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Dakster Sullivan is in the process of deciding on what to take with her to Megacon 2013. This is her favorite convention of the year, so she is super excited to find something simple, cute and awesome! If you have any ideas, leave her a comment! She'd love to hear your cosplay ideas.
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Kathy Ceceri is headed out to Syracuse, NY this weekend to show kids how to make Mini Robot Walkers. She'll also get in some face time with her son the Electronic Game Development student. This week's event at the Saratoga Springs Barnes & Noble showing off projects from the Geek Mom and Robotics activity books was so much fun, she's going to be returning next month to do science with the monthly Homeschooler's Workshop.
Rebecca Angel is looking forward to cooking some yummy food for a local shelter this weekend with her kids. Something they have done before, but never enough. They get to eat with the residents, not just serve, which is the best part.
Kelly Knox is still happily recovering from her daughter's fourth birthday party. Kelly took some of the advice offered in the comments of last year's discussion about not giving away plastic junk in the goody bags — she gave partygoers painted flower pots with seeds for planting in the springtime.
Brigid is anxiously watching The Following with Kevin Bacon. Her drawing of Edgar Allan Poe was purchased by the show as a set decoration and she can't wait to see it on the tube.Go Back to Top. Skip To: Start of Article.


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How can a dump file with 1.28MB have nothing in it?
I have been saving my intermediate results to a dump file during the
course of a very large notebook (~10MB, ~800 lines). I decided to
begin a new notebook, and begin it by opening the dump file. When I
started a new notebook and loaded the dump file, I could no longer find
any of the symbol definitions saved from the old notebook. How did
this happen? How can I retrieve the information in the dump file?

subset: commoncrawl


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I am teaching a business English course which includes students having to write short texts (e.g. an email) of around 200 words.
Aside from marking errors, I try to give students feedback. The problem is I have quickly run out of things to say beyond "good vocabulary", well set out" or simply "well done".
These are not very advanced students and it's not as if they are putting much originality into their assignments. But I do want to encourage them and not just give them the same anodine comments week after week.
Any ideas (or off-the-peg comments!) welcomed.


text:
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By Adam Clark
The nine Arsenal Ladies named in the England squad for the forthcoming World Cup in China are "ecstatic", according to midfielder Rachel Yankey.
Three Lions coach Hope Powell has called upon the entire English contingent of Vic Akers' first-team squad after they propelled the Gunners to an historic quadruple last season.
Yankey, whose 72 international appearances make her the most experienced member of the squad, was a shoo-in to be picked. Nonetheless, the 27-year-old insists she was relieved to hear the good news.
"I'm very pleased to be in the squad," she told Arsenal.com. "It's been a bit scary waiting for Hope to announce the team but now everyone's really excited and looking forward to it. The Arsenal girls are ecstatic that we're all going. It would have been horrible if one of us was to miss out. To have all nine of us there will be fantastic."
With the nine boasting a staggering 382 caps between them there's no shortage of experience. Yankey says the team spirit and the glory they have shared will serve them well in East Asia. The situation, she suggests, is not all that different to last season's Uefa Cup Final against Swedish giants Umea.
"It definitely helps that we're all from Arsenal, on the pitch and also off it," she said. "It helps team spirit because we're used to each other, we've travelled together many times before and we all get on. To be honest we're going to be underdogs in the group we're in. We've got the World Champions Germany, Japan are a good side and so are Argentina. It's two to qualify so if we can be one of those and then go from there it would great. You never know what's going to happen in tournament football. The first stage is getting out of the group and then I suppose the adrenaline boost will take us from there.
"Winning the UEFA Cup last season is obviously going to
help us too. We were underdogs in that but our team spirit got us
through. I think we also learned to play with more of a strategy to
give us an advantage. We had to give up the glamorous football we
usually try to play. It was a gritty team performance that got us
through and that's what we're going to need in the World


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Discussion in 'The Trash Can' started by gkelly, May 11, 2013.
So can you suggest clearer ways to define them?
