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Description: Tunic-style dress and shirt sewing pattern. Sizes Small (2T/3T), Medium (4T/5T) and Large (6/7). Loosely inspired by a Mexican housedress, Frida is feminine, comfy and fun! Open side vents make it light and airy during warmer months and perfect for ...
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Description: Flat-front shorts and pants have waistband, belt loops, side front pockets, back patch, and side pleated cargo pockets, flaps, and front button and mock fly zipper closures. Sizes range from Men's S-XXL. Click here for pattern back.
Description: Make a lovely, useful, and meaningful gift for expectant parents! Baby-wearing has long been practiced in many cultures around the world, and research has shown that worn babies are happier and learn more quickly. The Mei Tai is a traditional ...
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text:
- Latest
- Popular
- Blogs
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… I'll never forget the first time I watched one of Lisa Irby's video tutorials. I was searching on YouTube for blogging and marketing tips and found one of her WordPress videos was one of the first results on the page. That was back in 2009 and I've been a huge fan of Lisa's ever since. We've chatted many times on each other's blogs, on social…
… screencasts. On top of that there's all the time you spend researching topics and keywords for titles, and last – but certainly not least, your hard work putting together a video marketing and promotion strategy. That's why I put together this roundup of valuable YouTube tips, tools and tutorials, so you can have a collection of video tracking tools…

subset: commoncrawl


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Refute scientific study of bacteria that could live for arsenic
Two years ago, NASA announced with much fanfare a discovery that could help us find Life on other planets: a bacterium that lived on the basis of arsenic , unlike all other forms of life on Earth, which is based on carbon, hydrogen, oxygen, nitrogen, sulfur and phosphorus.
However, after 18 months of controversy, scientists have concluded that the bacteria in question actually requires phosphorus to exist, and can not survive without it.
In 2010, the study presented in Science indicated that the bacteria Halomonadaceae GFAJ-1 could replace the phosphorus atoms of arsenic. The bacterium was discovered in Mono Lake, a very salty lake in California.
arsenic has some similarities with phosphorus, but usually toxic to living things, so the idea that a way of life could be sustained in this item off a series of doubts and criticisms about the way it was given to this discovery, with great fanfare from NASA. The Space agency funded part of the investigation, with the idea of finding different ways of life might exist elsewhere in the universe.
Several scientists were devoted to checking then study and try to replicate it without success. The journal Science published in its issue of paper two papers that confirm that although the bacteria can tolerate arsenic, your life depends on the match.
The microbiologist Rosie Redfield and his collaborators indicate that when the bacteria grow in an environment very little arsenic and phosphorus, their DNA contains no detectable arsenic compounds. In another paper, microbiologist Julia Vorholt Federal Institute of Technology in Zurich, said that the bacteria can not grow in a medium containing no phosphate and having arsenate . However, it is permitted in low phosphate media and in the presence of arsenate.
Thus, the bacterium is resistant to arsenic, but anyway dependent phosphorus.
The results indicate that the original investigation, conducted by Felisa Wolfe-Simon, samples that had contained more phosphorus than they had originally thought.
Science magazine said about it: "This new research shows that GFAJ-1 does not break long-held rules of life, contrary to the manner in which Wolfe-Simon interpreted the data of his group."
Wolfe-Simon dropped the controversial profile, ensuring that the results of these studies "are consistent with our original paper." The researcher noted that his paper was "suggested that the cells require phosphorus," however, "our data suggest that a small portion of arsenate can be incorporated into biomolecules and cells, helping cells to survive in high- arsenate and phosphate very little, "he said.
According to Wolfe-Simon, this story is not yet completed. "The key question is how these cells survive in lethal concentrations of arsenic? And, where does arsenic? "
– Absence of Detectable DNA from arsenate in arsenate-Grown GFAJ-1 Cells (Science)
– GFAJ-1 Is an arsenate-Resistant, Phosphate-Dependent Organism (Science)
– Arsenic-loving bacterium Needs phosphorus after all (Nature)


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Contact Information
ISR - The Institute for Urban
and Regional Research
Postgasse 7/4/2
1010 Vienna
Tel.: +43 1 51581-3520
Fax: +43 1 51581-3533
Email: isr[at]oeaw.ac.at
Recent Research Results
New publication
Aktuelle und zukünftige Wohnbauentwicklung im Grenzgebiet
Nordburgenland und Bratislava
Vera Kapeller, Johannes Huemer (Hrsg.)
New publication
Gentrification in Neighbourhood Development
Case Studies from New York City, Berlin and Vienna
Yvonne Franz
Vienna University Press at V&R unipress, 2015
News and activities
New project employee Marlene Gsenger
Marlene Gsenger, MA is communication scientist and is supporting the research group 'Innovation and Urban Economy' at ISR from January until June 2017. She is conducting a media analysis in the project "Die Rückkehr historischer Investitionsmuster? Die Bedeutung der Pfadabhängigkeit für die Internationalisierung der Wiener Banken" headed by Dr. Robert Musil.
Interview stadtstreunen.at
ISR researcher Dr. Walter Rohn was interviewed by the blog stadtstreunen.at about his research project 'Newcult – New culture on the Outskirts of Cities'. He talks about the differences of cultural policy in Vienna, Paris, Zagreb and Berlin and illustrates the cultural developments on the outskirts of Vienna. [Mehr]
Interview in METROPOLE
ISR researchers Robert Musil and Jakob Eder spoke with METROPOLE magazine about Vienna as a research city and its strengths, challenges and perspectives. The article was published in the current issue of October 2016. [More]


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The beautiful Autumn colours in Edinburgh are only rivalled by the colours coming out of the Skerries Restaurant kitchen recently. If you've not been in to see us yet, here's a taste of what you've missed and what could be coming next from the culinary genius we all know as Chef Paul Hood!
Scallop Sausage
Yep, you read right – scallop sausage! Or to give it it's proper name, Scallop Boudin and it is GORGEOUS! It's simple to make, blending fresh Orkney scallops with egg whites and cream, wrapping the mixture up like a Christmas cracker in clingfilm and poaching for 25 minutes at 48 degrees. Paul's dish was served with a crispy cod cracker, made from the fish skin, apple purée, cider braised cockles and vanilla foam. It was one of the fastest selling specials we've had in a long time, so am sure it will pop up on the menu again one day.
Chilled Asparagus Soup
Nothing ground breaking about this recipe, its simple, clean and absolutely delicious! It's also an amazing colour, don't you agree? Served with hot smoked salmon mousse and whisky cured salmon it's a dish not to be missed if you see it on the specials menu next time you're in.
Something Sweet
Nothing tops off a good dinner better than a stunning dessert. The latest special has that perfect combination of dark chocolate pave with sweet raspberries, raspberry popcorn, apple gel and apple sorbet. So many different flavours on one plate, all balanced to create a dessert not to be missed. I am crossing my fingers that this one goes back on the menu soon or somehow finds it's way into the office one Friday afternoon…hint hint Paul!
See You Soon!
There is always a surprise on the menu in Skerries Restaurant, as well as the old favourites such as our Orkney Seafood Chowder and hugely popular Monday Night Steak Night. Always something for everyone, so get your table booked soon and don't forget to let us know what you thought on our Facebook page after.


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Top-heavy Roma force Lazio out of Derby della Capitale
Roma beat Lazio 2-0 in the Rome Derby Sunday as the victor's offensive revolution continued. Ryan Wrenn looks at where the game was won and lost.
Arguably the most important improvement Roma coach Rudi Garcia brought to the club when he was appointed two seasons ago was a significantly improved defence. Garcia's sides recorded the second best defence in all of Serie A in his first two seasons with the club – 25 and 31 goals respectively – only missing out on the top spot in each of those seasons by a legendary Juventus side.
For all their defensive acumen, however, Roma still suffered from a lack of punch, particularly last season. At 13, they earned the fourth most draws in the entire league despite finishing second.
That level of sterility had to be addressed this offseason though few figured it would be quite as dramatic as it ended up being.
Almost all of Roma's regular starters in defence were sold or permitted to leave the club. In their place came new arrivals Antonio Rudiger and Lucas Digne, neither of which had Serie A experience, and Florenzi, himself converted to a right-back role in which he had relatively limited experience.
Those changes have been palpable, and not for the better. Of the four teams competing at present for the Scudetto, Roma have the worst defensive record with 13 goals conceded, four more than the next worse, Fiorentina, with nine. They sacrifice a relatively low 12.4 shots per game, but opponents manage to score every 4.27 of those shots they take.
Roma invested even more heavily at the other end of the pitch. Three of the four attacking players named in Sunday's match against Lazio had never played in a Rome derby before.
Those changes have paid off in contrast to the defensive revamp. Roma's offense is the best in all of Serie A. They lead the league with 25 goals scored in the first 11 matches. Their 6.9 shots on target per match also tops the table, significantly better than the next best, Napoli, with 5.7.
Perhaps more important, however, was the fact that Garcia named four attackers to his starting XI.
The Frenchman is a 4-3-3 fundamentalist, having fielded his team in that formation almost exclusively over of his time at the club, including nine previous times this season.
The switch to a 4-2-3-1 is partially down to injuries, but it also suggests a very conscious decision on the part of Garcia, one that played out in an unexpected way.
Garcia was justified in naming a top-heavy squad.
With 18 goals conceded, Lazio have the worst defensive record of the top half of the Serie A table. They've conceded an identical amount of shots on target as Roma, averaging 4.27 per game in the first 11 rounds.
Lazio's best option at centre-back, Stefan de Vrij, recently suffered a season-ending injury. If there was ever a time that Garcia would press Roma's offensive advantage, this would be it.
Did Garcia's attacking gambit work, though? It's tempting to use the 2-0 scoreline as proof and emphatically answer 'yes'. That's not the full story.
Roma scored with their only two shots on target. Lazio also managed two shots on goal but weren't able to convert either. Both teams hit the woodwork in the first half.
Roma managed 87 passes in Lazio's third, and Lazio managed 85 passes in Roma's. Possession only narrowly favored Lazio at 55-45.
Both teams averaged over 80 per cent pass success in the 11 prior games in Serie A this season. Here, Lazio and Roma managed 73 per cent and 70 per cent accuracy respectively. It was as chippy a match as you'd expect the Rome Derby to be.
All of which is to say that in every way but the scoreline, this was an even contest. Indeed, with two shots on target conceded each, this was among the least prolific performances in terms of chances by both teams so far this season.
Perhaps the lesson Garcia and Roma can take from this contest is that sometimes the best defense is an overwhelming offense. Even if Lazio kept Roma's chances limited, they only managed to do so by sitting considerably deeper than they might have otherwise.
The metronomic passer Lucas Biglia – arguably Lazio's most important player so far this season – was particularly occupied with his defensive responsibilities. He recorded a mere 69 successful passes in this game, among the lowest he's managed in a season where he's averaged 90 per game.
His five tackles were two more than his average in the previous games, a lopsided stat line that hints at just how consumed Lazio were with containing Roma.
Roma's advantage on Sunday was in forcing Lazio to first reckon with Edin Dzeko et al before they could concentrate on their own game.
To Lazio's credit, the strategy broadly worked – only Dzeko's fortunate penalty decision and Gervinho's otherworldly pace and skill separated the two sides in the end.
In doing so, however, Lazio denied themselves the chance to express the quality of their own. Garcia should take that lesson to heart as he presses on with Roma's offensive renaissance.


