closed its doors on 3 January 1971. Between these times, more than 400 acts performed there, many of whom went on to greater success.
Well known live recordings that took place in Mothers were the recordings that Pink Floyd released on Ummagumma, recorded on 27 April 1969., and parts of "Facelift" by Soft Machine, released on Third, recorded 11 January 1970.
The Who performed Tommy and Traffic's world debut took place at Mothers along with fledgling heavy metal bands like Black Sabbath playing some of their earliest gigs there.
Some of the other well known rock bands and artists to play Mothers include: Family, Fleetwood Mac, John Mayall's Bluesbreakers, Eclection, Edgar Broughton Band, Free, Roy Harper, Blodwyn Pig, Strawbs, Quintessence, Steppenwolf, Deep Purple, The Deviants, Jethro Tull, Jon Hiseman's Colosseum, Skid Row (with Gary Moore), The Nice, Tyrannosaurus Rex, Elton John, King Crimson, Led Zeppelin, Soft Machine, The Chicago Transit Authority, Moby Grape, Canned Heat (there is a reference to the club in the sleeve notes of their 1969 compilation Canned Heat Cookbook) and the Bonzo Dog Doo-Dah Band and Karakorum featuring Martin Chambers later with The Pretenders.
The terms "online" and "offline" have specific meanings in regard to computer technology and telecommunications in which "online" indicates a state of connectivity, while "offline" indicates a disconnected state. Common vernacular extended from their computing and telecommunication meanings and refers specifically to an Internet connection. Lastly, in the area of human interaction and conversation, discussions taking place during a business meeting are "online", while issues that do not concern all participants of the meeting should be "taken offline" — continued outside of the meeting.
In computer technology and telecommunication, online and offline are defined by Federal Standard 1037C. They are states or conditions of a "device or equipment" or of a "functional unit". To be considered online, one of the following may apply to a system: it is under the direct control of another device; it is under the direct control of the system with which it is associated; or it is available for immediate use on demand by the system without human intervention.
The term "online" can refer to a state of connectivity.
"Online" (or variations) can also refer to:
"Online" is a song co-written and performed by American country music artist Brad Paisley. It was released in July 2007 as the second single from the album 5th Gear. The single is Brad's ninth overall Number One single on the Billboard Hot Country Songs charts, as well as his fifth consecutive Number One. In addition, the song's music video won a Video of the Year award for Paisley at the 2007 Country Music Association awards. Paisley wrote this song with Kelley Lovelace and Chris DuBois.
"Online" is a moderate up-tempo song whose lyrics satirize the online world, specifically MySpace. Here, the song's protagonist is a geek who lives at home with his parents, holds a job at the local Pizza Pitt pizzeria, and claims limited success in the dating world. Actually "five-foot-three and overweight", a fan of science fiction, and a mild asthmatic, the main character has an account on MySpace. There, he assumes a much more desirable personality: "Online, I'm out in Hollywood / I'm six-foot-five and I look damn good / I drive a Maserati / I'm a black-belt in karate / And I love a good glass of wine". Later in the song, he claims to live in Malibu, California, have a sexy, finely sculptured body, and pose for Calvin Klein Inc. and GQ. The fictitious alternate personalities make the geek claim that he is "so much cooler online". The album version of the song ends with a marching band playing the melody of the chorus, a reference to an earlier line where the protagonist claims to play tuba in a marching band.


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The nation's sewer system is a topic most people would prefer to avoid, but its aging infrastructure is wearing out, and broken pipes leaking raw sewage into streets and living rooms are forcing the issue. To better predict which pipes need to be fixed, scientists report in the ACS journal Environmental Science & Technology that certain conditions in the pipes can clue utilities in to which ones need repair -- before it's too late.
Mark T. Hernandez and colleagues note that the maintenance of U.S. wastewater collection systems costs an estimated $4.5 billion every year, much of which goes toward fixing or replacing 8,000 miles of sewers. In the future, these annual costs could top $12 billion. Part of the problem is corrosion caused by sewer gases that feed acid-generating microbes, which grown in biofilms on the inside top surface of the pipes. Although microbe communities have long been recognized as a factor in the corrosion of concrete pipes, they have not been well studied. To fill in the gaps, Hernandez's team decided to figure out what kinds of bacteria and other conditions were most closely associated with corrosion problems.
From 10 different sewer systems in major cities around the country, the scientists measured bacterial diversity, gas concentrations in the air above the wastewater and other factors. In the most worn pipes, they found markedly little variety in the kinds of bacteria present, as well as elevated levels of both hydrogen sulfide and carbon dioxide gases. The researchers concluded that wastewater utilities could economically monitor combinations of these gases in sewage pipes to figure out which sites might be at higher risk for corrosion and take the necessary steps to prevent major damage.
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The visionary mind behind Bonaire Vision Films & Photo International (previously known as Scuba Vision Films) is 'Hendrik Wuyts', a Belgian who came to the island of Bonaire in 1993. Scuba Vision Films was the result of decades of training in film, video and photography techniques including lessons at the world-renowned Antwerp School of the Arts. Hendrik continued his education through projects all over the world, including Cairns in Australia's Great Barrier Reef, Egypt, Malaysia, Sipadan and on many more locations.
His favorites, by far, included working with Max Hammer filming the Wrecks in Papua New Guinea, promotional and travel films in Sulawesi the Masai in Kenya or Peru, and working with the Smithsonia Institution filming at the island "Carrie Cow Bay" in Belize. His most exiting project has been the creation an award winning documentary: " The survival of ethnic minority people of Vietnam and Laos". His work as a director of photography on a travel series "EYE ON,…", produced by European Media Support EMS in The Netherlands has earned him an EMS Golden Camera award for photography in LA and New York in 2002. Hendrik feels privileged to have seen, filmed and photographed an incredible amount of wildlife, whether it be topside or underwater. The footage and photo's he has accumulated is broad and diverse.
We call Scuba Vision Films today, 20 years later " Bonaire Vision Films & Photo International"