I'm beginning to think that maybe the problem is that great skating defies definition (or as Justice Stewart said about laws trying to define what is obscene): "I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description; and perhaps I could never succeed in intelligibly doing so. But I know it when I see it,..."
I think about one great skater and come up with terms that describe his/her/their skating, but when I take those criteria to other great skaters, it turns out they were not always best at the same things. By the time you eliminate the variables and get down to the lowest common denominator, you end up missing the real picture.
So, I'm still curious whether anyone wants to take a stab at judging PCS "correctly" for these programs under the current rules, especially the first two. Or rewrite the rules so that they could do a better job of reflecting the strengths and weaknesses of these skaters.
Or other skaters, other performances of your choice.
I'm no insider to the international skating community, and maybe what i'm saying is not true and every judge is as subjectively objective as they can possibly be, but I have to say that I really don't believe this system is too good for figure skating judges, the majority of whom are ex-skaters or choreographers in their 40s and beyond, not math genius or particularly very quick-witted. I've actually paid some attention to how the judges work in live events. It seems to me that there is barely enough time for them to judge every element. I've seen judges looking down on their desk during a jump. I've also seen judges talking to each other. I can imagine under such stress of watching 30+ routines in a roll, it's very difficult to accurately put down five subtly different marks in PCS. Keeping them "in line" is anyone's way to go. IJS was probably well thought-out by some engineer, but I find it way exceed human abilities to handle. Plus, this is something I would like to check out one day. I think judges do go to hotel bars. To say socializing with a cause doesn't happen would be in my opinion quite an idealism.
That being said, I do think the biggest problem right now is that falls account for too little. 3-5 points deduction is more appropriate. That's at least easier to fix.
So you're saying that judges aren't quick-witted, because they're in their 40s or older? Or are you saying that ex-skaters and choreographers are simply not that bright? Either way, wow.
I do, however, agree with your statements below. (Falls: I believe 3 points per fall seems about right.)
And there it is. Thank you.
As a judge who is 46, no I am not a maths genius what does being quick-witted have to do with it? And going to a hotel bar? Under 6.0 you needed to be a maths genius but under IJS, maths has nothing to do with it (which is why it is a better system!)
Maybe instead of making assumptions about what judges do based on observation, why don't you actually talk to them about what they do and find out the truth. I think your perspective would be changed.
Agreed overall. The part I bolded: you've said this before, but I'm not sure why. Under 6.0, you simply entered your scores for each skater, just as in IJS. The results determined the ordinal placements, not keeping track of math throughout the event.
I don't think you needed advanced math skills to judge under 6.0.
You did need to be able to keep track of the ordinals so you didn't tie skaters or put them in the wrong order than you intended or box yourself in so that it was not possible to put skater C between A and B. But the actual amount of math involved was minimal.
In IJS, the computer does a lot of calculations that the judges don't need to worry about. They're not supposed to try to keep track of how they're ranking the skaters, and they don't have enough information to do more than guess. If they're deliberately trying to achieve specific results, they would need to be good at guessing/estimating so they could inflate or deflate scores appropriately. Otherwise
Would PCS be more intuitive if judges had visual analog scales with sliders to indicate how good they thought each program was on each component, so they wouldn't need to think in terms of numbers at all? For GOEs as well?
But that wouldn't work for low-budget events where judges record scores with paper and pencil, or if there were technical difficulties at an event with computers where the judges need to keep track of scores manually until the system is repaired.
I was not nearly as simple as that, because 6.0 was an ordinals based system. That means the scores each judge gives serve only to rank the skaters on that judge's card. So, when you (the judge) scored each program, you also had to think in terms of the numbers you had already given out and the numbers likely to be earned by skaters still to come (bearing in mind you were not allowed to give the same marks to two skaters).
Say you gave Skater X marks of 5.6-5.7. Then Skater Y does the same jump list, but his jumps were bigger and cleaner or maybe he had better spins, fw and speed, but he was young and his presentation was still not quite as polished. So, you think simple, this guy gets 5.7-5.6. Oops, you meant to place Skater Y ahead of Skater X, so you make it 5.7-5.7. Oops, you already gave Skater T 5.7-5.7, so you have to make it something else. Then think do I want to place Skater Y ahead or behind Skater T. If behind, you maybe mark him 5.8-5.6, if ahead then you need to give Skater Y 5.8-5.7.