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Phil collins
Phil Collins I have always liked him, even before I understood his lyrics. This guy is awesome.
You know that feeling when Phil Collins comes on and you just gotta rock out?!?
Phil Collins, We worked with him a whole bunch when I was at D.P. One of the nicest guys in the biz!
Phil Collins - In The Air Tonight - one of my favs from back in the day! Saw Phil in Reno once. Was like, WHAT, Phil is that you?
Phil Collins - Not Dead Yet - Autobiography
Phil Collins Live
Underrated: Phil Collins | JD's Blog
Yes. I love Phil Collins and his music!
Phil Collins Live
Phil Collins Live - phil-collins Photo
Phil Collins (1951) - English singer, songwriter, multi-instrumentalist and actor. Photo by Andy Gotts
Phil Collins Pop Singer at Live Aid Concert 1985. Jfk Stadium Philadelphia Photographic Print - AllPosters.co.uk
Phil Collins Live - phil-collins Photo
Q 300th issue: Phil Collins…looks like a drum set…study it…thanks for sharing the picture…I love to hear his voice…God sent us a Angel…Blessings, Mitzi :)...
Phil Collins
Phil Collins - Genesis


text: What the best phoney jobs you've made up to try and impress the Ladies. Starter for 10 ! ICEBERG PILOT. Explaining that you are flown out onto icebergs by helichopter then drill a hole through the berg, drop down your engine and steer them safely out of shipping lanes to avoid titanic type destruction


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Belk & Co. 14k Yellow Gold 1.5mm Omega Necklace
$765.00 Original Price $1275.00
Savings: $510.00 (40%)
14k yellow gold round omega necklace measures 17-in. in length and 1.5mm in width.
- 14k yellow gold
- Clean with a soft bristle brush and warm soapy water. Use gold polishing cloth on gold items.
Shipping & Returns
Shipping your purchase is easy on belk.com. Depending on the destination of your package, you can expect it to arrive within 4-7 business days. Shipping Information
Returns are easy on belk.com. Easy returns


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Packers season prediction record: 7-1
Sunday's game: Vikings 20, Packers 7
Comment: This one will not end on a field goal this time. The Packers running game that has gained steam will be slowed a bit by the Vikings defense. Still, the game will be close in the fourth quarter until a mistake by the Packers' offense will lead to a separating Vikings TD. Communication on offense has to be better than last week. The same can be said for the defense.
Ken Stills, Correspondent
Packers season prediction record: 6-2
Sunday's game: Vikings 27, Packer 24
Comment: This game comes down to who will protect the football. Both teams have shown the ability to move the chains and get first downs. The problem is they turn the ball over in key situations, whether by fumble or interception. This is a tough game for me to pick. I still bleed green and gold, but purple has always been my favorite color. Vikings at home in a thriller.
Harry Sydney, Correspondent
Packers season prediction record: 5-3
Sunday's game: Vikings 24, Packers 17
Comment: Trust me I will never be a HOMER again. So this week even though I don't know how the Vikings will score, I think they will win with Ryan Longwell being a major factor. So I will say the Vikings will win.
W. Keith Roerdink, Correspondent
Packers season prediction record: 5-3
Sunday's game: Vikings 27, Packers 23
Comment: Even during the good years, the Packers rarely won at the Metrodome. That said, there's no reason to think they'll win there this week. The only mystery may be how they go about snatching defeat from the jaws of victory ... a fumble, an interception, a blown coverage? This is a young and inexperienced team that includes players AND coaches. Don't get me wrong, Green Bay is capable of winning. Aside from the Colts and Patriots, most teams seem beatable in any given week. I just wouldn't get too emotionally invested in this game. It might ruin the rest of your day off.
Doug Ritchay, Correspondent
Packers season prediction record: 5-3
Sunday's game: Vikings 27, Packers 19
Comment: The Packers have won 2 of their last 3 at Minnesota, and the Vikings have scored 7 offensive TDs in 8 games. So the Packers win, right? No. The Packers' performance last week reminded me what this team is capable of - everything from good to bad. This team is hard to get a read on, but in Brett Favre's "House of Horrors," the bad usually rises. It does again as the Packers are on a fast track to 3-8.
Jay Royle, Publisher
Packers season prediction record: 4-4
Sunday's game: Packers 24, Vikings 21
Comment: The Pack without a doubt just gave last week's game away in a tough environment, but a silver lining in that debacle was the experience gained headed to the dome. Everybody thinks Longwell is going to come back and haunt us, but it's Rayner time, baby, as time expires!!
Steve Lawrence, Correspondent
Packers season prediction record: 4-4
Sunday's game: Vikings 17, Packers 10
Comment: The Patriots showed how to beat the Vikings. Pass first, pass second and when in doubt, pass again. Problem is, the Packers aren't equipped to play that style, and the Vikings' powerful front seven will be too strong for the Packers' line.
Todd Korth, Managing Editor
Packers season prediction record: 4-4
Sunday's game: Vikings 21, Packers 13
Comment: This could be another frustrating day in the Metrodome for Brett Favre and the Packers. It will be difficult for the Packers to run against the Vikings top-ranked rush defense, so Favre will be forced to pass. The only problem is, the Packers are thin at wide receiver. Here's hoping David Martin and the tight ends have a big day, but Darren Sharper and company probably will make life miserable for Favre and wide receiver Donald Driver.
Bob Fox, Correspondent
Packers season prediction record: 4-4
Sunday's game: Packers 20, Vikings 10
Comment: For the Packers to win, they can't make the mistakes they made in Buffalo. The problem is, the Packers usually make mistakes in the Metrodome. Still, I like the Pack to bounce back this week. The Packers are a couple of plays away from being 5-3 or possibly even 6-2. They need to make those plays Sunday. I look for the Green Bay to mix run and pass against the stout front seven for the Vikings. The Packer defense should have a solid day against a suddenly unproductive Minnesota offense. Special teams need to bounce back from a sub par performance in Buffalo.
Tom Andrews, Correspondent
Packers season prediction record: 3-5
Sunday's game: Vikings 27, Packers 14
Comment: Just when you start to believe that the Packers will be able to take the next step and win an extremely winnable game against a seemingly inferior opponent, the roof caves in. Green Bay had a legitimate chance to jump-start its season but, instead, shot themselves in the foot - one toe at a time. There's no sense re-hashing the comedy of errors inside the Red Zone against the Buffalo Bills. There's also no reason to believe that the Packers will suddenly play well at Minnesota, a place that has always been Brett Favre's private Hell Hole. The Vikings sport the league's best run defense and one of the loudest venues, too. For good measure, Darren Sharper and Ryan Longwell are waiting in the wings to inflict a little extra pain on their former teammates. It all adds up to another long afternoon for the Green and Gold.
Laura Veras Marran, Correspondent
Packers season prediction record: 3-5
Comment: Although Green Bay should beat the Vikings, who are playing their usual brand of lackluster football, the Metrodome means nothing but back luck for the Packers. Look for Ryan Longwell to rub it in.


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Recently, there was a question about what to do when students were off-task. I conduct many professional development programs, and I could use some ideas to keep adult participants on-task! —T., Virginia As a presenter, it's frustrating to see participants grading papers, texting, or reading the news. But in all fairness to our colleagues, their […]
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|Property type
|Minimum Stay
|7 nights
Country apartment. Located on the 2nd floor, without elevator, in complex, simply furnished. Living room giving onto balcony with double sofa bed. Separate kitchen with 4 hotplates. 1 bedroom with double bed. 1 bedroom with bunk beds and single bed.
Small building in bustling. Located by the sea. Everything on foot. Private parking with parking outside. Hendaye is a town located a few meters from the border with Spain. Bathed by the beautiful waters of the Atlantic Ocean and the Bay of Txingudi, this coastal city is undoubtedly the site that makes you dream with its beautiful scenery, beach 3.5 km, its port, its beautiful Castle 'Abbadie and even the spectacular landscape that offers the natural park of Abbadia. A unique place in its beauty and tranquility.
*Plus compulsory or optional charges based on actual occupancy or consumption. The payment has to be made in the currency offered by the property manager, before use of conversion tool. Payments in other currencies have to be negotiated beforehand with the property manager. The currency conversion tool is provided for your convenience only and is non-binding.