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A Sony A7RII Review
by Chad Wadsworth – His website is HERE
Blasphemy be damned, I'm going to admit that I wasn't all that excited about the Sony a7R II prior to its release.
I'm a simple stills guy so the 4k video is wasted on me; I also like my fat pixel 12mp a7S files just fine, thank you and I dreaded having to deal with both the processing and storage requirements of a 42mp image. Furthermore, I already enjoy the refreshed body style and IBIS on the a7 II and I'm not a switcher – been shooting Sony for a few years now and sold all my Canon L lenses long ago.
My prior detachment aside, the release of this camera is a watershed moment in the mirrorless epoch. The a7R II spec sheet reads like something out of the future, a no compromise piece of kit that is both evolutionary and revolutionary at the same time. Who wouldn't be interested in this camera? As professionals or even enthusiasts, we desire the best and this camera promises to be that at a great many things. Even if it falls short in a single category like low light (little brother a7S still reigns supreme), its second best still trumps most everything else on the market.
So yeah, I want the best and I want it compact and rugged and efficient and with a great compliment of lenses. I know it will eventually be eclipsed by something newer and greater but at this point in time, I can with a good conscience state that it is the best digital camera I have ever owned.
I'm not going to do a detailed review, many others are far better at that, but I can share some thoughts and photos that I hope will be helpful. All images have been edited from RAW to my personal taste.
In the pro column, the camera is mature. Sony has had time since the release of the a7 (their first full frame mirrorless system camera) to evolve and improve on many aspects of the platform. The menu system is by now second nature to me but more importantly, with the release of the a7R II, Sony has vastly expanded the level of button configuration. Virtually every physical control on the camera has some level of customization. This means that for all but the most arcane settings, there are direct physical controls. We've all seen the comments labeling Sony products as computers or gadgets, compared to other brands' "real cameras". The truth is that all modern digital cameras, yes I'm looking at you too Leica, are electronic, computer controlled devices. With the a7R II, I can hide that electronic menu interface for 99% of the photography I do while still harnessing secondary features like IBIS, focus magnification or display options with physical buttons. The closest example of this type of physical control from the golden age of the 35mm film world was the Minolta Maxxum 7 (also known as the a-7!) which was laden with physical controls for every imaginable setting. For the uninitiated, Sony purchased Minolta's camera and lens line in 2006 – check out this report from way back then – Farewell Konica Minolta.
The a7R II is the second camera in the line to be blessed with IBIS or SteadyShot, also a Minolta invention. Once you've used IBIS there's simply no going back. Hand holding a 135mm lens at 1/5th is doable with IBIS and good technique – amazing. For some of the photos here, I used the lovely Batis 85mm which has its own optical image stabilization that works in tandem with IBIS for even greater control. The jittery view of a long lens simply melts away to calm when IBIS kicks in. Sony saves battery life by engaging the IBIS function only when the shutter is half-depressed so you can see the effect in realtime, before and after you engage focus.
The original a7R suffered a heavy shutter action that was quite loud. Having never owned that model, I can't comment but I will say that the a7R II has one of the sweetest sounding shutters I have heard. It sounds something like this: shhtiiiickkk. Really, take my word, it is wonderful – quiet and refined. Some people have even confused the normal shutter sound with the silent shutter feature which is incorrect as the silent shutter is just that: silent. And on the topic of the Silent Shutter setting, yes there are some compromises such as a restriction to single shot mode but come on, the use cases for silent high speed shooting have got to be minuscule.
Another aspect of the camera that impresses me is the new EVF magnification. At .78 it is the largest magnification of any modern camera, DSLR or mirrorless (the Nikon D810 comes in at .70) which results in a large comfortable view of the scene with excellent eye relief. This feature did have me excited and I'll have a hard time looking through a view with lesser magnification now.
The autofocus speed seems on par with the a7 II but tracking looks to be improved thanks to the 399 on-sensor phase detect points. I'll need to do more shooting to be sure and I also want to do some concerts in low light, but for now I'm very pleased. Using the gorgeous new Zeiss Batis lenses for these first shots in Ogunquit, Maine resulted in quick, sure focus on the 25mm, with the 85mm a bit slower (common for longer focal lengths moving more lens mass) but still speedy. I'm finding that the Batis 25mm truly shines on the a7R II – sharp, sharp, sharp right to the corners with manageable distortion and excellent color. The ability to dial in hyperfocal setting in 2 seconds using the OLED is a nice feature that I used often on some of these tourist landscape shots. If you are looking for a top quality standard wide for the a7 platform, this is your lens. Overall, I'm very pleased with this combination and look forward to more options in the Batis lineup.
One of the big features of the new camera is its claimed compatibility (with an adapter) to Canon EF lenses. The previous a7 models also had this compatibility but the AF speed left much to be desired. With the a7R II, Sony is taking a broad shot across Canon's bow, claiming much improvement, approaching native AF speed using EF lenses. Since I don't have any Canon lenses I can't comment with any authority but there seems to be a consensus in early reviews that the performance claims are accurate. Since the a7R II will be the first Sony camera for many Canon switchers I can only implore them to enjoy the compatibility with their existing lenses but do not ignore some of the class leading native FE lenses that are now available.
Back to the a7R II – what about all of those pixels? The good news is that I'm seeing nothing but sharpness, no shutter shock or blurred details – and my MacBook Pro seems to be chugging along just fine so far. I get a longer delay when rendering a 100% view but for standard editing I haven't noticed any speed bumps. The level of clarity and detail from the combination of this 42mp sensor and the Batis lenses has been simply astounding and will eclipse the performance of many Medium Format systems. Dynamic range has also been top notch and I expect it to be measured in the 14+ stop range at base ISO.
Shadow boosting and highlight recovery is child's play with these Sony sensors and the a7R II doesn't look to be compromising dynamic range or low light performance for high resolution. Check out the before and after sample below illustrating shadow boost at base ISO.
No camera is perfect and I expect there to be a few niggles here and there but as I mentioned earlier, the a7R II is remarkably mature. As a photographer with some manual focus rangefinder lenses I do find that the new larger EVF has an unfortunate downside that lessens the shimmering effect of the older displays. This effect was from edge artifacts and could help the photographer determine when they had manual focused accurately without relying on focus peaking. The extra EVF magnification eliminates those edge artifacts making it more challenging to determine manual focus accuracy without entering one of the focus magnification modes. Now to be clear, Sony never advertised or even hinted of this EVF shimmering effect as a tool for focus, this is simply a trick that I and others have used for our benefit so we can't berate Sony for eliminating what some may have thought was an annoyance.
Aside from my gripe about manual focusing with the new EVF, I've discovered no significant faults that impact operation or lessen my enjoyment of the camera. My initial impression is that Sony has set a new high bar with the a7R II – a camera that will suit many, but of course not all styles of photography. For those that specialize in landscape, architecture, wedding or portraits, as well as the run and gun videographer, this could well be the one and only camera that you need in your bag. And let's not forget, that bag is going to be a lot lighter.


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BERLIN — There are a thousand schools of painting and Shirley Eppard subscribes to every one. Well, almost every one. Over the last four decades, Eppard has taken just about every class she could and as a result has become a student of technique. Some painters, she said, aren't particularly interested in the technique, focusing instead on the finished product. But while it might work for some, to her it seems as if it is a way of trying to attain an end without a means.
In the late 1960s some friends who were going on a plein air excursion and the notion of a painting trip captured her imagination. She went along and never looked back.
Later, Eppard attended the National Institute of Interior Design and in 1979, founded Butterfly Interiors, specializing in residential and commercial interior design. As an interior designer, finding ways to bridge the gap between the available materials and the final vision calls for an overarching creative thrust.
Being able to borrow from her art classes for her designs and from her design knowledge as she progressed through her art could well be the reason that Eppard's specialty could best be described as a range of technique.
"A dabbled with it all," she said.
Because she has discovered the pleasures of focusing on technique, Eppard is, in a way, a professional art student.
She continues to take whatever classes are available as a way of broadening her options when she approaches her canvass even when it is made of something other than canvass. Her current show features works on rice paper, wood and even boxes. Mixing and/or matching the medium to accommodate her vision for the canvass is where Eppard does her most creative work.
For example, one of the works she has on display this weekend is an example of what she calls voidism. Rather than construct a portrait she paints the entire canvass one color and then removes the paint in order to reveal the subject. It's kind of a negative process but for her, it is the challenge of expanding upon her knowledge.
There is little she won't try when it comes to mixing the various techniques she's learned and the various mediums they encompass. Eppard has works in everything from pencil to oil using techniques that include shaking out watercolors to make them drip and using a toothbrush to put a fine spray of paint at various points around a canvass.
String, modeling paste, tissue paper, all of it finds its way into her work depending on her vision for the piece's texture, color or even just its greater aesthetic feel.
Eppard, mother to six daughters two of whom own Baked Desserts Cafe and Gallery, continued painting all through her daughters' childhoods. She said, only half-joking, that it acted as a kind of therapy, a way to steel her nerves during long days when the children weren't on their best behavior.
"My husband would come home and I'd have two paintings going at once," she said. " And he'd say, 'Oh my don't tell me what they've done.'"
More than that, however, it was a productive endeavor. At the end of the day she had something tangible to show for her effort.
As she's gotten older, Eppard has come to realize the value of being productive in this self satisfying kind of way. To that end, a big part of her show, she hopes, will be the opportunity to get more people to see the value of taking up art as a way of continuing education as well as an outlet of self expression.
As with any accumulation of knowledge, learning to do something gives a person a better appreciation for other's work.
Eppard, who was flattered to have help from Patrick Henry in getting her prints done, said that as she continues to grow as an artist, her appreciation for art in and of itself has deepened.