That is why under 6.0 we always heard announcers talking about judges "leaving room" in their marks for skaters yet to come.
I don't understand what over 40 has to do with it, but I don't think it is a dis on judges' intelligence to say they couldn't keep up with all the math needed to figure out overall points they are giving on the fly. Personally, I have always assumed that was part of the appeal of this system to the ISU. Bearing in mind, this whole system was adopted as a way to address cheating and deal-making judges, so they made it so complicated with so many different scoring bits multiplied and added, hoping the judges would just give up their cheatin' ways and mark the skaters.
The problem is that the judges are still human. They still owe allegiance to their own federations and (at least some of them) still know they will not get plum assignments if their fed is not pleased with their marks. So, they content themselves with giving their skaters an extra GOE on some elements and an extra .5 or so on some components, while taking off a few points in marking their skater's rivals. Just to make sure they are not caught up in national bias accusations, they also might even nudge a few points off their own #2 or #3 skaters, and maybe give a little extra to the #2 and #3 skaters from the rivals' countries.
The other problem mentioned upthread is that the judges are still allowed to go to skating events and hobnob with each other and with federation officials, selling the wonders of their skaters, highlighting any perceived weaknesses of their rivals. They also are still allowed to stand at the boards and watch practices, getting a mental picture of who ought to place where before the event even starts (usually again with other judges so they can lobby each other to support their skaters at the expense of someone else). They also are still allowed to accept gratuities from federation officials whose skaters they will be judging. It has never ceased to amaze me that some judges will still defend these practices as necessary for good judging.
Sorry but it is not that simple and totally keeping track of the math during the event. 6.0 does my head in. Particularly with the technical score because you had to allocate a base score and then apply the deductions.
So you may give a skater 3.6 initially for technical, but then take off all the various deductions and you could end up with a technical score of 2.2. Because if they fell that is .4, then 2 foot landing could be .2 and so on.
Then you had to total your score for each skater. So 2.2 tech and 2.7 presentation = 4.9.
And then with all the other skaters you are doing the same and considering those previous scores you gave other skaters, you are actually coming up with a total score for each skater which then slots the skater into position.
We still use this for our beginner levels and whilst their may not be deductions on jumps per say, we do have rules such as they can't do an element from a higher level which requires a .2 deduction. When you are judging a field of say 10 skaters, as each skaters goes along, you are constantly working out if that skater was better than a previous skater or worse than a previous skater, then trying to allocate a score that fits in with that skater's position. Seriously it is a pain in the arse system.
Well, of course they are allowed to go to skating events. It would be pretty hard to judge skating events if they didn't go to them.
As for socializing with each other, the positive aspect is developing common standards and common understanding of the rules. The communication is not only from the top down, ISU technical committee to referee to judges as individuals, but also lateral among judges and back up the hierarchy back to the referees and potentially back to the technical committee. So if specific rules are problems, talking about them is better for identifying them and finding solutions than not being allowed to talk.
Certainly if fans go to skating events and talk about the skating to other fans, they will become more knowledgeable and come to appreciate other points of view and details they hadn't noticed on their own than if they are not allowed to talk to each other.
Same for judges. Although to avoid the potential for prejudging or appearance thereof, saving the conversations for after the event would be preferable.
This is one reason why I prefer IJS to 6.0 -- the judges can't control who places where, so all they can do is notice and maybe discuss who should be scored high or not so high, but which elements they actually get credit for on the day will make a bigger difference in their placements.
I can think of a few reasons that judges watching practices would have been beneficial under 6.0 but less useful under IJS:
*Being familiar with the programs would make it less likely that a judge would fail to recognize some unexpected difficulty during the competition if that was the first time they saw the program. Now most of those areas are taken care of by the technical panel, so for that function it's more important for the tech panel to watch in advance to know what to expect. The Planned Program Content Sheets also provide advance warning of some unexpected elements or element order.