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Kauai hawaii
Utforsk lignende emner
Honopu Beach, Kauai, Hawaii
Napali Cliffs, Kauai
FacebookTwitterPinterestStumbleUpon Yippee! My favorite island! Kauai is seriously so amazing (straight up Jurassic Park looking) that it's where I went on vacation when I used to live on Maui. What?? That's right…everybody needs a vacation. Just so you don't miss anything incredible, here are my picks for 15 things to do on Kauai: 1.Take a …
How to Spend a Week in Kauai - Eazy Peazy Mealz More
Na Pali Coast Kauai, Hawaii
Open Ceiling Cave on Na Pali Coast, Kauai, Hawaii, USA. This cave is a hollowed-out lava tube, and may have served as a place where ancient Hawaiians could rest in their canoes when traveling along the coast. Photo by threeifbysea (Instagram)
Bamboo Forest-Kauai, Hawaii.. Been here<3 it's kinda slippery.. Take me backkk
Best Beaches In Kauai, Hawaii. Don't forget when traveling that electronic pickpockets are everywhere. Always stay protected with an Rfid Blocking travel wallet. https://igogeer.com for more information. #igogeer
Where to hike in Kauai, Hawaii


text:
A course is the study of a particular topic within a wider subject area and is the foundation of a qualification. A typical course includes lectures, assessments and tutorials.
A picture is worth a thousand words while a master's in photography is priceless. These programs will teach you everything you need to know about taking and developing photographs, making you a better photographer.
France is currently among the 20 best performing countries in terms of the economy due to their excellent results-oriented higher education learning. Most of the courses at universities are offered in the French language. France has 60 public and 100 private universities.
Top Courses in Photography in France 2017
Magnum Photos and Speos Photo School are partnering to create a new and unique one-year master class for Creative Documentary & Photojournalism in Paris. [+]
The Professional Photography Program is designed for students who wish to pursue a career in studio photography. [+]
The Professional Photography Program is designed for students who wish to pursue a career in photography. [+]
This course introduces participants to the basics of fashion photography*. They will develop an understanding of how fashion photography emerged and evolved from the 1950s onwards. Photographing a body, deconstructing a look, understanding [+]


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Studio mcgee
Explore related topics
Studio McGee | Guide to Hanging Lights
Studio McGee | How to get a beautiful backsplash on a budget...
Studio McGee | Our favorite exterior lights... - http://centophobe.com/studio-mcgee-our-favorite-exterior-lights/ -
Our Favorite Plants + How to Keep Them Alive || Studio McGee Blog
Kitchen Countertop Surfaces 101 - STUDIO MCGEE. *Although it can be heat resistance, marble can be discolored or crack with extreme heat changes.
Guide to Hardware Placement - Studio McGee Blog
Click through for a round-up of our favorite interior door hardware!
Studio McGee | The Vintage Rug Shop listed as a favorite source for vintage rugs!
Abstract Art Under $100 | STUDIO MCGEE BLOG
10.9k Likes, 207 Comments - Studio McGee (@studiomcgee) on Instagram: "Photoshoot day!!! Thanks for joining our first Instagram live tour earlier! #promontoryproject…"


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Make it pretty or evil, it's up to you. At last, my 3-book box set mockup. You'll find an optional "horror" backdrop layer with many other customizations. One of my more advanced mockups but I think with basic Photoshop skills you can achieve the look that you want.
The goods…
- PSD (Smart layers)
- 6 x 9 in. Cover
- 1.25 in. Spine
- Most highlights and shadows on separate layers.
- Transparent Background.
- Ground shadow on a separate layer.
- Horror style backdrop
Book Cover Credit
Close to the Bone: A Theresa MacLean forensic mystery.
By Lisa Black
Looking for more mockups? Check out my Big Mockup Collection.
Mockups are free for you to use. All I ask is for some feedback and I would love to see how you use them. You may use the free Covervault mockups on your website and for client work. Distributing the mockups or bundling them into products for resell is prohibited.


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Mark Bingham,31, a gay passenger on United
Airlines Flight 93 that crashed in Pennsylvania,
helped to thwart the plane's hijackers.
September 16 is officially designated Mark
Bingham Day in San Francisco.
Mark Bingham
died Sept. 11,
2001, while
saving countless
lives. Just how
many will never
be known. The openly
gay rugby player
was one of the
passengers who
led a revolt
against the
terrorists on
United Airlines
Flight 93. The
planned to slam
the plane into
the White House
or the U.S.
according to the
9/11 Commission
Report. Instead,
the plane
crashed into a
field near
Pa., killing the
terrorists and
passengers – but
nobody else.
The most visible torchbearer of Bingham's legacy is Alice Hoagland, his mother. After losing Bingham -- her only child -- Hoagland became a tireless advocate for issues that were important to her son. Now 61, the retired United flight attendant is a proponent of aviation safety, a spokesperson for the lesbian, gay, bisexual, and transgender community, and an avid supporter of rugby. Flight 93 passengers learned from cell phone conversations that the World Trade Center and Pentagon had already been attacked. Bingham – along with Todd Beamer, Tom Burnett, and Jeremy Glick – formulated a game plan of sorts to overtake the hijackers, according to accounts from the phone calls. All four men were athletes.
Bingham stood 6-foot-4, weighed roughly 225 lbs., and played rugby. Beamer was 6-foot-2 and was a former basketball player. Burnett, 6-foot-3, played quarterback in high school and college. And Glick, also 6-foot-3, was a national collegiate judo champ. Hoagland is convinced that their ability to think quickly, coupled with their physical strength, made a difference in stopping the plane from hitting one of its targets. "Competitive sports and athletic ability really made a difference for America on that day," she says. That's one of the reasons Hoagland has become the spiritual force behind the Bingham Cup -- a rugby tournament that's become the "World Cup of gay rugby," as she describes it. Hoagland feels the sport helped shape her son into the person he became, and she wants others to enjoy the sport as much as Bingham did. The cup started in 2002 with less than 10 teams. Now, 40 to 50 teams participate in the biennial event, which alternates between happening in the United States and the United Kingdom. Members of the San Francisco Fog, a club that Bingham helped found in 2001, gave Hoagland a team jacket bearing the nickname "Mom" embroidered across the front. "I may have lost a son but I've gained a very huge family and it makes me feel good every time I see them," she says.
Unexpected Legacy Left by Sept 11 Hero
Mark Bingham's Phone Call from Flight 93
United Heroes: Mark Bingham
Tribute to Mark Bingham
Angelfire: Sept 11 Gay Victims & Heroes
Wikipedia: Mark Bingham