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It has been a very long time since I posted here on our blog. I have had many friends and family members comment on how they miss reading our posts and hearing about what the Kangs are up to. So, we are back...and I am committing to keeping it going. :)
I am amazed at how quickly our girls are growing up. I love watching them learn new things and grow each day. I love to watch them play together...they truly are great friends. The laughter that radiates from our house as they run through the halls is priceless! Here is a quick update on each of our monkeys...it is long over due.
Ella, our not so little toddler, is already 18 months old! We just had her 18 month checkup and we will just say that she definitely takes after the Lichtenberger side. Ella is almost 34 inches tall (98th percentile) and weighs almost 27 pounds (80th percentile). She is the "big little sister" in our house. She is fearless and climbs EVERYTHING! She will move chairs, small tables, etc and use them to climb to reach things she wants. She loves to jump, dance, sing and run. Ella is definitely a princess in the making. She already LOVES to dress up. On a daily basis Ella will demand that she wear her tutu, gold boots, and sunglasses (sometimes she even has a wand to go with it). She is talking a lot and the infamous "NO" has become a favorite in her vocabulary. She adores Madi and also loves to take anything Madi has from her. I love how she only refers to Madi as "sis" or "sissy" even though she can say her name. Ella loves to be outside and will stand at the front door and beg to go "owsigh"! She is constantly mastering new skills and is growing up way tooo fast for this mama!
Madison is already 3 and a half and is turning into quite the little lady! She LOVES preschool and is completely thriving there. Madi is talking so much now and most of it is without prompting. She often still signs while saying the word as well. She loves the alphabet right now and sings her ABC's all the time. The other day Madi and I were playing with her alphabet magnets and she recognized and correctly named 12 of the letters by herself. She can also recognize and name 8 colors, and most shapes. She is even doing a great job at matching shapes and successfully matches fruit on a memory game on our ipad. I am so amazed and proud of all of her accomplishments! Madi still loves music and dancing. She also still loves mirrors and I will often catch her practicing all sorts of things in the mirror (saying new words, dancing, signing, laughing, making silly faces). she loves reading books and will sit and "read" to herself for long periods of time. We have not fully committed to potty training yet but Madi successfully uses the potty multiple times a day and even tells me (sometimes) when she has to go. We are so proud of our girl!


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Advertisement |
Merle Oberon (18 February 1911 – 23 November 1979) was an Indian-born British actress.
She began her film career in British films, and a prominent role, as Anne Boleyn in The Private Life of Henry VIII (1933), brought her attention. Leading roles in such films as The Scarlet Pimpernel (1934) advanced her career, and she travelled to the United States to make films for Samuel Goldwyn. She was nominated for an Academy Award for Best Actress for her performance in The Dark Angel (1935). A traffic collision in 1937 caused facial injuries that could have ended her career, but she soon followed this with her most renowned role, as "Cathy" in Wuthering Heights (1939). Her career continued until the end of the 1940s when it declined and her acting performances over the following years were relatively few.
According to her birth certificate, Oberon was born in Bombay, British India on 18 February 1911 as Estelle Merle Thompson, although other sources note 19 February as her date of birth and Estelle Merle O'Brien Thompson as her birth name. Merle was given "Queenie" as a nickname, in honour of Queen Mary, who visited India along with King George V in 1911.


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EDENSOY is the only soymilk in this hemisphere that uses only Pure Vanilla Extract made from ripe vanilla beans containing over 250 organic components that create its unique flavor and aroma. The essential curing process transforms the glucocides into 'natural vanillin' and glucose, creating the flavor.
All vanilla orchids must be hand pollinated. The pods are hand harvested and cured for at least six months. The cured beans are then chopped and percolated with ethyl alcohol and water for at least 48 hours, after which the vanilla extract is allowed to age for several days, weeks, or months depending upon the manufacturer.
The FDA strictly regulates the manufacturing of pure vanilla extract mandating that there be no less than 13.35 ounces of vanilla beans per gallon of a minimum 35% alcohol to 65% water. Commonly the alcohol content is higher for greater extraction of vanilla.
Pure Vanilla Extract is labor intensive and costly and the best will be aged for almost two years to complete extraction and stabilize flavor. Quality vanilla extract tastes clean, smooth, naturally sweet, and has a very pleasant aroma. Comparing vanilla extracts is similar to comparing whiskey. Quality varies drastically much like low end Scotch verses a top shelf, properly aged product. Short cuts and adulteration are the rule not exceptions.
Natural Vanilla Flavor is an extract of many things using animal glycerin or propylene glycol (antifreeze) and a googol of other synthetic and/or toxic chemicals.
Natural Vanilla Flavor (WONF) with Other Natural Flavors is a blend of flavor ingredients in a wide variety of chemical carriers. Usually proprietary concoctions, Eden has never received full disclosure from any manufacturer as to all the synthetic and/or toxic ingredients in our attempts to learn their composition. They are allowed to keep it secret saying it's proprietary information. Synthetic and/or toxic chemicals abound.
Artificial Vanilla, Vanillin, and Imitation Vanilla has a history going back to 1870. Today flavor companies make it from coal tar. It's chemicals not food.
Names for Artificial, Synthetic, and Imitation Vanilla:
Other Chemical Names for Vanillin:
©2024 Eden Foods, Inc.


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Rachael turns one bag of groceries, and a few staples from your pantry, into three delicious, nutritious meals! Today's three-pack includes Chickpea and Potato Soup, Indian-inspired Crispy Curry "Cutlet" Sandwiches, and Spinach Tagliatelle With Buttery Tomato Sauce -- proof that sometimes the simpler things in the life are the best.
These three meals won't just save you time at the supermarket, but in the kitchen as well. That's because Rachael is getting double duty out of a whole poached chicken: First for a head start on Lemon Chicken and Leek Rice Pilaf. Up next, it's Linguini With Kale Pesto. Then, use the rest of the poached chicken in Chicken Suiza Chilaquiles, smothered in a creamy tomatillo sauce.
Rachael Ray shows you how a quick and smart trip to the supermarket, and a single bag of groceries, is all you need to put together three mouthwatering meals. Today's three pack of suppers starts with a Paprika Flank Steak With Watercress and Blue Cheese. Next, it's Chicken in a Sack, and dish three is Tex-Mex Tomato Soup and Grilled Cheese ... a spicy new twist on a comforting classic.
Today's time-saving menu is a delicious international tour for your tastebuds, without the airfare, or the extra trips to the grocery store! It starts with Chorizo Stew With Kale, then it's Teriyaki Chicken With Soba and for the third meal; Moroccan Red Harissa Chicken.
With more and more people asking Rachael Ray for gluten-free recipes, she's come up with three meals that don't sacrifice a thing in terms of flavor. First out of the bag: Sweet 'n' Spicy Shrimp Lettuce Tacos, then it's Zucchini Pappardelle With Pesto and Eggplant Alla Norma. Last but not least, Poblano Posole, a classic Mexican stew served with radishes, avocado and scallions.
Today's time-saving menu is all about big flavor, thanks to a couple marinades and a rub. First up, Lemon Pepper Cured Chicken With Fennel Salad. Next, Eggplant Schnitzel and Roasted Peppers -- crispy and delicious, it's a dish to please vegetarians and meat lovers alike. Then, for beef eaters, it's Espresso Steak With Baked Zucchini -- a jazzed-up meat and potatoes supper.


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- This event has passed.
Open Mic @ The Half Moon Cafe
November 6, 2017 @ 7:00 pm - 9:00 pm
$5.Open Mic is open to any singer/songwriter and musicians. $5 suggested donation. Please park in the church lot.
Open Mic at the Half Moon Cafe is sponsored by Clay on Main and Meadowood Music. Sound by Vinny Rose.


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Creamy Stone Ground Grits
- 6 cups water
- 6 cups milk
- 2 teaspoons salt
- 1 teaspoon freshly ground white pepper
- 4 tablespoons butter
- 1 1/2 cups stone ground white grits
- 1 pound grated white cheddar cheese
- In a large saucepan, over medium heat, combine the water, milk, salt, pepper and 2 tablespoons of the butter. Bring the liquid to a gentle boil. Stir in the grits. Cook for 1 hour and 15 minutes, stirring occasionally. (**The grits will stick to the bottom of the pan, so make sure not to scrape the bottom of the pan. If the grits absorbed all of the water, add some hot water to thin out the grits.) Remove the pan from the heat and stir in the remaining 2 tablespoons butter and cheese. The grits can either be served immediately or prepared in advance and reheated.
- If preparing in advance, grease a pan with a teaspoon of butter. Pour the grits into the pan and reheat in a 400ºF, for 15 minutes.