*With 6.0, the actual numbers used tended to be more fluid depending on the depth and and average skill level of the field. So it was useful to know what to expect from the field as a whole in order not to start the scoring for the first skater too high, or scoring the first two skaters too close, and end up not having enough room to fit in everyone else yet to skate. This is much less of an issue with IJS since the judges aren't ranking the skaters and the numbers are supposed to relate to each judge's mental image of a consistent standard for all competitions, not specifically to the other skaters in this event. No, the standards aren't completely absolute, but they're not explicitly relative as they were under 6.0.
However, there is one argument in favor of judges watching practices that does still apply: Most judges will already be familiar with the skaters from their own home country, or geographic area, whom they will likely have judged many times in the past. And they will be familiar with veteran skaters from elsewhere if they have judged them before at events like this one, or seen them on video. But they will never have seen the newcomers before. So if they go into the competition day with strong expectations about the skaters they already know -- perhaps based on how they were skating last year and not this week -- and no expectations about the skaters they've never seen, they will be likely to underscore the unfamiliar skaters -- especially in seeded short programs where the newcomers skate early. If the judges had seen everyone in practice this week, then the expectations would be more equitable across the board.
Of course sometimes it is not practical for a judge to watch practices -- e.g., if the same judge is assigned to both the pairs and the men's event, she might be busy judging pairs while the men are practicing and thus not get a chance to watch.
Are they? I don't see any good reason for that.
I think what you are saying makes sense, but it perhaps contradicts the implied goal of having panels consist of different federation representatives. Should the judges be cooperating, collaborating, and conferring? Perhaps they should. I think this is the fundamental question. Do we want judges to be representative of pluralism or do we want them to be professional and more homogeneous?
If you are going to claim this sort of thing then you need to provide proof of it happening. Have you actually seen this happening? Have you been nearby and overheard the conversations? Or are you just assuming?
I think they should share thoughts on the best ways to use the tools the system gives them to reward good skating. And thoughts about what they consider good skating worth rewarding.
What I don't think they should discuss is who they think should win this competition, or any future competition.
It's a lot easier to separate the former from the latter with the scores broken down into separate pieces -- they can discuss each piece separately.
Same as I hope we discuss here, judges could share thoughts on alternative rules they think might work better. I hope (but unfortunately don't trust) that the technical committees are listening to feedback and suggestions from officials in the trenches, as well as from skaters and coaches who are affected by the rules.
But meanwhile the official judges need to follow the official rules as written.
I don't think those are mutually exclusive.
You're never going to get two people to see an object as complex as a figure skating program exactly the same way. Different judges will have different pet peeves, they'll bring different outside knowledge, or prior knowledge of what's been done in skating before.
Since it's a global sport, and most of the training takes place in each judge's home country long before they reach the level of international judging appointments, they will all have regional experiences. Some might come from skating cultures that privilege precise jump technique, or complex steps, or speed, or beautiful body positions, and measure all skaters by the standards they came up with.
Some judges will have backgrounds in performing arts techniques and histories. They will have different genres of music that they like to listen to for personal pleasure. They'll have exposure to different TV programs and movies that skaters might use soundtracks from. Some will have professional knowledge of anatomy or psychology or other areas that might be relevant. Some will have been experts in school figures when they were skaters themselves or had different areas of technique they especially focused on.
So they're not all going to come up with the exact same numbers for the same performances, no matter how standardized the training.
I think it's a good thing if judges can talk about things like "I really liked the way Skater Q adapted some of the original stage choreography from that ballet/musical onto the ice" or "Wow, she really felt the syncopation in that step sequence" or "I've only seen that kind of entry into a salchow many years ago with doubles, but never with a triple before!" or "I can't believe she changed edge in that position -- the balance must be so difficult!" etc. etc. Or "Choreographer K did this program? I knew it! K skated to those exact music cuts with the same arm gestures 20 years ago when he was competing."