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Monday, April 18, 2011
Tea Tasting
How was your weekend? I hope that it was full of gorgeous weather and lovely treats.
Last weekend, my friend Jenna won a Tea Tasting party for herself and some friends, so I went along to taste a lovely collection of delicious teas from different parts of the world.
The hostess explained to us the health benefits and natural healing properties of the different teas, and it just reminded me of how amazing our planet is. I love that God created little gifts for us on this planet that we can enjoy the taste of, hold social engagements around, and yet also find healing benefits from.
I think that White Teas are my favorite.
Are you a tea drinker? What is your favorite variety of tea?
32 comments:
- Lillian (Unstitched.) said...
That sounds like so much fun!! I love drinking tea too - mostly green tea because it's so good for you. But I also love chamomile & jasmine :)
- April 18, 2011 at 9:59 AM
- Almalu's Place said...
I love spicy tea!
Cinnemon tea is my fav alongside with orange and vanilla!
- April 18, 2011 at 10:04 AM
- Kristin said...
Yes! I love tea! Harney & Sons has a wonderful cinnamon tea. It tastes like red hots -- seriously! And i cannot resist a chai tea latte whenever we're out for breakfast.
- April 18, 2011 at 10:35 AM
- Signe said...
mmm tea :)
- April 18, 2011 at 11:01 AM
- Nuha said...
Oh yummmm I love tea! My favorite is probably mint tea :) I drink a lot of sweet tea too, but for some reason I don't really consider that "tea" haha
- April 18, 2011 at 11:48 AM
- Kelly J. R. said...
I love trying different teas. We have a local shop that carries over 300 different varieties of loose leaf teas! It's so hard to pick which ones to buy. My favorites are herbal teas: cinnamon plum, blood orange, and absolute cran to name a few.
- April 18, 2011 at 11:54 AM
- Sam {fitnessfoodandfaith.blogspot.com} said...
i'm a huge tea fan! probably having very english parents helps with that. so fun to have a party to try different kinds. i love green tea the most!
- April 18, 2011 at 12:03 PM
- LBB said...
how fun! I love tea also...and white peony is my very favorite, as well as green jasmine and good old chamomile at night!
- April 18, 2011 at 12:06 PM
- CM said...
my favorites...
jasmine blooming teas
pu erh
- April 18, 2011 at 1:11 PM
- Jessica Di Giacomo said...
i love spicy tea!!
- April 18, 2011 at 1:11 PM
- Alejandra said...
I'm also a white tea fan! I love mine milky and sweet. There is a wonderful pear white tea that I'm a bit obsessed with--it's seriously good.
- April 18, 2011 at 2:20 PM
- AW said...
- April 18, 2011 at 2:38 PM
- Dancing Branflake said...
I love herbal teas. Mint is my favorite. Your blog posts are always such a treat. Thank you!
- April 18, 2011 at 2:59 PM
- jennifer ▲ i art u said...
your friend won a tea tasting party?! that's amazing! i am love with any kind of herbal tea! i love green tea especially. black tea is my least favorite! hope you are well dionne :)
- April 18, 2011 at 5:17 PM
- GLENDA CHILDERS said...
I love tea. (Tetley - British Blend) with a little milk. My husband brings me a cup every morning, while I am still in bed. And we always enjoy a cup together, after dinner.
Wish you could pop in for a cup.
- April 18, 2011 at 5:21 PM
- Sey said...
I've been to tea this past few months and so far I love them all.
- April 18, 2011 at 5:31 PM
- the southern hostess said...
Tea always makes me feel fancy and girly. What a cool thing to win!
- April 18, 2011 at 5:42 PM
- ChallenCharms said...
Sounds lovely. I can't go past a good English breakfast tea and have recently discovered how wonderful a cold Turkish Apple tea is to share on a hot day amongst friends.
- April 18, 2011 at 6:09 PM
- MICHELLE said...
I'm all about rooibos. And I just get it at Trader Joe's, to keep things simple. And cheap. :)
- April 18, 2011 at 8:01 PM
- Jess said...
Yum! Where did you end up doing the tasting? I love white tea and herbal tea. Hubby and I actually make our own "sick" tea which is Mint, Orange and Chamomile and it's tasty!
- April 18, 2011 at 8:23 PM
- Brandi {not your average ordinary} said...
What a wonderful way to learn about tea! I don't know much, besides that of all the teas I've tried so far, rooibos is my favorite (particularly Mighty Tea's African Nectar). My weekend was actually filled with several cups of tea and some sunshine. Both calm me down so. Happy Monday, my dear!
- April 18, 2011 at 9:06 PM
- Dash said...
my favourite tea is definitely peppermint tea! pair it with some almond biscotti, and a book, i have my perfect day:)
- April 18, 2011 at 9:22 PM
- Heather said...
I love tea! I've been trying to be healthier these days and switching to tea is one of those ways! (Of course, I have yet to give up coffee completely ;) )
Basic English tea is my absolute favorite, followed by Passion from Starbucks. Completely different teas, I know, but that's me! A walking contradiction.... :P
- April 18, 2011 at 9:44 PM
- All Things Photography said...
Hi Jess, We did the tea tasting at The Path of Tea in Houston, Tx. It was quite lovely, drinking tea has always been one of my favorite past times and I was honored as always to share it with some of my lovely girlfriends :)
- April 18, 2011 at 10:43 PM
- Bethany Dirksen said...
You know, I don't think I've ever had a white tea. Now I really want to go find some.
I love simple black teas...which means I also love chai!
- April 19, 2011 at 3:04 AM
- Phoenix said...
I've never had White Tea, maybe I should try it. I can only do caffeine in tiny doses, though, otherwise I become a giant spaz (and my stomach hurts) so I would say I'm more of a root beer girl than tea. Hah! Do they have root beer tasting parties?!
- April 19, 2011 at 12:41 PM
- ag. said...
Oh I absolutely love tea! I would love to go to a tasting to learn more about it. Chai tea is my fave!
- April 19, 2011 at 2:33 PM
- Notes from Holly St. said...
i loove the idea of a tea tasting! i generally love black teas like English breakfast or ceylon but i do enjoy the occasional jasmine green tea too. so flowery and delicious!
- April 19, 2011 at 2:51 PM
- Tender Branson said...
There's this really yummy pumpkin tea that I get at our local tea lounge every October. That and coca tea are the only two I like.
- April 20, 2011 at 7:23 PM
- lark + linen said...
ahh, that's such a fun idea. I'm totally going to have to throw a tea party for my friends and I.
ps,random & unrelated, but do you have twitter?
- April 23, 2011 at 10:18 AM
- Becka Robinson said...
Jasmine tea from the asian market is my favorite. With just a tiny bit of honey for sweetness. It's soooooo good.
- April 27, 2011 at 10:56 PM
- theeclecticlife said...
I WISH I liked tea, but I don't. My husband makes fun of me saying I'm not Texan because I don't like sweet tea or any tea and I'm not very good at being Asian because I don't like green tea.
- May 3, 2011 at 10:47 AM