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In light of B&B Italia's debate for London Design Festival, 'Can Design Save Europe', we speak to Architecture and Design Critic for the FT Edwin Heathcote, Director of the V&A Martin Roth and Olympic Torch designers Jay Osgerby and Edward Barber about the power of design as a force of change on the European economy. The recent recession and subsequent arts spending cuts has sparked debate around the fate of the arts and craft industry, locating it a time of change and redevelopment. While the major manufacturing powers continually look to the East we question what the future holds for European design and manufacture, and if designers themselves should focus on functional products made available to the masses rather than luxury products for the minority.
Video: B&B Italia Talk / Can Design Save Europe?
About this author


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Rory McIlroy produced what Padraig Harrington described as a lap of honor to secure his first Major on a dramatic final day at the US Open on Sunday.
The 22-year-old from Holywood in County Down secured his nomination as the new Tiger Woods as he smashed records galore en route to an eight shot victory at Congressional.
Harrington described McIlroy's final round 69 as a 'lap of honor'.
"People talk about Tiger Woods smashing the Jack Nicklaus record for the most Majors but we have just the man who is going to do it win his first Major," claimed Harrington as McIlroy stamped his authority on the world golf stage.
Just months after a final day collapse at the Augusta Masters, the Ulster youngster showed he is ready for the greatest challenges golf can throw at him.
He didn't just protect his Saturday lead this time, he actually built on it as the best golfers in the business failed to even threaten his maiden major.
"The whole week has been incredible - I could not have asked for any more and I am so happy to hold this trophy," said McIlroy as America hailed its new champion and the trophy stayed in Northern Ireland after Graeme McDowell's 2010 win at Pebble Beach.
Visit Rory McIlroy's profile page for more stories and photos
Graeme McDowell and Jack Nicklaus hail Rory McIlroys US Open win
McIlroy blows field away as he closes in on first major congressional
Rory McIlroy: Returning the excitement to Golf for the Casual Fan
"For such a small nation to win two US Opens in a row is pretty special. As Graeme said last year, there will be a lot of pints of Guinness going down.
"I know a few of my friends will be partying and I can't wait to get home and join them."
The Congressional win came just 70 days after McIlroy's collapse at Augusta when a four shot third round lead was followed by a disastrous 80, leaving him 10 shots off the winning pace at the Masters.
"Augusta was a valuable experience. I knew what I needed to do today to win. I learnt a few things there about myself and my game," insisted McIlroy.
"I put a few different things into practice and it paid off."
The youngest US Open winner since the legendary Bobby Jones in 1923, McIlroy is also the second youngest European major winner of all time and the youngest since 1872 when Young Tom Morris captured his fourth and final Open at just 21.
McIlroy celebrated late into the night in Maryland with his proud father Gerry who walked every inch of the course for the four days that will go down in sporting history and golf folklore.
"Happy Father's Day - this one's for you," shouted McIlroy at the presentation ceremony. "I have to mention my mum too - everything they have done for me I can't thank them enough."


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The rotten-egg smell of hydrogen sulfide gas should never be underestimated. Here's advice on dealing with conditions that can lead to dangerous exposure as well as a review of features offered by today's gas detection devices
By Shankar Baliga Just the Facts About Hydrogen Sulfide Gas• H2S gas is slightly heavier than air and may accumulate in enclosed, poorly ventilated, and low-lying areas. It's rapidly absorbed in the lungs.• It's a mucous membrane and respiratory tract irritant. Pulmonary edema can occur after exposure to high concentrations. • Symptoms of acute exposure include nausea, headaches, delirium, disturbed equilibrium, tremors, convulsions, and skin and eye irritation. • Its odor threshold (0.5 ppb) is much lower than the OSHA ceiling (20 ppm). Although its rotten-egg odor is easily identified, olfactory fatigue occurs at high concentrations and at continuous low concentrations. |
The same cannot always be said about H2S gas accidents within the workplace. Exposure to high levels of H2S gas for even a brief time can be fatal. And most people don't realize that H2S is also combustible, capable of causing major explosions and fires. It is never to be underestimated in its potential for harm in the workplace.
H2S is produced naturally by decaying organic matter and is released from sewage sludge, liquid manure, sulfur hot springs, and natural gas. It is a byproduct of many industrial processes including petroleum refining, tanning, mining, wood pulp processing, rayon manufacturing, sugar beet processing, and hot asphalt paving. It's also used to produce elemental sulfur, sulfuric acid, and heavy water for nuclear reactors.
H2S is a colorless, flammable, highly toxic gas. It is shipped as a liquefied compressed gas. It has a very noticeable rotten-egg odor. Inhalation is the major route of H2S exposure and can be deadly in high concentrations.
Various agencies of the U.S. government have set the following H2S exposure standards:
OSHA Permissible Exposure Limit or PEL = 20 ppm if no other exposure occurs in an eight-hour work shift
NIOSH Recommended Exposure Limit or REL = 10 ppm for 10 minutes
According to the Agency for Toxic Substances & Disease Registry, H2S gas is rapidly absorbed in the lungs. It's slightly heavier than air and may accumulate in enclosed, poorly ventilated, and low-lying areas.
The odor threshold (0.5 ppb) is much lower than the OSHA ceiling (20 ppm). Although its strong odor is readily identified, olfactory fatigue occurs at high concentrations and at continuous low concentrations. For this reason, odor is not a reliable indicator of H2S's presence and may not provide adequate warning of hazardous concentrations.
In petrochemical plants, oil/gas production, and wastewater treatment facilities, there is the potential for H2S accidents. Some common problem areas and gas monitoring applications include the following:
H2S Sludge De-Watering: Sludge from waste treatment facilities may contain H2S and methane gas. The sludge is transported through a spiral conveyor into the dewatering system, where water is removed.
Crude Oil Tank Storage: Storage tank farms for crude oil and H2S require continuous monitoring for gas leaks. In addition to the tanks, common leak sources include pipes and valves, which require monitoring sensors.
Remote Oil/Gas Well Sites: Remote automated oil/gas well production sites require protection against H2S gas leaks in and around the site. Common monitoring locations include the well heads, flare stacks, and storage tanks.
Oil/Gas Drilling Sites: Leaks, such as blowouts in oil drilling applications, release large quantities of H2S gas into areas around the site. Typical gas monitoring locations include the driller stand, bell nipple, shale shaker, and mud tank.
There are two primary sensor technologies used in the detection of H2S gas: thin film metal-oxide semiconductor (MOS) and electrochemical cell. Depending on the application, the potential safety threat, and reliability required, they are both generally good choices.
MOS-based H2S sensors are derived from semiconductor technology. The MOS film is deposited onto a substrate between two electrodes. With no gas present, the resistance between the two electrodes is very high. As gas comes into contact with the sensor, the resistance decreases and indicates the presence of the gas.
Electrochemical cell H2S sensors are designed with a sensing electrode, a counter electrode, and a reference electrode separated by an electrolyte reservoir. Gas contacting the sensor diffuses through a capillary diffusion barrier, which controls the amount of gas entering the sensor. In an electrochemical cell, the gas reacts at the surface of the sensing electrode by either oxidation or reduction. Reactions are catalyzed by electrodes matching the specific gas.
When selecting a gas detector, whether for toxic or combustible gas hazards, the two most important criteria are performance and reliability. The detector must be designed to detect H2S gas, and the typical detection range for the gas is 0-100 ppm. When considering the detector's reliability, find out if the design is robust enough for the environment in which it will be placed. Be sure to determine if the device features major industry approvals such as FM, CSA, UL, ULC, and CE Marking, and ATEX if your plant is located in the European market.
The importance of reliability goes hand in hand with the need to review plant environmental conditions. Be sure to consider temperature extremes, humidity, dust, etc. Depending on where the gas detector is located, maintenance can be a concern. It's crucial to read the manufacturer's product manual to check the installation and recalibration requirements for the maintenance of the detector. Sensor life is also not infinite: MOS and electrochemical sensors require periodic replacement to operate properly, and the times vary from manufacturer to manufacturer.
In conclusion, you can help prevent dangerous H2S gas accidents by reviewing potential H2S hazards within your facility, developing a safety monitoring plan, installing and maintaining the proper equipment, and training employees. H2S deserves respect and caution because at its worst it can be a killer.
Shankar Baliga is the manager of R&D at General Monitors, 26776 Simpatica Circle, Lake Forest, CA 92630, a manufacturer of gas and flame detectors for combustible, toxic, and flammable environments. More information is available by calling 949-581-4464 or visiting www.generalmonitors.com. neutae