They might also say things like "I'd never given an 8 to a junior before, but at the last JGP I judged skater Z was just so wonderful, I had to go there." Or "Did you see that layback? I came up with 7 positive bullet points, so I didn't even think twice about giving it +3." Or "Those jumps were really impressive. And she was kind of feeling the music. But all she did was skate around in circles setting up those jumps, so I really dinged her on choreography."
The judges won't all suddenly achieve the exact same knowledge or see the exact same things. But they may each learn something here or there when another judge points it out that would inform their evaluation of the programs in the future.
Before the competition starts it's trickier not to say things about specific skaters in this event that might come across as trying to influence the way other judges score them, since that would start to verge into impropriety.
Fair enough, but I would think the experienced (and for argument's sake, let's say unbiased) judge had much of the math scheme worked out well in advance of a competition. In the case of an elite event (let's consider 24 skaters), the top eight competitors were likely to score in the 5.4 - 6.0 range. The middle eight would probably score in the 4.7 - 5.3 range and the bottom eight in the high 3s to 4.6. Or something like that.
With that said, here are scoring possibilities from 5.4 to 6.0 (let's assume this is the long program):
6.0/6.0 = 12.0
6.0/5.9 (or vice versa) = 11.9
6.0/5.8 or 5.9/5.9 = 11.8
5.9/5.8 = 11.7
5.9/5.7 or 5.8/5.8 = 11.6
5.9/5.6 or 5.8/5.7 = 11.5
5.8/5.6 or 5.7/5.7 = 11.4
5.8/5.5 or 5.7/5.6 = 11.3
5.7/5.5 or 5.6/5.6 = 11.2
5.7/5.4 or 5.6/5.5 = 11.1
5.6/5.4 or 5.5/5.5 = 11.0
5.5/5.4 = 10.9
5.4/5.4 = 10.8
So right there, you have thirteen possible outcomes for, say, eight skaters (there are, of course, other possibilities within that range). With just a little homework, it's not hard to memorize those numbers. If an early competitor skated lights out (who would be in the final flight or close to it)--meaning that they gave a very possible gold medal performance--you could give them say, 5.8/5.8 with room for a skater or two that might (unlikely) surpass that. If no one skated better, you scored the other skaters lower than 5.8/5.8. It's not that hard.
(That's what happened with Sarah in SLC, with the five judges who placed her first. She got nothing higher than 5.8 from any of them. Michelle, Irina and Sasha were still to skate.)
After the top five or six skaters, it wasn't so necessary for 6.0 judges to keep track of anything. They simply made the deductions and scored accordingly. If one judge had a skater in 12th and another in 16th, so be it. In most cases, there wasn't THAT much discrepancy in ordinal placements (Sarah Hughes SP in SLC being a notable exception).
Not necessarily defending 6.0 here, just making a case that it wasn't particularly more difficult, in terms of judging, than IJS. But it certainly was a different system.
Ummm you were the one who said there was no maths involved. What about a field of 30-35 skaters who are all about the same level (average ability)? That is what most judges end up judging. Very few judge at the Olympics or even Worlds.
I guess I was wrong. As for your second sentence, I concede.
But I would think, even judging 30-35 skaters at an average level (something I did a lot of in roller skating, with a 10.0 system), you'd still just score and let the ranking come out the way it comes out. As a judge, I could still figure out the top 5 skaters. After that, it was just scoring as one would score any performance.
Another question: with IJS, do judges even know which skaters they're putting in 1st, 2nd or 3rd? Seems like it would be very difficult, math-wise, to figure that out. And if that's not a factor, isn't it odd for judges to simply enter scores without knowing their own personal ranking? As a judge, I would feel a bit strange not knowing how my individual scores came out, in terms of my own skater ranking.
Like any sport you will have your cream that rises to the top and of course you are going to give them higher scores because they are the better skaters. But I like the fact that you put your marks into the system and whatever will be comes out. A number of times I have looked at the results of events I have judged at and it wasn't what I was expecting but I don't have a problem with it because then I look at the protocol and understand how it happened. But that is what you get when you are looking at each element individually.