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Warranty: 1 Year Limited WarrantyIncluded with a bonus mechanical red lead pencil and made right here in the USA this Rite in the Rain 169 All-Weather Top-Spiral Universal Yellow Polydura Notebook is 6-inches x 9-inches. The universal page pattern book contains 100 pages (50 sheets). The notepad can be used for outdoor writing note taking, geocaching, scaled drawings, and other hiking notes and can be used in all types of outdoor conditions including rain, snow, and sleet. The Rite in the Rain RD99 Mechanical Red Pencil Dark Lead with 2 Extra Erasers can be used for all Rite in the Rain notebooks and the patented tip will not break or wobble. Includes (1) Rite in the Rain RD99 Mechanical Red Lead Pencil.
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Plant and Animal Science
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M.H. Roozeboom, K. Mosterd, V.J.L. Winnepenninckx, P.J. Nelemans and N.W.J. Kelleners-Smeets Agreement between histological subtype on punch biopsy and surgical excision in primary basal cell carcinoma Journal of the European Academy of Dermatology and Venereology 27
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A collection of complete BBC series starring Britain's best-loved comedienne Victoria Wood. The collection includes 'As Seen on TV', 'Acorn Antiques', all six short plays from 'Victoria Wood Presents' and the travel documentary series 'Victoria's Empire'.
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BeeSocialSmart delivers quality training, coaching and workshops on social media for business in Bristol and the south west. Our straight-forward, jargon free presentations and training are perfect for start-ups, SMEs, sole traders and any businesses that needs to get the most out of social media and online marketing.
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This is the Eye of Judgement CRAAAAW—you know, because it looks like a claw. This monstrosity of a device is actually a PS3 camera peripheral for the Eye of Judgement game. The game itself is somewhat odd. A three by three grid is placed on the table with this camera mounted beside it. Once cards are played the Eyetoy claw will capture it and summon the beast on the television screen. Essentially, it is a mediocre card game with animations on a screen. Check out the video on Kotaku for the full scoop here.
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3.1 Radio avant-garde and the Academy: Sound-Houses
I now turn to future lines of research, looking partly to my own work. What of the role of the Academy in encouraging a subject area? Journals can be leaders and that is the hope for Sound Journal. Consider how Screen's playing up of analysis on avant-garde film, to the alleged exclusion of popular film, was a forcing house for the growth of film studies departments in the 1970s and 1980s, and consider also the role of STP since 1990. Fortunately there are innovative courses on sound design and multi-media, as now in the London College of Printing (LCP), with composers and sound installation artists contributing. But we still need firstly, laboratories of avant-garde work and secondly, festivals, along with opportunities for students' and teachers' work to be heard and passed around, on CDs and the Internet. Note 1
What I and others can work at, is, of course, just these sound laboratories. Francis Bacon, back in 1626, futuristically wrote of 'Sound-Houses', which he would instal in his utopian colleges 'wher wee practise and demonstrate all Sounds, and their Generation' (Smith, 1999, 49, Crook, 1999, 30-1). Note 2
This vision was rightly taken as a founding charter for the B.B.C. Radiophonic Workshop, according to a broadcast feature (Smee and Briscoe 1979).
What can radio teachers do? We must open up opportunities for experiments which are epistemically distanced from the radio mainstream. We could attempt to discover new patterns of verbal perceptual intelligibility, in non-standard ways. There could be pieces which acknowledge the inadequacy of radio drama's verbal structures, as Andrew Sach's 'The Revenge' pioneered in 1978. We are now in the digital age when post-production, sound capturing and sampling are so much more plentiful. 'Sound-Houses' could attempt the counter-cultural in this radio medium where such experiments are almost solely in the domain of music and installations.
The problem is: where this can fit into an undergraduate course? Here are my solutions, such as they are, and more details are on the Radio Drama site. (I outline only aspects of my radio course here, and issues raised by radio plays are discussed in weekly lectures and seminars.) Students first go through what I call the 'nursery slopes' and have grasped main techniques. They include the need to bring the actor's performance 'down' for the microphone and that work with the voice is minutely detailed. Also students have to learn how to let radio do its work, as often, less is more. They now undertake short theory-and-practice exercises. They form into teams and select from a list of key terms such as the following: soundscape, montage, acousmatic sounds, pre-verbal sounds, finding the middle ground between foreground-background perspective, the moving sound centre. We then go on a trip with our mini-disks and microphones. It's a visit to the exciting Fire Procession at Lewes, near Brighton, on Guy Fawke's Night. Students capture live aural material (fireworks, procession bands, crowds) and they interview participants.
But instead of turning this material into the sort of radio packages you would hear broadcast on B.B.C. local radio, the students are required to transform this intensely visual carnival into two-minute exercises. Each of these is focused on an aesthetic aspect of sound and its reception from the given list. The result is laboratory work and not for broadcast; and it needs a particular focus, where theory informs creativity. The student teams have to display a range of formalist techniques. They make presentations and so build an aesthetic-technical vocabulary. These experiments will inform their later work.
3.2 Radio and the Digital Age
I talked above about radio drama Cinderella and if she ever gets to the ball, it has to be now. Radio is into its third technological revolution: the digital. Scholars and I put myself into the firing line first - have not yet responded with digital production studies and theorising. Note 3
Also, as we are now in the cinema 'Dolby era' (Sergi, 1998, 156), radio drama productions are hard put to play 'catch up' with cinema's digital six or eight channels, higher than ever aural expectations from the 'super-listener', and rival domestic Home THX and Digital sound systems (Sergi 1999). This is what Marshall McLuhan had already identified: the ongoing shift in the human sensorium, the 'massaging of the ratio of the senses' (McLuhan, 1967, 68 and compare phenomenologist Merleau-Ponty 1945/1962). Are there any examples of filmic and postmodernist radio dramas in the UK? (That is part of my ongoing research.) Our theory evolves in response to, and must lag behind, radio praxis and technology.
3.3 Extending the vocabulary
Radio, overall, is still under-theorised (Lewis and Booth, 1989, xii-xiii and 3), and needs to draw on other disciplines, film especially in my opinion. I describe film as 'radio drama's significant other'. My preference among the all-too-few current theorists in film sound is for Michel Chion (Chion 1994; Crook, 1999, 70, 81-9), Edward Brannigan, Murray Smith and Gianluca Sergi. (A reading list is available on the Radio Theory site.) Many radio drama listeners have their aural skills refined in the cinema, as I outlined above.
Further, as I touched on above, radio has not a descriptive, critical, artistic and theoretical vocabulary as evolved and precise for its many tasks as we would wish it. The complaint goes back to Arnheim, 1936, 17. Sergi 1998 starts his study of film sound with a regret about 'the lack of a proper vocabulary with which to articulate the complexity of the subject' (156). Elissa Guralnick explains that in her study of Beckett, Stoppard, Pinter, etc., [I] have made little mention of so-called production values sound effects, background music, electronic filters for noises and voices, and the like (Guralnick, 1996, xi).
Radio itself was never part of that 1980s theoretical explosion which drove film, for example, into work on subject and object. Crooks chapter, Sound design vocabulary, gives an effective collection to date, with commentary (Crook, 1999, 70-89). I introduce or adapt some terms myself, given in the Glossary.
More can be found in the Radio Theory site online. Examples are the extra-radio world corresponding to films profilmic event or profilmic object, that is, the world out there at which the microphone points. Also there is the radio 'mise en scène', well-known in theatre scenography and even more widely applied in film studies (Beck, 2000, 'Mise en scène'). I transpose from film theory the term suturing devices. Their purpose is to 'stitch in' or 'bind in' and position the listener. They make up for radio's 'absence' (Crisell, 1994, 56). I hope these terms will be found meaningful in future work but the aim must be overall, to produce on the page, as detailed an analysis of key radio play scenes as one finds in film studies.
3.4 Canons and how (not) to use them
British radio drama work suffers from a tiny canon of greats available in print, some from the radio 1950s Modernist moment. John Drakakis's collection of essays, British Radio Drama, provides an excellent discussion of these (Drakakis 1981). Perhaps it is time to reevaluate them and bring the list up to the digital age. There is a conspicuous gap in the 1980s and 1990s (but see Crook 1999, 275-279). When students ask for interesting plays as a follow-up to Drakakis 1981, a list is just not in existence.
New 'post-classical' style B.B.C. productions of the canon would be very welcome, especially for Samuel Beckett. Katherine Worth, in her chapter on Samuel Beckett's radio plays (Worth 1981), was able to base her analysis on her own new productions. Tom Stoppard's famous 'Albert's Bridge' (broadcast 13 July 1970) sounds, as far as production is concerned, particularly dated and modest now, though the acting is superb. For example, the scenes when Albert is aloft and painting the bridge, and the bridge's collapse itself, could gain a lot from digital production, wider sound perspectives and some on-location recording.
3.5 Instead of the Canon
However, I do not encourage my students to draw on the print canon (Dylan Thomas, Beckett, Stoppard, Pinter, Barker, etc.) for their production work. In fact, I forbid it, on the grounds that desired learning outcomes are not so served. I have to add here that at no point in the course do I take over directing myself and my job is to give notes to the working student director. Later, the student becomes independent, taking over the radio drama production suite and reporting to me. I find this an enormous benefit in radio. And there is not that potential conflict of staff-directed versus student production.
There are a few reasons for my exclusion of the canon and I know that on other courses such material has been used successfully. Casting for such scripts I find to be too great a challenge, even in a drama department. Students, in my experience, can rarely achieve the acting styles and voice technique demanded. This has to do with radio in itself and is a contrast to what they do achieve on stage. Also the scenes are often too long and they do not open up sufficiently exciting production possibilities. (Though David O'Shea's article on musicality and 'heightened text' in Shakespeare for students encourages me to rethink about stage classics (O'Shea 1999).)
My solution is to have students adapt scenes from genre novels, short stories, and films, such as Ursula le Guin, Angela Carter, Ben Elton, the poetic Vikram Seth, etc. I find expressive genre acting much more attainable. Scenes can be kept short, and some stylish directing and post-production demanded, with lots of music and effects, and lots of formalist devices. (There is more about this on my Radio Drama site.)
I also discourage productions of entire plays. When a student has managed to put together three or four scenes from an adaptation, you have a sense of their directorial rhythms and choices. Of course, these have to be a sequence of key, climactic scenes. I dont need to hear more than these and I think they have now met all the challenges of this particular genre. I find anything further is repetition. They should already have given me a sense of the rhythms and architecture of the whole piece, and of course there is accompanying written work. And so it is on to the next exercise and making the best use of course time. I prefer to hear a range of work, a portfolio, rather than one large radio piece. And after all, this reflects the work of a professional jobbing radio director. (There is another pathway if a student has scripted a ten- or even twenty-minute play and of course they must be given creative space for production.) Again, in this respect, radio drama is so different from theatre director and actor training.
I also discourage students from drawing on stage scripts. They nearly always restrict their radio directing. Firstly, the scenes are far too long. Secondly, creating realism in radio drama (and so many stage plays are in a spectrum of realism when adapted) becomes rather a dreary enterprise once basic training has been done. Stage plays most often transpose into 'talking-heads' radio drama and we hear enough of that on B.B.C. Radio 4. The challenge for students has to be genre: sci-fi, vampire, horror, Gothic, farce, magic realism, crime, spy, melodrama, etc. Students have got to stretch the limits of genre and be as stylish as they can. In these ways, radio drama is so much closer to TV and film than the stage.
3.6 History projects and 'authorial' directors
Having looked at the challenges of the radio drama 'canon', I now continue with my wish list for radio drama research. We still await a detailed historical analysis of scripts and production - the full 'set of histories', to use Tulloch's term from his study of TV drama (Tulloch, 1990, 2-3). This must be a long-term project and follows on Asa Briggs' famous history of the B.B.C. (Briggs 1961-1979), Drakakis 1981, some early details from Eckersley 1998, Crisell 1994, among others. We also have the accounts of practitioners from Lance Sieveking onwards (Sieveking 1934). Note 4