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Spell | Amount Healed |
Divine Light | 11733 + 1.15306p |
Beacon - Divine Light | 5866 + 0.57653p |
Light of Dawn (Glyphed, 3pt) | 11512 + 2.376p |
Beacon - Light of Dawn | 5756 + 1.188p |
(Values taken from Elitist Jerks.)
For the on-beacon scenario, healing done = 3 DL + 1 LoD + 1 Beacon_LoD.
For the off-beacon scenario, the extra GCD contributes about 60% of a Divine Light. Healing done = 3 DL + 3 Beacon_DL + 60% * DL + 60% * Beacon_DL
If we remove the common 3 Divine Lights from both scenarios, we end up with the following:
On-beacon healing: 17268 + 3.564p
Off-beacon healing: 28159 + 2.767p
Note that on-beacon healing actually has a higher coefficient. What that means is that there is a point of spellpower such that on-beacon healing will surpass off-beacon healing. That point is around 13700 spell power.
So off-beacon healing still does more healing. But there is a cost. That 60% of a Divine Light costs a fair bit of mana, while the Light of Dawn was free. And on-beacon healing will do more if the last heal in the off-beacon scenario was a Holy Light instead of a Divine Light.
So, unless my math is greatly wrong, on-beacon healing is surprising close to off-beacon healing. It may even supersede it if the off-beacon healer casts Holy Lights sometime during the fight, as the mana saved during the on-beacon rotation can allow you to replace some of the Holy Lights with a Divine Light.
Of course, this doesn't count the practicalities of healing specific fights. Sometimes two tanks are taking the brunt of the damage, weighting towards off-beacon healing. Sometimes only one tank is taking damage, weighting towards on-beacon healing. In a 10-man, Light of Dawn is less likely to hit all 6 targets (though it does hit pets as well).


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Regionally, Whitemarsh is one of Philadelphia's inner-ring suburbs, albeit one that has escaped the negative connotations of that much maligned term.
Find quick demographic facts about Whitemarsh Township.
With its initial settlement occurring over 300 years ago, the township has a long and rich history, filled with events of regional and even national importance.
The Township has several significant regional recreational amenities in addition to local municipal parks.
Whitemarsh Township is a 14.53-square mile municipality located in southeastern Montgomery County.
Whitemarsh Township has both highway access and service from SEPTA rail and buses.


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In an attempt to prolong the life of a franchise seemingly past its sell-by date, Warner Brothers has literally and figuratively brought out the big guns for Terminator Salvation, the fourth Terminator film. Beside the heavy artillery, we get Christian Bale (from the studio's top-performing Batman franchise) as John Connor and, yes, a CGI cameo from the Governator—just in case. The order of the day is lots of noisy, yawning, metal-crunching mayhem, and purely on that level, Terminator Salvation is passable action trash. But the unfocused story is only half-considered, with important connective tissue no doubt on the cutting room floor (and soon in the home-video bonus features) and lapses in logic that no amount of blooming fireballs can conceal.
Most of the relentlessly grim Terminator Salvation takes place in 2018, in a desaturated post-Judgment Day landscape that's the setting for the machines' ongoing holocaust of the human race. Screenwriters John D. Brancato & Michael Ferris (who also wrote Terminator 3: Rise of the Machines, a punching bag for many fans) wrote the underlying script, the first set primarily after Judgment Day (excepting an episode of Fox's just-cancelled Terminator: The Sarah Connor Chronicles), but the finished screenplay is the result of contortions conditional to Bale taking the role of Connor, and a polish by Jonathan Nolan, a screenwriter trusted by Bale. And so it is that John Connor shares equivalent screen time to new protagonist Marcus Wright (up-and-coming Aussie Sam Worthington). Wright, an ex-con carrying a heavy weight and a cloudy past, has mysterious ties to Skynet, the computer system that became self-aware and nuked Earth as an opening salvo in a war against humans. He's also said to have an exceptionally strong heart. Aww.
The film's opening sequence leaves little doubt as to what's going on with the Wright character—and the film's previews have left even less. Suffice it to say that Terminator Salvation is a sort of "man and superman" tale with thinly developed super-text of what it means to be human. "We are not machines," says Connor. "If we behave like them, what is the point in winning?!" (take that, American torture defenders!) A few lines like these are sprinkled about the picture merely to excuse the mindless but spectacular sci-fi action; unfortunately, the clunky dialogue and dopey plot twists do damage by inspiring inappropriate laughter. Even more paltry than the themes are the supporting roles. The deeply respected Jane Alexander turns up for only a handful of lines, and Bryce Dallas Howard gets an entirely thankless role as Connor's pregnant wife Kate. Among the women, only Moon Bloodgood's Blair gets an interesting story beat, as she bonds with her savior Marcus.
John Connor's "J.C." has always been the promised savior of the post-apocalyptic human race, though here he's still grudgingly taking orders from elder non-believers (especially, in a nice bit of genre-friendly casting, Michael Ironside of Total Recall). Their resistance efforts turn to testing end deploying an "off-switch" signal against the machines, but in his free time, Connor still sends out messianic radio broadcasts to his small but loyal audience of true believers and listens to tapes from his dearly departed mother Sarah (Linda Hamilton). Thanks to her, John knows he had better defend teenage Kyle Reese (Anton Yelchin) from the machines: as fans know all too well, Reese (played by Michael Biehn in the original Terminator) will grow up to sire John after time-traveling into the 1980s. Teen Reese introduces himself to Marcus as the head of the "L.A. branch" of the resistance, whose only other member is a little mute girl (Jadagrace). Kyle's story thread nicely dovetails with the franchise's motif of young men with destinies to fulfill, an idea ever in tension with the motto "No fate but what we make."
Director McG focuses on proving that he's capable of more than the candy-colored projectile vomit of movies like Charlie's Angels. There is a gritty intensity to the action, but its conception is mired in the commercial paradigm of Transformers, rather than James Cameron's story-driven entries (Cameron and Gale Anne Hurd conspicuously take no credit for the universe they co-created). McG evokes a Vietnam-esque ground war (choppers, bogs, and trees on fire) between the truly big action scenes starring snake-like Hydrobots and giant people-collecting Harvesters that shed moto-terminators (unmanned motorcycles). The action sometimes conjures a thrill-ride's breathtaking quality or, in other words, Terminator Salvation's only hope of redemption with audiences.
Warner pulls out the stops for its Blu-ray edition of Terminator Salvation, offering two cuts of the film, in hi-def, a plus-sized video commentary, and a couple of cool featurettes. Disc One features the Director's Cut and Disc Two the Theatrical Version. Both spectacularly reproduce the film's theatrical look in minute detail. As in theaters, the image puts forward a desaturated color scheme and light film grain but a sharp clarity and intimate texture. Black level is adequate and contrast is strong, adding up to a potent picture that will please Terminator enthusiasts. The lossless DTS-HD MA 5.1 sound is reference quality. Wake the neighbors with this action-packed track, built for maximum immersive impact. A flurry of surround effects and an internal-organ-stirring low end put the listener into the world of the film.
WB's Maximum Movie Mode (last seen on Watchmen) allows director McG to give us a personal tour of the film, including picture-in-picture demonstrations, storyboard comparisons, a Terminator Mythology Timeline, and eleven Focus Points also accessible directly from the menu: "Digital Destruction," "Enlisting the Air Force" ("Molten Metal and the Science of Simulation," "Building the Gas Station," "Creating the VLA Attack," "Exploding Serena's Lab in Miniature," "Hydrobots," "An Icon Returns," "Terminator Factory," "Stan Winston Shop," and "Napalm Blast." This bonus is more than feature-length, due to the branching pods and McG pausing the action as desired to add further commentary.
The making-of overview "Reforging the Future" (19:01, HD) covers all aspects of production with set footage and interviews with McG, Halcyon producers Victor Kubicek & Derek Anderson, Christian Bale, executive producer Jeanne Allgood, producer Jeffrey Silver, associate producer Steve Gaub, Sam Worthington, production designer Martin Laing, assistant art director Greg Hooper, location manager Michael J. Burmeister, Moon Bloodgood, Anton Yelchin, set decorator Victor Zolfo, costume designer Michael Wilkinson, Terminator makeup and animatronic effects man John Rosengrant of Stan Winston Studios, visual effects art director Christian Alzmann, ILM animation supervisor Marc Chu, second unit director/visual effects supervisor Charles Gibson, special effects coordinator Michael Meinardus, key powder foreman Anthony Simonaitis, ILM visual effects supervisor Ben Snow, and CG supervisor Pat Conran.
"The Moto-Terminator" (8:33, HD) serves up fascinating behind-the-scenes footage of the development, rehearsal with, and performance of the Moto-Terminator in the real world and in dedicated special effects computers. McG, Gaub, Alzmann, Laing, assistant art director Desma Murphy, illustrator Victor Martinez, stunt player Rick Miller, Bale, Chu, and stunt player George Cottle offer their comments on the sweet ride.
Fans get more via BD-Live, and a third disc delivers a Digital Copy.
Review gear: |
Panasonic Viera TC-P55VT30 55" Plasma 1080p 3D HDTV
Oppo BDP-93 Universal Network 3D Blu-ray Disc Player
Denon AVR2112CI Integrated Network A/V Surround Receiver
Pioneer SP-BS41-LR Bookshelf Speaker (2)
Pioneer SP-C21 Center Speaker
Pioneer SW-8 Subwoofer