One of the jokes some of us judges do have after an event is too look at the protocol and say whether you were the eville judge or the nice judge.
Okay, here's my problem with that: in such a case, DO the judges actually ding the skater for choreography?
Let's say judges appreciate the skater's impressive jumps and give +3 for them, fine. But if the skater is really just "skating around in circles" setting up those jumps, then what score is given for choreography (when there isn't any)? In the 5s, or say, in the 2s or even 1s?
And what about transitions? If someone does nothing but crossovers, what would be an appropriate score (regardless of any other good qualities in the skating)?
What score would you give, gkelly?
This comes down to a pet peeve of mine, regarding PCS. It's fine to have all those categories, but then score them as such. From what I've seen, most judges don't. So how is this system considered so great?
Well I know I certainly look at it and will give lower components if the skaters do not use the music or skate around in circles but I am only one judge.
However you are commenting on the system when it is not the system, it is the application of it, that is the issue.
As far as I know, some do and some don't. I think most would if they notice, but some are more attuned than others to noticing that particular aspect of the choreography.
Impossible to say, given only that information.
In the first place is "all she did was skate around in circles" literally accurate, or is it hyperbole?
Were the circles at least different sizes, maybe some more like ellipse shapes? Did at least one circle (to set up a lutz) travel in the opposite direction?
Since the relevant criterion is phrased as "Pattern and Ice Coverage" -- how was the ice coverage on those circles? Did they fill the width of the rink? Did they happen toward both ends of the rink and in the middle, or all only in the same one-third of the ice?
And then there are all the other criteria under the Choreography component. Did the timing of the circles and of the elements match the phrasing of the music? Was there skating content other than crossovers during the circles (mohawks, three turns ... anything more?)? Both forward and backward crossovers? Were there arm gestures, free leg gestures, other body shapes during the stroking and during elements and if so was there any thematic purpose tying them together (even if as generically obvious as basic ballet positions to ballet music or paw gestures when skating to Cats -- not worth a whole lot, but more than skating with the arms stiff and straight the whole time)? Was the (circular?) step sequence well choreographed to reflect a theme and the rhythm of the music and to show some variety beyond just ticking boxes to earn levels? Or was it as simple and generic as possible?
Again, I can't say without seeing the program.
Quality is one of the criteria for Transitions, so if the only thing between the elements is crossovers, then the quality of those crossovers will make a big difference. Deep curves at up to 25 mph or more, or stiff knees practically on flats at less than 5 mph even at the skater's top speed, or any skill level in between?
If there's nothing but crossovers between the elements, presumably there's extremely little Variety or Difficulty, and not much Intricacy either. But there could be some intricacy, e.g., transitioning directly from the step sequence to a spin, or from a jump to a spin. Or there could be the opposite of intricacy -- every jump and every spin telegraphed with a long pause to position the body between the last crossover and the actual element.
And is there variety in the crossovers -- both forward and backward, both clockwise and counter clockwise? Different rhythms? Different uses of the upper body and free leg?
Take a program and tell us how you would score it and why. I'd really like to get input from several different posters on this thread about the same program(s), so we can brainstorm what considerations should go into the scoring according to the existing rules and maybe each learn from others pointing out details that we missed, as we each focus on what's most important to us.
It depends on the judge obviously, but I have seen programs I would have given scores in the low 2s for choreography for Junior and Senior level skaters who had literally almost no program and just skated from jump to jump for almost the whole program and finally did some choreographic transitions of decent quality after the jumps were just about over and the step sequence may have gone to the music in a very, very vague way (as in, "that's the right section of music for the step sequence" but didn't really use the details of the music), which kept me out of the 1s. Most skaters, though, even if they don't have great, memorable programs and sometimes skate from jump to jump do have SOME attempt at choreography. The program I'm thinking of really stood out as notably MUCH weaker than all of the other skaters in the event, and it wasn't an International or World level event (though there were some very strong skaters in it). I have also seen a couple of cases where the skater literally did just skated in circles for almost the whole program in the middle third of the rink and didn't use the full ice surface at all, but it was so blatant that it really stood out and most skaters aren't nearly that bad even if they could improve their layout and ice coverage.