But current B.B.C. radio drama directors, some brilliant in their work and sensitively informative about their art in private interview, are publicly silent, perhaps silenced. I have never heard them interviewed on B.B.C. R4's 'Front Row' (the arts programme) and rarely on 'Kaleidoscope (its predecessor). (Some interview material is in Beck 1997.) Key directors are Brandt's 'authorial' individuals, that is, those who have given an 'innovative response to the limits of current technology' (Brandt, 1981, 16 in his British Television Drama). Current 'innovative' examples from the B.B.C. include docu-dramas pioneered by Kate Rowland, Head of the B.B.C. Radio Drama Department and the 'filmic' style, as in the 'Bleak House' (mentioned above).
There is an academic project under discussion with the B.B.C. and with independents to interview leading directors and actors, and to circulate these on CD. The aim is to further teaching and research, and it has to be on a non-funded DIY basis. Again, note the contrast with material available for students of stage and screen.
3.7 Radio drama dramaturge and the director's remit
The B.B.C. has neither funded nor yet seen the systematic need for a dramaturge. The dramaturge fulfils the role of the cultural commentator who interacts with production, mediates with audiences and who is central in the European theatrical tradition (Beck 1999a). There is, however, some lineage for the radio director-dramaturge. Val Gielgud (1900-1981), when head of B.B.C. radio drama from 1929 and then also of television drama (Gielgud, 1957), his successor Martin Esslin (Esslin, 1964, 1971), and other practitioners famously, if exiguously, fulfilled that dramaturgical role in their publications and interviews.
But this absence of the dramaturge raises deep questions. Is radio drama, in the way it is practised in the UK, anti-'auteur'? Are radio drama directors really 'jobbing' directors? Do they not leave a mark of their original artistry? Do they see that as their remit? Does 'director's theatre' (or Brandt's the 'authorial') not exist in UK radio drama? (There are also the poststructuralist and aesthetic questions of authorship in a text.)
When I have discussed this with the previous generation of B.B.C. radio drama directors, such as Martin Jenkins, and previous Heads of Radio Drama, John Tydeman and Ronnie Mason, they said that they could usually spot a particular director's work very soon into the broadcast. And this was especially so in regional and high culture productions. There was something special about the 'Martin Jenkins' Shakespeare, for example and the Richard Imison 'style'. Does that no longer exist? These issues bring me on to the current situation of the B.B.C. Department and independents.
3.8 Participant-observer studies of radio drama production
There have been radical changes in the B.B.C., particularly since the introduction of Producer Choice in 1995, the 'Birt-control' era, and now plans for digital channels. Peter M. Lewis (who is not the Peter Lewis of Lewis 1977 and 1981) is engaged in a follow-up to his study of 1991, the invaluable 'Referable words in radio drama' (chapter 2 in Scannell 1991). Lewis then got permission to sit in on Radio Departmental meetings and to interview directors. The result was a fascinating and systematic account of the Department at that particular time of transition. Some new women directors were becoming influential then and styles of management were changing. Lewis is busy with a follow-up and the results are eagerly awaited.
The Department is now down to some seven permanent directors and most production is sourced from independents. Of course there is careful quality and style control, and many of these independent directors (usually one-person businesses) were originally B.B.C. employees. Production time and resources have been cut back, traditional studio suites have gone, while overall, the quantity of broadcast output is the same.
3.9 The 'Hollywood' of UK radio drama
The B.B.C. Radio Drama Department (RDD) is still the 'Hollywood' of radio drama in the UK, in the sense that it is responsible for the near total output. So I argue that this is a 'Hollywood', rather as in the classical Studio-era days, when the original Hollywood was responsible for so much film production.
Some culturalist researchers have seen the institution of the B.B.C. as an adversary. It comes to mind that Thomas Schatz wrote a book about Hollywood which was entitled The Genius of the System (Schatz 1988). The RDD, within the institution of the B.B.C., is a 'genius' too, a unique cultural, aesthetic and industrial system, still ongoing. It is the 'National Theatre of the Air' which got broadcasting long before our National Theatre admitted audiences. (The first performance in this country of Ibsen's 'Emperor and Galilean' was a transmission from the Glasgow Station, 5SC, on 18 July 1924.) Both adversarial and 'genius' approaches must recognise that the RDD 'Studio' system demands of us that we understand radio drama as a combination of art, business and organisational dynamics, and a unique culture, operating since 1922. The solution for researchers must be a sort of pluralism. Individuals must work from some socially critical hermeneutic positions. This is such an important issue that I follow it through below (3.12).
3.10 'Auteur' radio drama?
One difficult research task, among others, is to unveil the individual artist-director, sometimes standing in opposition to the 'Studio' system, often not, and sometimes even working subversively within the demands of producer guidelines and B.B.C. regulation.
Another task is to explore the collaborative process of director-playwright-actor-Studio within B.B.C. house styles and training, and on into the commissioning of independent productions. We just need a lot more case studies and interviews, and we can balance 'auteur' radio drama and 'director's radio drama' (if it exists) as against the ongoing regular 'Studio' output. (That's more for the wish list.) By introducing the 'genius' tag here, I do not mean to encourage the romantic idea of the creative director-artist 'auteur' alone against the system. But I find there has to be the odd occasional balancing act, on my part, against some widely accepted culturalist protocols. The RDD has shown itself capable of broadcasting many plays of cultural and artistic merit - that is obvious - along with some of what are impolitely (and secretly) referred to in the business as 'dustbin' plays. (Crook, 1999, 151 says generally: 'I think a large amount of radio drama is very badly written, but that is only an opinion.')
3.11 Radio pessimism
Talk to radio people and you hear regular gripes about the RDD. There is radical pessimism about B.B.C. funding, the commissioning system, and the erosion of production resources and aesthetics. (At least the RDD is over the 'shock of the new' - the introduction of the digital into radio drama.) Radio is in a perpetual state of anxiety (fees, shifts of aural allegiances, etc.) and Shingler sensibly described the industry as 'neurotic' (Shingler and Wieringa, 1998, 75).
Radio plays around with its victim status. It is, admittedly, an industry where there is a rapid turn-over of employment - a lot of 'de-cruiting', as it is called at the moment - and there are low wages. Add to this the declining percentage of actors in professional work at any one time, as according to the last Arts Council report. Let me widen the argument, here, into Academia. In his introduction to The Oxford Guide to Film Studies, John Hill considered how film studies, and film itself, have been 'fuelled by an anxiety' about late modernity and its fragmentation (Hill, 1998, 8). And as for film studies conferences:
academic panellists fretted about "the death of the camera", and the "end of film"
(Laura Kipnis in Hill and Gibson, 1998, 595 at the Chicago 1996 conference)
So industrial and theoretical anxiety is not confined to radio.
3.12 'Patronage' and 'independence'
What of my own views? I have been prompted by lively discussion in radio conferences and debate within the review panel of Sound Journal. I have said in print and in conference papers that, in the main, I do not see it as my task to intervene actively in controversies about the funding and status of current radio drama output. And that I do not automatically go on the defensive about radio and radio drama (Beck, 1999b, 5.1). Research, especially my historical research, will go to inform myself and others in ongoing debate. But I am still undecided about this. There are other issues lurking here of course, and not least, the relationship between a radio researcher and the radio industry, both the B.B.C. and independents, and also the Radio Academy.
Access for key interviews and documents, for the detail of what goes on in the studio, and the interpretation of statements put out into the media, depend on one-to-one contacts and varieties of patronage. The same goes for access to playwrights. Nobody wants to be quoted unless they have cleared it with the press office or their agent. The radio world can be small at times, but in the best sense of familiar, contactable and village-like. As is regularly and realistically said : 'Everyone wants to bring something home from the party and nobody wants to clear up'.
But to summarise on this more seriously, the radio drama world for the academic is so unlike the dispersed and open environments of theatre, performance and film. I have mentioned my individual and 'independent' stance and, of course, it cannot claim to be objective. As academics in this post-modernist 'moment', we stress that no knowledge is secure and no critic's stance is neutral, and we seek to be openly self-reflexive. So I am in a state of constant negotiation, with the odd swift 'buck-and-wing' step. (I am sometimes part of B.B.C. panels for 'meet the public' meetings.) David Mayer's insightful chapter, 'Towards a definition of Popular Theatre', engaged with this perennial issue and that was in the days when drama departments were much younger. Here he is on reception studies of popular audiences:
Once we assess the audience, we are in a position, and I think a dangerous one, to make moral judgments about them and their societies' values. As someone with moral, social and political points of view, I sympathize with this temptation, but I sense that to submit to temptation may impair my objectivity as an observer of popular drama.
(Mayer, 1977, 273)
The debate must go on and on. See, for example, Kershaw 1999, 6-7.
Note 1
In spring 2000, I set up a co-production of a radio sci-fi soap between the sound design course in LCP and my radio drama course in the University of Kent. We exchanged sound files over our Internet sites making production on our two sites possible. BACK
Note 2
Smith, 1999, 49 ff. gives a full discussion, with part of the material from Francis Bacon:
A sense of future shock reverberates from New Atlantis in Francis Bacon's description of the "Sound-Houses" In addition to musical instruments, the houses contain equipment for altering sounds, for breaking them into their constituent frequencies, amplifying them, and broadcasting them beyond the range of natural hearing:
Wee represent Small Sounds as Great and Deepe; Likewise Great Sounds, Extenuate and Sharpe; Wee make diuerse Tremblings and Warblings of Sounds, which in their Originall are En...... Wee haue also diuerse Strange and Artificiall Eccho's, Reflecting the Voice many times, and as it were Tossing it: And some that giue back the Voice Lowder then it came, some Shriller, and some Deeper; Yea some rendring the Voke, Differing in the Letters or Articulate Sound, from that they receyue. Wee haue also meanes to conuey Sounds in Trunks and Pipes, in strange Lines, and Distances. (Bacon, 1626, 41) BACK
Note 3
The first age of radio was the emergence of its technology (pre-WW1 to 1950s), and the second, the paradigmatic shift into stereo and FM in the 1960s and 1970s. I have previously discussed radio theory and the digital in Beck, 2000, 'Reception theory in the digital age'. BACK
Note 4
Other practitioners' accounts include Felton 1949, Gielgud 1957, McWhinnie 1959, Imison 1965 and Rodger 1982. I am engaged in a radio drama history project, thoroughly researching scripts, production and contexts from 1922 to 1928 (the first section), and then on to WW2. Also, my database listings of productions, casts and directors will be the radio drama equivalent of J.P. Wearing's The London Stage. Publication on CDs will include newly produced excerpts from the plays, in practice-as-research with my students. As Patrice Pavis says of theatre studies, '[it] has to be historicized; it has to reflect the historical moment when it is worked out' (Pavis, 2000, 69). BACK
What the world says about
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text:
Chairman Martin Broughton staved off attacks over corruption, racism and poor performance but said there would need to be significant changes at the carrier if it is to break even.
"With oil at 85 dollars a barrel - a price not seen since February - we would still be on course for a pretty impressive profit," said Broughton.
"But the nearer the oil price moves to $125, the nearer we would come to the red. And with the oil price stabilising around where it has been for the past few weeks, the implications are obvious.
"At the start of this decade fuel represented less than 10% of our total costs. This year we expect it to represent more than 35%. So if we do nothing we'll be heading for a loss.
"It will be a considerable achievement for British Airways to break even this year."
However, Broughton came under attack from shareholders over a number of issues. Long-standing private shareholder John Farmer harangued Broughton and his chief executive Willie Walsh for the Terminal 5 fiasco.
Farmer also attacked BA executives for the "corrupt" fare-fixing scandal in which the airline was fined £270 million and he slammed the airline's " notoriety" for delays and its poor record for losing luggage.
Farmer said: "Fit for five? The board is barely fit for anything. As for the complacency of the chairman, I think you should go and you should consider changing your chief executive."
Also at the meeting one BA captain attacked the airline for anti-Scottish racism in some of its staff. The pilot said: "We need vigorous management action to address this issue."
- More about:
- Bribes And Corruption