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By Tom McGrath
Shoshana Wayne Gallery presents a solo exhibition of Chie Fueki's new paintings today, April 13 through May 25. This is Fueki's fourth show with the gallery.
A cursory glance at Fueki's new exhibition reveals an artist known for her glam surfaces, outré fastidious rendering, decalcomania cal motifs, and pop-folk iconography at her most visually superlative.
But don't let Fueki's characteristically seductive optics camouflage their true content: a lingering gaze over Fueki's exhibition as a whole reveals something more peculiar woven throughout the counter-veiling spectacle, a deeper enigma at the heart of what lies "all on the surface."
A series of paintings on panels of relatively equal dimensions surround the viewer lining the walls around the circumference of the gallery. Each panel bears the likeness of the same woman, wearing the same hat, facing the same direction in a circuit broken only by her symmetrically mirrored image in a couple of calculated irregularities. The subject of Fueki's portraits seems to fix her gaze elsewhere at the very insistence that she is everywhere at once.
Fueki's work has always dabbled in the elliptical parallelism between high renaissance art, 80's scroll screen computer game graphics, art nouveau naturalism, early modern orphism in painting and fashion, Japanese folklore and Shinto animism; the rediscovery of the radical psychedelic tropicalismo of her childhood spent in 70's Brazil, and the flat fixations of Anime culture. The complex curvature of her figuration seems to combine the lyrical subtlety and baroque trajectory of Bezier curves, with older forms of vector graphics and Euclidian geometries, analogously present in non-albertian non-western representations of space such as the Edo period woodblock prints or Hiroshige.
The surfaces in each painting are layered with painted paper and collaged onto the surfaces, which are painted on again. The flower motif repeated in several works are sometimes hand painted, sometimes silk screen collaged. Fueki's pattern and decoration is steeped in codes of feminism and analogous reversals of normative identity roles through the optical exchange of figure and ground, origin and motif.
Fueki's repetition and sequencing places her in a dialogue within a certain pitting of seriality against the narrative sequence of the image. Her repetition plays in the culture of the copy; where the contradiction between the procedural and the intuitive is the narrative foil to the larger questions of image ownership and dissemination; franchise remakes, networks, new manners, friendships and social atomization. More importantly, as a child of third culture experience, (having grown up in Brazil to Japanese parents, relocating to New York in the 90's), Fueki's imagery is an issue of both speculative identity and questionable ownership.
Assuming that Fueki's portrait is an assemblage of different identities and likenesses, how do we as viewers know from whence she came? Certain clues refer back to Fueki's stylistic synthesis of Tropicalia and super flat aesthetics. The hat of Fueki's protagonist bears uncanny resemblance to that of a famous Brazilian pop singer, Nara Leão, on the cover of her album "dez anos depois", and on the cover of the classic Tropicalia record "Bread and Circuses" (where she appears in a photo held by Caetano Veloso). She looks a little like an Echo Park folkie, a little like Carmen Sandiego. But who is she really?
Each of Fueki's serially similar canvases seems to contain elements of a structural nature breaking through the dense figure-grounding of pattern- literally, silhouettes of various flora transposed through a dense network of grids and lattices. Fueki's other botanical schema evoke the textile and wallpaper designs of William Morris. But Fueki is no anti-modern child of nature. As in her previous work, the natural is rendered with such technical precision as to seem "technological" in a way that evokes early 3-d modeling, computer graphics and isometric architectures leaping out of their diagrammatic 2-dimensionality.
Like any work of art operation, we can assume that our understanding of even the most pictorial and decorous image is one of apophasis: what's at stake is a combination of what elements are visibly present, with those issues rendered conspicuously absent. In other words, Chie Fueki's paintings, camouflaged in botanical tropicalia and diagrammed between perspectival systems, aren't about the glancing circuit of her mysterious protagonist, they are about the eye of the beholder.
Shoshana Wayne Gallery is located at 2525 Michigan Ave. B1 (Bergamot Station), Santa Monica.
For more information, call 310.453.7535 or visit www.shoshanawayne.com.


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Welcome to DarvidArt! DarvidArt is me. One man, a camera and a passion for photography, looking to capture some beautiful images to share. South east Queensland is a great place to be a photographer, there's so much wonderful scenery here.
I enjoy the stillness of the morning as the first light of the sun starts to appear on the horizon, so I'm often out at dawn or sunset and photographing the local sights. Whenever I get the chance to travel and explore new places, I always make sure my camera is with me.
Why DarvidArt?Since sometime around 1995 I have travelled the net under the pseudonym Darvidanoar; an odd nickname given to me by a good friend. Unfortunately, regular people find it impossible to pronounce or remember. Now that I've started to get more serious with photography, I thought it was time I went by a name that is a little easier to remember. And so was born DarvidArt.
I've been a landscape photographer, and sometimes event photographer, for a number of years and you may even have seen some of my images on Google Earth.
While you're here why not take a stroll through the photo gallery and see what's on offer and don't forget to check out the latest news on my Facebook page. Please feel free to contact me if you have any queries, questions or quandaries about this site and my photos.
Pssst ... take a look on the links and freebies page for loads of free images for your windows desktop!
Thanks for stopping by!


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AKA: | "Zormba" |
Synopsis: | A young British writer (Bates) comes to Crete to find himself by working his father's mine. He meets Zorba, an itinerant Greek laborer (Quinn), and they take lodgings together with an aging courtesan, who Zorba soon romances. The writer, on the other hand, is attracted to a lovely young widow. When she responds to him, the townsmen jealously attack her. Zorba teaches the young man the necessary response to life and its tragedies. Based on a novel by Nikos Kazantzakis. Masterpiece performance from Quinn. Beautifully photographed, somewhat overlong. Film later written for stage production. |
Directed by: | Michael Cacoyannis |
Producer(s): | Mihalis Kakogiannis |
Cast: | Anthony Quinn, Alan Bates, Irene Papas, Lila Kedrova |


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Peter's excellent blog posting pointed to a movement I'd never heard of before: Militia of the Immaculata (MI). In the process of figuring out what it might be, I read this important qualification:
Marian consecration is a formal act of self-giving that does not stop at Mary, but is Christ-directed. It is really consecration to Jesus. The MI's mission is "To Lead Every Individual With Mary to the Most Sacred Heart of Jesus."
To the computer science side of me, this sounds like indirection:
- Consecration to Mary points to
- The Most Sacred Heart points to
- Jesus.
In programming, indirection can be incredibly useful since it:
- Hides irrelevant details
- Increases flexibility
- Can be efficient from a CPU performance perspective.
Of these, only #1 makes any sense as a use for indirection in the Christian faith, but that can't be a justification as there are usually many more symbols added to the mix in these sorts of movements. Given that there's something important in the chain of symbols, what's the right way to think of this sort of indirection?


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TV Aerial Repairs
Are you experiencing problems with your television reception? Is your picture freezing during bad weather? Has it become glitchy? Getting the message 'No Signal'?
At DigiTec, we have all the latest testing equipment & meters to check your signal strength as well as to give your system a maintenance check up. When we find the reason why you're getting a poor reception we will offer you a solution. We can carry out most aerial repairs there and then as we carry all the approved equipment on our van. For Aerial Repairs call 07726 299 032 Generally people understand if after a storm where strong wind has knocked down your aerial that you start to get problems with your television picture. But most of the time the reason why you may be experiencing a problem with your signal is not so visible.
Due to the increase in interference from such things as WiFi, mobile phones (4g), water ingress into both the TV aerial & cable, more and more people are calling DigiTec for Aerial Repairs. Unless a digital approved TV Aerial (which is designed for wide band digital signal) & double shielded aerial cable is installed by a professional, then it's only a matter of time before your Freeview digital TV viewing is going to be interrupted. If you have been using an existing analogue TV Aerial for some time now but have started to get picture freezing or at certain times a glitch, then it does point to a few possible reasons. Sometimes a repair is all that is needed. Other times though what will be needed to resolve it long term would be a complete Digital approved TV Aerial Installation including double shielded cable.
Due to age and increased interference these old analogue aerials are becoming less & less effective. When we go to a property to carry out aerial repairs, we do a survey and signal check on the whole system to determine exactly the cause of the fault. We then explain to the customer the solution and cost before we start any Aerial Repairs DigiTec carry all the right equipment to not only find the reason for the fault, but to either repair or replace any damaged or substandard equipment. We are house trained meaning we put on boot covers when entering your home. We also tidy away any mess after finishing any aerial repairs.
If you are experiencing any issues with your television picture whether it is from your aerial or satellite, we have the experience and know how to provide a lasting solution. For more info on Aerial Repairs or to book a TV Aerial Repair appointment, call us on 07726 299 032. TV Aerial Installation |


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Good veterinarians talk to animals. Great veterinarians hear them talk back.
Let's face it. You have to be at least a little bit crazy to be a veterinarian. From there, it's just a short jump to being like me—a whole lot crazy. One of my symptoms is that I regularly talk to animals. Wait! That's not quite true. I don't just talk to animals, I actually converse with them. You may understand. You may not. Mrs. Earful certainly didn't.
She overheard me giving an impromptu lecture to the cats in C-ward last week and went ballistic. It's hard to describe the look on her face. It was the type of expression you might exhibit if you saw a giraffe roller skate across your back yard.
"Doctor, I can't believe what I just heard. Are you talking to those animals?" she asked.
I formulated a clever answer: "Yep!"
Somewhat horrified, she ran to the waiting room to share her discovery. Apparently, as a self-appointed whistle blower, Mrs. Earful was anxious to let the cat (conversation) out of the bag.
"I just caught Dr. Obenski talking to the animals. Is he unbalanced or what?"
Unfortunately for her, no one cared. Mr. Babble was too busy telling his pooch that the surgery would be no big deal, Guy Macho was whispering baby talk into his cat's ear and my staff already knew I was crazy.
I talk with the animals—so what? Who doesn't?
Take this morning for example. As part of my daily routine I grabbed a can of "Yum-Yum Kitty Stew" and headed for the barn. Brindle went with me. Brindle is a purebred farm dog of questionable parentage—though I'm reasonably certain that most of her DNA is of canine origin. We arrived to find Dixie and Yoo-Hoo dancing around the cat food dish. Jake was busy pounding his left hoof on the stall floor and complaining.
"Hey! How come you're feeding the cats?" he asked.
"Because I like kitties too," I told him.
They all burst out laughing. "Ha ha, Michael likes Kitty Stew." I tried to point out that I said "kitties too," not Kitty Stew, but they were too busy laughing at me to listen. (Jake never really understands barn humor, but he always chortles along with the group because he doesn't like to feel left out.) As the hilarity faded, Patrick chose to urinate on the floor of his stall. Brindle was absolutely appalled.
"That's so rude. What's wrong with you Pat? Were you born in a barn?"
Now they all became hysterical because, except for me, everyone present was in fact born in a barn. A few minutes later Heidi and Gretchen, the neighbor's dachshunds, stopped by to ask what all the laughing was about. Jake tried to explain it, but he didn't really understand it himself. As the doxies left, Brindle decided to resurrect another oldie but goodie.
"Hey, wiener dogs," she called out. "Don't be long!"
Of course, Jake didn't get that one either. So Yoo-Hoo asked him, "Jake, why the long face?"
Now, everyone except Jake was laughing again. I tried to explain that all horses have long faces, but Jake didn't understand even though I tell him this almost every day.
So that's a typical morning conversation in my barn. You may understand. You may not. As for Mrs. Earful, she demanded a copy of her pet's record and went elsewhere. Anyone else who has trouble understanding my behavior is invited to stop by anytime. I'll have Jake explain it to you.
Dr. Michael Obenski owns Allentown Clinic for Cats in Allentown, Pa.


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I currently keep track of each brew in a little notebook and I have sort of a template I created myself for the brew date, date moved to secondary, bottle date, gravities, ingredients, etc.
Are there any resources available for printing out premade record sheets? I could hole punch them and put them in a binder.


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The sequel to Ash, a turn-based RPG developed by SRRN Games popular among the mobile-RPG crowd, has now been released on iOS devices.
Picking up right from the cliffhanger the first game had left players on, Ash II: Shadows sees Aghaus in some more trouble as they rejoin Nicholas and Damien to take on new quests, meet new characters and for the first time in an Ash game you'll have the chance to uncover a crocodile hiding in a tent. That last one had me most excited.
To celebrate, Konami has cut the price of the original Ash game to $0.99 for a short time so those who haven't gotten into the series can do so; no excuses. Also, Ash II: Shadows will come in a Silver and Gold edition. The Silver edition is the base game for $2.99 with Chapter 2 DLC free and 50% off future content while the Gold edition will grant all future DLC free and is going for $4.99.


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What's the Next Step?
There are a few questions you'll want to have answered. And if you don't know, don't guess!
If you've come this far, and have determined E15 and/or flex fuels are an opportunity to explore further, don't be shy, speak up and ask plenty of questions.
The most successful E15 and flex fuel retailers are the ones who learned everything they could about the products and were excited to offer them to their customers. We prefer to work with marketers who understand the benefits and potential pitfalls and are committed to educating their employees and customers about new fuels that have become available. Those retailers sell more ethanol, gain more customers, and make more money. That's a big win/win for everyone.
Check for updates on flexfuelforward.com, or byoethanol.com or contact us for the most up-to-date information, including non-governmental funding opportunities. And visit our online roadmap for a few more pointers.
If you're still not sure what you want to do, ask another retailer who is already selling E15 and/or flex fuels. You can find some of their stories on flexfuelforward.com, and we will be happy to put you in touch with other marketers who have already done some of the things you're thinking about doing. They can tell you what was easy, what was challenging, what still causes problems, and what problems they expected but never had.
For More Information
- Ron Lamberty
- Senior Vice President, American Coalition for Ethanol
- 605-334-3381
- email@example.com
Item one on this checklist is: Get a good checklist.
You're going to want to have a checklist that you can hang on to after the conversion is complete, to make sure everyone got their work done, record all the details of your conversion or installation, and minimize the time you'll have to spend with various authorities when they come to check up on you.
A resource for a comprehensive checklist:
How to Do It: Blender Pumps
Do you have hesitations about installing blender pumps? Kent Satrang (Pro-Serve USA) says there's nothing to worry about.
How to Do It: Percentage of Fuels We Blend
Ethanol blends are more common than you think. Scott Zaremba (Zarco USA) shares the details here.