text:
Posted: Thursday, March 16, 2017 11:56 AM
Literally perfect condition smoke and pet free.
• Location: Holiday florida, Tampa
• Post ID: 30575568 tampa
Play it safe. Avoid Scammers.
Most of the time, transactions outside of your local area involving money orders, cashier checks, wire transfers or shipping (especially overseas shipping) are scams or frauds.
Report all scam attempts to firstname.lastname@example.com.


text:
As of 31st March 2017, FACE Recording & Measurement Systems will be changing its name to Imosphere.
We are honoured to sponsor the Nottingham Post Carer of the Year Awards 2017.
We are currently recruiting for an Implementation & Support Consultant (based in the North West or London/South East), and a Marketing Manager.
FACE has been awarded major European funding to develop a pan-European cloud-based analytics platform for health and healthcare.
We would like to thank all our customers, associates and partner organisations for your support this year and wish you all a very Merry Christmas and Best Wishes for 2017!
The FACE office will be closed over Christmas and New Year and will open again on the 3rd January 2017.
We are pleased to welcome two organisations to the FACE User Community:


text:
Volano Entertainment Pvt Limited
No. of Franchise Outlets: 1
Investment: Rs. 2lac - Rs.5lac
Be a pioneer in the field of sports entertainment by building a fraternity of healthier and fitter individuals...Become Volano Entertainment Pvt Limited franchisee!
Volano Entertainment Pvt Limited is one of the first amateur sports start up that has been set up to get corporate India, working professionals and young adults back into playing casual sport. The company addresses the huge gap in the market by facilitating and providing to both adults and youngsters the ability to play sport both in casual tournaments as well as corporate and competitive leagues.
In addition to the offline aspect of the business, the company also encourages users and players to network and socialise through a dedicated and elaborate portal that been created on the lines of a social portal. We are ranked as one of the coolest start ups for the future by HT mint and NDTV.
Potential Franchisee Profile:
- Person with zeal to become successful as an entrepreneur
- Person looking to start a new business with a reputed name in the industry
- Person with entrepreneurial excellence and sound managerial skill
- Individual ready to put full endeavours to be the leading brand name
- Person with aim to serve the given purpose, one should be well qualified
Support Offered:
- Franchisee training done at Delhi
- Detailed operating manuals are provided to the franchisee
- Field assistance available for franchises
- Someone from head office will assist the franchise in setting up the franchise
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Volano Entertainment Pvt Limited Investment Details
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Amul and Mother Dairy do not anticipate...
Over the next couple of weeks, milk procurement is seen increasing in south India, aided by an expected normal rainfall this year.
Patanjali to employ five lakh youngsters...
This restaurant caters to the equestrian...
What was the whole idea bringing The Stables to India?The Stables is a British Gastropub catering to, but not limited to the,
We customise as per our guest needs...


text:
Jeff Clarke (Canadian soccer)
|Personal information
|Full name
|Jeffrey Clarke
|Date of birth
|October 18, 1977
|Place of birth
|New Westminster, B.C., Canada
|5 ft 9 in (1.75 m)
|Playing position
|Club information
Current team
|Surrey United Firefighters
|Youth career
|Metro Ford
|Simon Fraser Clan
|Senior career*
|Vancouver 86ers
|St. Patrick's Athletic F.C.
|Longford Town
|Hampton Roads Mariners
|Edmonton Drillers (indoor)
|Baltimore Blast (indoor)
|Portland Timbers
|Vancouver Whitecaps
|→ Vancouver Wh. Residency (loan)
|Surrey United Firefighters
|National team
|Teams managed
|Simon Fraser University (assistant)
|Surrey United Women
|* Senior club appearances and goals counted for the domestic league only.
Jeffrey Clarke (born October 18, 1977) is a Canadian former professional soccer player, who is currently playing for Surrey United Firefighters[1][2] and works as head coach by Surrey United Women.[3] Clarke earned nineteen caps, scoring one goal, for the Canadian national team. He most recently played for the Vancouver Whitecaps in the First Division of the United Soccer Leagues.
Club career[edit]
Youth and college[edit]
Clarke grew up in Coquitlam, British Columbia where he played youth soccer with Coquitlam Metro-Ford SC. During his time with the team, Metro Ford won three provincial and two Canadian championships. Clarke attended Centennial School, and after graduating in 1996, attended Simon Fraser University where he played on the men's soccer team for one year.[4] While he left college prior to completing his degree, he has since begun taking courses again in order to gain a degree in Criminology.
In 1997, Clarke signed with the Vancouver 86ers, becoming the team's starting sweeper. After one season in Vancouver, Clarke decided to move to Europe. After the 1997 season, he moved to Belgium, where he had a trial with Royal Antwerp. However, the first of several work permit problems prevented him from signing with Antwerp. In 1998, he joined League of Ireland club St. Patrick's Athletic F.C.. He scored his only goal against Bray Wanderers in May 1999 to clinch the league title for St. Pats.
After the 1999 season, Clarke moved again, this time to the Hampton Roads Mariners. At the time, he was attempting to join clubs in several European leagues, including England, Denmark, and Austria, but, once again, he had difficulty gaining a work permit. In July 2000, he signed with Longford Town. However, he left the team and returned to Canada in August[5] when Canadian national team coach Holger Osieck threatened to not call him into the national team.[6] Clarke then decided to sign with the Edmonton Drillers of the National Professional Soccer League (NPSL).[7] However, the Drillers folded in December 2000, halfway through the NPSL season. The Baltimore Blast then selected Clarke in a dispersal draft.[8] When the Blast were eliminated from the playoffs, he joined the Portland Timbers on February 14, 2001. In 2002, he returned to the Vancouver Whitecaps.
As team captain, he helped the Whitecaps capture their first USL First Division Championship, beating the Rochester Raging Rhinos 3 to 0 in the championship. After the game, he was named the Championship's MVP. On October 12, 2008 he helped the Whitecaps capture their second USL First Division Championship, beating the Puerto Rico Islanders 2-1 in Vancouver[9] but he was released from the team on December 8, 2008.[10]
International career[edit]
Clarke played at the 1993 FIFA U-17 World Championship in Japan, in a team alongside Paul Stalteri and Jason Bent. He then also played at the 1997 FIFA World Youth Championship in Malaysia, again with Stalteri and Bent.[11]
He made his senior debut for Canada in an August 1997 friendly match against China. He earned a total of 19 caps, scoring 1 goal. He has represented Canada in 2 FIFA World Cup qualification matches. He was part of Canada's squad that won the 2000 CONCACAF Gold Cup, a first for the nation.[12] In 2000, he was the captain of the Canadian Olympic side as it attempted, but failed to qualify for the 2000 Summer Olympics.
His final international was a May 2002 friendly match against Switzerland.
International goals[edit]
- Scores and results list Canada's goal tally first.
|May 27, 2000
|Varsity Stadium, Toronto, Canada
|Trinidad and Tobago
|Friendly match
Coaching career[edit]
Clarke serves as an assistant coach with Simon Fraser University. He is currently serving as the Technical Director of the Surrey United Soccer Club and coach of the U15 Metro Girls team of the Surrey Guildford United.[2] Jeff was formerly the Technical Director of the Guildford Athletic Club and was instrumental in rebuilding their soccer program.[2]
- Canada
- CONCACAF Gold Cup: (1): 2000
- CONCACAF U-20 Championship (1): 1996
- Vancouver Whitecaps FC
- USL First Division Championship (2): 2006, 2008
- St. Patrick's Athletic
- League of Ireland: (2): 1997–98, 1998–99
- ^ "Surrey United Firefighters Regain Metro Top Spot". BC Soccer web. February 9, 2011. Archived from the original on July 7, 2011. Retrieved June 20, 2013.
- ^ a b c Carl Valentine. "Where are they now: Jeff Clarke | Vancouver Whitecaps FC". Whitecapsfc.com. Retrieved November 21, 2012.
- ^ "Team Statistics: 2010-11 Metro Women Premier". Surreyunitedsoccer.com. March 28, 2011. Retrieved February 6, 2012.
- ^ PaulStalteri.com: Jeff Clarke Archived December 6, 2008, at the Wayback Machine.. Retrieved March 15, 2009
- ^ "Super Saturday For Canadians". www.canadasoccer.com. August 9, 2000. Archived from the original on September 27, 2007. Retrieved June 20, 2013.
- ^ "timberlog – ...the portland timbers' emotional needs goat". Timberlog.blogspot.com. March 25, 2001. Retrieved February 6, 2012.
- ^ [1]
- ^ [2]
- ^ "Schedule | Vancouver Whitecaps FC". Whitecapsfc.com. Retrieved February 6, 2012.
- ^ "'Caps part ways with three veterans". Vancouver Whitecaps FC. December 8, 2008. Archived from the original on September 12, 2010. Retrieved June 20, 2013.
- ^ Record at FIFA Tournaments – FIFA
- ^ Canada Wins Gold Cup – CanadaSoccer
External links[edit]
- Career overview – PaulStalteri.com
- Portland Timbers stats
- Jeff Clarke at National-Football-Teams.com
- 1977 births
- Living people
- People from Coquitlam
- Black Canadian sportspeople
- Association football midfielders
- Soccer people from British Columbia
- Canadian soccer players
- Canada men's international soccer players
- CONCACAF Gold Cup-winning players
- 2001 FIFA Confederations Cup players
- Canadian expatriate soccer players
- Canadian expatriates in Ireland
- Canadian expatriate sportspeople in the United States
- Simon Fraser Clan soccer players
- Vancouver Whitecaps (1986–2010) players
- St Patrick's Athletic F.C. players
- Virginia Beach Mariners players
- Edmonton Drillers (1996–2000) players
- Baltimore Blast (NPSL) players
- Portland Timbers (2001–10) players
- Vancouver Whitecaps Residency players
- League of Ireland players
- National Professional Soccer League (1984–2001) players
- USL First Division players
- Premier Development League players
- Expatriate association footballers in the Republic of Ireland
- Expatriate soccer players in the United States
- Canada men's youth international soccer players
- Canada men's under-23 international soccer players
- USL A-League players


text:
HTML resources
Get up to speed quickly by using our list of HTML resources.
- World Wide Web Consortium
- HTML Tag List
- HTML Tidy
- Getting Started with HTML, by Dave Raggett
- More Advanced Features, by Dave Raggett
- Xenu's Link Sleuth (verifies internal and external links in your Web site)
- Any Browser.com
Cascading Style Sheets
- A Touch of Style, by Dave Raggett
- CSS Discussion Group
- CSS Pointers Group
- CSS Pointers Group Browser Bug List
- Eric Meyer's CSS Edge
- W3C's CSS Validation Service
JavaScript resources
General resources
- Network Solutions
- US Patent and Trademark Office
- CIAC Internet Hoaxes (please read before warning us!)
- How Stuff Works!