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Lenore Carol Blum
Quick Info
New York, USA
We should make it clear from the beginning of this biography of Lenore Blum that Blum is her married name which she only took after marrying Manuel Blum, who was also a mathematician. However, to avoid confusion we shall refer to her as Blum throughout this article. Lenore's parents were Irving and Rose Epstein and, in addition to a sister Harriet who was two years younger than Lenore, she was part of an extended Jewish family with several aunts and uncles. Her mother Rose was a high school science teacher in New York. Lenore attended a public school in New York City until she was nine years old when her family moved to South America.Her father Irving was in the import/expert business and he and his wife set up home in Venezuela for Lenore and Harriet. For her first year in Caracas Lenore did not attend school but was taught by her mother. Basically the family were too poor to be able to afford the school fees. After a year Rose took a teaching post in the American School Escuela Campo Alegre in Caracas and this provided sufficient money to allow Lenore to attend junior school and then high school in Caracas. While in Caracas, she met Manuel Blum, who was also from a Jewish family. He left Caracas while Lenore was still at school there and went to the United States where he studied at the Massachusetts Institute of Technology.
Returning to the United States, Lenore applied to the Massachusetts Institute of Technology both because it was an excellent place for her to study and also since Manuel was there, but she was not accepted. At this stage she was not set on taking a degree in mathematics but had other interests so she enrolled in the Department of Architecture at Carnegie Institute of Technology in Pittsburgh. It was during her first year of study, which she began in 1959, that the mathematics courses she was studying made her realise that she should change her course to specialise in that topic. For her second year at the Carnegie Institute of Technology she took mainly mathematics courses but still studied courses on sculpture and design. She did take a course on experimental computing which would prove important for her future interests.
After two years at the Carnegie Institute in Pittsburgh, Blum transferred in 1961 to Simmons College in Boston to study mathematics. The main reason for the move was that she had married Manuel and of course they wanted to be together. It was not an entirely satisfactory move for her from the academic point of view, however, since the mathematics course at Simmons did not stretch her as she would have wished. She had made a number of unsuccessful applications to the Massachusetts Institute of Technology but at last she made a successful one and began to study there while completing her first degree at Simmons College. She was awarded her B.S. from Simmons in 1963 and continued working towards her doctorate at MIT. While studying at MIT her son Avrim was born.
In 1968 she was awarded a Ph.D. for a thesis Generalized Algebraic Structures: A Model Theoretical Approach. She was offered an appointment as a postdoctoral student, Lecturer in Mathematics, and research associate at the University of California at Berkeley and she remained there for two years. In 1973 she was employed by Mills College to teach an algebra course, but finding the course unsatisfactory she began to develop new educational ideas. In 1974 she founded the Mathematics and Computer Science Department at Mills College and served as its Head or co-Head until 1987. During this time, in 1979, she became the first holder of the Letts-Villard Chair at Mills College.
Over many years Blum has championed increased participation of women and girls in mathematics and has been actively engaged in promoting this cause through different organisations. In 1975 she became President of the Association for Women in Mathematics, an organisation she which had helped to found. Also in 1975 she became co-director of the Math/Science Network which organised "Expanding Your Horizons" conferences for girls attending high school.
In addition to these organisations, Blum is also a member of the American Mathematical Society, serving on its Council and she also as Vice President of the Society in 1990 - 1992. She represented the Society at the Pan African Congress of Mathematicians in Nairobi in the summer of 1991 and after this continued to work at building links between African and American mathematicians. Elected a Fellow of the American Association for the Advancement of Science in 1979, she served as Chair of the Mathematics Section in 1998 - 1999.
We should now discuss Blum's impressive contributions to research. After her thesis, perhaps her next important piece of work was Towards a Mathematical Theory of Inductive Inference, Information and Control which she published jointly with her husband Manuel Blum. The paper studies the mathematical model of inductive inference introduced by E M Gold in 1967. An inductive inference machine produces, from any enumeration of a partial function, a certain output sequence of numbers. After defining when such a machine is reliable on a set of partial functions they characterize the sets of functions that can be identified by machines which are reliable on all partial functions.
Blum's next important paper was Differentially closed fields: a model-theoretic tour which appeared in 1977 and, for the first time, made accessible some results she had found ten years earlier and included in her thesis. The 1980s, however, saw Blum make a major decision to devote herself exclusively to research. A National Science Foundation award in 1983 allowed her to begin a most fruitful collaboration with Mike Shub. She was Visiting Professor at the City University of New York Graduate Center for a while and later she was a Visiting Scientist at the IBM TJ Watson Research Center. Then, in 1988, she became a member of the Theory Group of the International Computer Science Institute in Berkeley. After this Blum served as Deputy Director of the Mathematical Sciences Research Institute in Berkeley from 1992 to 1997.
Beginning in the late 1980s and continuing throughout the 1990s Blum, with several co-authors, has developed new directions in the theory of computation and complexity. An important first contribution was Blum's 1989 paper Lectures on a theory of computation and complexity over the reals (or an arbitrary ring) which extended the theories of computation and computational complexity from the standard discrete situation to study how these ideas can be developed in continuous domains such as the real number system. Working with Smale, she answered a question in 1990 which had been posed by Roger Penrose. They proved that the Mandelbrot set is undecidable, a question which Turing theory does not allow one to even formulate. In the same year Blum was invited to address the International Congress of Mathematicians in Kyoto, Japan, on these new theories.
The first textbook on this important new area was Complexity and Real Computation published in 1998 jointly by Blum, Steve Smale, Mike Shub, and Felipe Cucker. In this book they argue that classical complexity theory, based on the Turing model, is inadequate for studying many problems and algorithms in modern scientific computing; the book then develops a complexity theory which can be applied to these areas. To illustrate this new approach let us quote from the Introduction:-
The classical theory of computation had its origin in the work of logicians - of Gödel, Turing, ... , among others - in the 1930s. The model of computation developed in the following decades, the Turing machine, has been extraordinarily successful in giving the foundations and framework for theoretical computer science.Klaus Meer, reviewing the book, writes:-
The point of view of this book is that the Turing model (we call it "classical") with its dependence on 0's and 1's, is fundamentally inadequate for giving such a foundation for modern scientific computation, where most of the algorithms - with origins in Newton, Euler, Gauss, et al. - are real number algorithms.
The book is very well written. Each topic is developed from its very beginning and therefore the book is already perfect to use on a graduate level. Nevertheless most of the results presented define the current state of the art and, thus, this monograph is a must for anyone interested in the field. Especially striking is the interplay of various mathematical disciplines such as algebraic number theory, algebraic geometry, logic, and numerical analysis, to mention a few. This shows in a very convincing manner the many different aspects of the current approach.Blum spent the academic years 1996-98 as Visiting Professor of Mathematics and Computer Science at the City University of Hong Kong. As well as continuing to develop her important ideas in research, Blum helped to undertake a revamping of the mathematics courses. While in Hong Kong she gave an interview in which she explained the current direction of her research. Although to some extent it repeats what we have written above, it is a non-technical description which is well worth quoting:-
Theoretical computer science is very well developed but the kinds of problems that it deals with are what we call discrete problems - problems that have to with graphs or counting. There's a whole other kind of computation which has to do with more continuous problems. ... Calculus uses real numbers rather than counting numbers because it's measuring things in the real world. The theory of computer science deals with counting numbers but not real numbers.In 1999 Blum was appointed Distinguished Career Professor of Computer Science at Carnegie Mellon University.
We've developed a parallel theory ... of computation that deals with the real, physical world. Continuity is the mathematics of calculus and physics but there's never been a theory of computation that deals with this continuum. That's what we've developed.
She is also co-director of ALADDIN, the Center for ALgorithm ADaptation Dissemination and INtegration, which aims to improve the process of incorporating powerful algorithms into application domains.
On 16 May 2005 President George W Bush announced that Blum was one of the recipients of the 2004 Presidential Award for Excellence in Science, Mathematics and Engineering Mentoring. The citation reads:-
Lenore Blum of Carnegie Mellon University helped pioneer the Expanding Your Horizons program at Mills College in 1973. The program - designed to introduce young female students to women in science and related careers - has since gone national through the Math/Science Network. Blum's leadership has also been instrumental in transforming the culture of computing at Carnegie Mellon to embrace diversity as critical for the field and future of our nation and by creating a model mentorship organization, Women@SCS, for women students in computer science.In fact in June 1999, on the 25th anniversary of the founding the Department of Mathematics and Computer Science at Mills College, the College had awarded her an honorary Doctor of Laws.
References (show)
- T Perl, Women and Numbers : Lives of Women Mathematicians (1993).
Additional Resources (show)
Other websites about Lenore Blum:
Honours (show)
Honours awarded to Lenore Blum
Cross-references (show)
Written by J J O'Connor and E F Robertson
Last Update September 2009
Last Update September 2009