text:
We chat with Mr. Rene schumann
TPG: How long have you personally been working for Hochtief in the Middle East – and in particular Qatar and how have you seen the market evolve over that time?
René Schumann: I started in the Middle East in 2007 with ViCon's first BIM project here in Qatar – The BARWA Commercial Avenue. The Hochtief ViCon Qatar company was launched in 2009 and I took on the responsibility of Managing Director. In 2007 BIM was new in Qatar and nobody was aware of its capabilities; this has changed completely. Now there is a good market understanding and major organisations and bigger projects are requiring BIM as a standard for design and construction services.
TPG: What would you say are the key factors in the company's success in Qatar?
RS: Close relationships with the construction community and a local presence. We consider a lifecycle approach and follow an overall implementation concept that is software neutral. With our four components (processes, people, technology and policy) we are a unique consultant in this market. Furthermore, we are demanding; we challenge ourselves with every new requirement or client expectation.
TPG: Which projects are you particularly proud of?
RS: All our projects are chosen wisely and make us proud. We have a variety of different and interesting projects around the globe. Each project is unique and we cannot do it twice. But if I was to be pinned down, perhaps the Elbphilharmonic Concert Hall in Hamburg and the Lusail Project in Doha.
TPG: What are you working on at the present time?
RS: We have running projects in different regions and are focused on the Middle East, Europe and North America. Our main projects here in Qatar are the Lusail City Development, where we have been involved for the past five years, the Doha Metro Project, and the Doha Expressway Program.
In addition, knowledge transfer is one of our main principles and so our BIM User Days' event series, which we have established in collaboration with Qatar University as a knowledge platform, is a first step to identify the needs of the academic sector, as well as the industry. Furthermore, in May 2014, we will start a research and development project in collaboration with Qatar University and Teesside University, focusing on the development of BIM protocols for the local Qatari market.
TPG: What do you consider to be the biggest challenges that face Qatar today and over the next 10 years?
RS: We can only answer this question in relation to our services. The Qatar market is generally open for new technologies and new methodologies to enhance success in business. This is a cornerstone for the change the industry has to execute in order to deliver the ambitious projects for the FIFA World Cup and the Qatar Vision 2030 on time. The main challenges we face in projects are the missing common BIM understanding and BIM experiences. There is currently limited opportunity for professionals to receive training and build up their knowledge on BIM. Many companies understand BIM as a technology only. This is not correct. BIM is a new method to deliver design and construction projects, as well as maintenance services.
TPG: What do you think makes Hochtief ViCon stand out from its competitors?
RS: Our clients can answer this question best. But I would say that we are a strong, locally experienced and committed team in Qatar. We are always aiming to provide amazingly simple solutions and share our knowledge with our clients and other involved project stakeholders. Our slogan is 'Build Digitally First'.


text:
Junk Drawer
Belfast, County Antrim
Formed in a Belfast bedroom in 2015 by brothers Stevie & Jake Lennox and Brian Coney from rural Mid-Ulster, Junk Drawer are an indie rock/gritpop quartet. Featuring members of Sister Ghost, PigsAsPeople & Mons Olympus (amongst others), they function as much as a collective as a they do a band; each member is a multi-instrumentalist and vocalist, with roles changing from song-to-song depending on how they feel it should take form.
Musically, they're driven by the near-telepathic sense of chemistry & harmony that comes from a sibling creative rivalry at the helm, as well as four musical magpies collecting and sharing inspiration from all corners, including krautrock, guitar-driven '80s & '90s indie & alternative rock, post-punk, and psych. Lyrically, it's kitchen sink absurd realism about the human condition, with influences ranging from Jonathan Franzen to Stewart Lee, Marc Maron to Mark Kozelek.
Before their number of gigs could be counted on more than one hand, Junk Drawer supported Jeffrey Lewis - who proclaimed them "the best support band I've seen in really quite some time" - and were included in 2016's Hard Working Class Heroes lineup and Belfast's 2017 Output showcase & conference.
They've received airplay and plaudits on BBC 6Music from Tom Robinson - who also included them in his BBC Introducing Mixtape - BBC Radio 1's Phil Taggart, The Tipping Point, RTÉ's Dan Hegarty as well as BBC Across The Line and Electric Mainline's Steven McCauley, amongst others further afield.
Junk Drawer debuted in 2015 with the two-track 'Their Self-Loathing Debut (Mostly)' followed by their next single 'Song 3', which was featured on Little L Records' recent 'A Litany Of Failures' split. In 2016, they released their debut EP, 'For The Cult Fat Guy', to acclaim in music publications & blogs in Ireland and beyond. Having played extensively across Ireland, they're to tour the UK and beyond soon.
"Right now, they are devastating the world of indie music. Your next favourite band, we promise!" - Third Outing
"Slacker, lackadaisical, almost disengaged...the perfect addition to an American roadtrip playlist; you can imagine solemnly bobbing along to it as you drive your beat-up convertible through arid flats and dustbowl towns." - The Tipping Point
"Fans of Dinosaur Jr will dig the throwback guitar sound of their squalling lo-fi rock music" - Nialler9 (Irish Times)
"Fans of Pavement, Slint & Grandaddy, watch out" - Dan Hegarty, 2FM
"Absolutely stunning. I love Junk Drawer. I've loved them since I first heard them." - Stephen McCauley (BBC Radio Ulster/Foyle)
"Their dreamy, gloom-tinged indie dips and dives on the EP, sounding like it was made by a band already six albums and a strained relationship with the alternative music press in to their careers. " - EncoreNI
"There's no getting around how infectious Junk Drawer's music is." - TheLastMixedTape
"One of the best EP's to come out of the island of Ireland this year. A serious deal – it's like the Horrors swirling around with the best of the American alternative scene in the early nineties." - The Point of Everything on 2016's 'For The Cult Fat Guy' EP
"Purveyors of a wonderfully off kilter alternative rock in the vein of Pavement or Pixies." - Overblown


text:
Need a book? Engineering books recommendations...
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Re: Garage Door Detail[Subject Prev][Subject Next][Thread Prev][Thread Next]
- To: <seaoc(--nospam--at)seaoc.org>
- Subject: Re: Garage Door Detail
- From: "Mark A. Scott" <MAScott(--nospam--at)SGN-Eurisys.com>
- Date: Tue, 10 Feb 1998 18:40:36 -0800
everyone eems concerned about the frame on either side of the door opening. What about your diaphragms? Does the roof diaphragm have anchorage to the rest of the structure? Are the boundaries sufficiently fastened? Is there a need to cross tie the ceiling or use it for a diaphragm? Why not use the two side walls and the back wall? The load is resisted by the stiffest path. Is that path adequately tied and anchored? Do the engineering and let the code be your guide!! Thanx, Mark Scott SE ---------- > From: Charles Greenlaw <cgreenlaw(--nospam--at)speedlink.com> > To: seaoc(--nospam--at)seaoc.org > Subject: Garage Door Detail > Date: Sunday, February 08, 1998 10:40 PM > > You have described.... > > >a garage door detail, > >which consists of a GLB spanning the garage opening, supported by two very > >narrow (16" min) walls, which are sheathed on two sides. The ply sheathing > >is nailed to the GLB in a grid pattern. Tiedown straps are added between > >the GLB and the walls, with HD's as the footing. > > >What we are doing is creating a wood moment frame. Is this wise?? If wood, > >over time, shrinks, or takes on a permanent deflection, wouldn't the nails > >lose their shear resistance capacities? > > > >Talk to me, people > > > >Kate O'Brien, P.E. > >Simi Valley, CA > __________________ > Others have said: > > >As far as I know, the Code does not recognize the existence of plywood > >"frames." > > > It goes without saying that the owner must > >be made fully aware that this is not code-approved construction. > > >Assuming that this detail is meant to be a portal frame! > __________________ > I say: > Of course it is a portal frame. Same as always, only right side up. > The familiar way is inverted, with an indifferently detailed concrete beam > in the ground and two plywood columns sticking up, depending on hold-downs > for most of their moment connection. This is true even if these plywood > columns are wider than the 2:1 ratio now touted as the panacea for most of > their shortcomings. > > While the building code does not expressly provide a methodology for > rigid frames of wood, it has done very little more for customary wood shear > wall construction, especially in matters of their moment connections. > > The code, by its own terms, does not purport to discriminate against > uncommonly used ways of assembling commonly used materials to satisfy > code-specified loading conditions and serviceability expectations. (See Sec. > 104.2.8 in the '94 ed.) The P.E.Act in this state defines the work of a > professional engineer, in part, as "creative" (Sec 6701). The code gives an > all-purpose requirement for every engineered design: "a rational analysis in > accordance with well-established principles of mechanics." (Sec. 1603.1) > (It's amazing how often urgently-enacted code changes fail to admit of any > rational analysis-- a spectacle most easily seen while serving on a change > -perpetrating committee.) > > This interesting design problem appears to be amenable to use of > conventional statics and strength of materials. It has been for me, anyway, > and in too many permutations to remember. APA has useful but seldom-invoked > strength values in their Plywood Design Specification. Nail "slip" values in > UBC Standards show a non-linear stress/strain relationship and lots of > resistive value beyond the loads corresponding to allowable shear wall > shears. Understressing this nailing offers disproportionate advantage in > reducing the nail slip component of assemblage deflection. And who says you > are limited to 2x studs or a single row of nails? > > Due caution is among the design tools also. As mentioned by many, > envisioning the effects of moisture change and the effects of play, > slippage, and deformation in the connections would be essential. Effects of > workmanship on the components is another important consideration. There's a > host of things to discover and deal with, but isn't that what our education > and training was supposed to equip us to do? Isn't that ability part of > being a professional? > > The next several years are going to be entertaining, as the 2:1 > ratio limit goes into effect, and results in all sorts of creative > circumventions and evasions, for better or otherwise. Too bad no fixes or > mitigations for 3.5:1 ratios were allowed. Kind of like controlling Teen > Pregnancy only by demands for abstinence, which few will obey, and you won't > allow condoms. > > Charles O. Greenlaw, S.E. Sacramento CA > > >
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