The good qualities in the skating that are demonstrated in between the elements, even if they are just crossovers, should not be ignored in the transitions mark because quality is an important criterion (I would argue the most important) for the transitions mark. Secondly, almost no skaters literally do nothing but crossovers through the whole program.
I try to weigh the quality at about half the transitions mark and the difficulty, variety, and intricacy together at about half the mark (and have tried unsuccessfully to come up with a "magic formula" for coming up with a mark ). The quality side will probably be somewhat close to, but could definitely deviate somewhat, from the skating skills mark. The transitions that are done on the ice are going to be largely reflective of the qualities in the skating skills mark-- speed, flow, depth of edge, etc., but some other qualities of the transitions wouldn't be, like positions in spirals, split jumps, etc. So if a skater did 0 difficulty/variety/intricacy, and the quality was on average at the level of the overall skating skills mark, then I would be looking at a transitions mark roughly half the skating skills mark. (But you can't give a 0 for a component mark and 0 difficulty would probably mean just standing in one place. ). This is just one rough guideline I've come up with to think about the marks that makes sense to me and is in no way "official." But taking an example of a skater who demonstrates 5.0 skating skills in a program, giving them only a 1.0 for transitions probably wouldn't be appropriate (IMO) even if the in-between content was very, very simple, because there would have to be some decent quality there if I ended up at a 5.0 for skating skills. The 1.0 for transitions should be reserved for a skater who does very, very simple/non-varied/non-intricate content and ALSO does it at a very, very low quality. OTOH, a 5.0 for skating skills and mark in the 3s for transitions could be reasonably, reflecting that that the non-quality aspects of the transitions were significantly lower than the skating skills, but not overlooking the quality entirely.
Thanks for the post, RFOS. You too, gkelly.
Personally, I would prefer if you did that. I've never been an IJS judge and, while I can watch a skater and could come up with my ideas of what they should score, I feel it would be more informative if someone such as yourself gave your assessment of a program, in order to better understand the current system.
I'd like to know what I'm missing.
Hmmm skateboy - you are the one who is commenting that you get angry about the PCS not being used correctly. It might be best if you have an example of a program where the scores that were given were ones you did not agree with. That actually might be a better strategy for you to get the answer you want.
I'm not the "one" that complains about the way PCS is used, it's actually quite controversial amongst many coaches, skaters, fans, etc.
But I get what you mean. I'll have to rewatch, dig up protocols and post video links: give me two or three days.
A week or two ago I had come up with some scores and explanations for the programs I linked in post #27, but I waited to post in hopes that others would also do so and we could compare notes.
So for those who want to give it a try, please come to your own conclusions before reading mine. I'll look forward to seeing what you come up with.
I chose programs that were judged under 6.0 in real life so that there wouldn't be any "correct" answers in a protocol somewhere and we could all share our thoughts with equal value. I also chose performances by skaters who were not well known so that we wouldn't approach them with prior expectations about the sorts of scores they "should" deserve. And I chose these particular performances because I thought there were some interesting contrasts in what each of the skaters did well or not so well. The first two, anyway. When I looked closer at the third skater I was less interested than I expected to be. So anyone who wants to give it a try, feel free to skip the third skater.
Meanwhile, here are my scores and explanations.
The first thing I notice about this skater was good posture, which I'll get to under Performance/Execution.
Skating Skills 4.5
Generally steady on her blades -- good balance. In part, though, I think that's because she's not taking any risks. The spiral edges were small and not especially secure, nor were the positions challenging. The power and depth of edge are not quite up to what I would consider senior level. Quite a bit of two-foot skating, including during the step sequence. Very few difficult steps or turns -- there were some reversing choctaws at the beginning. Very few clockwise turns -- I counted only three in the whole program (only one during the steps) and she was on two feet almost immediately afterward.
Transitions 3.5
OK on variety -- she had turns and steps, toe turns, hops, a little attitude position, some arm movements. Not much intricacy -- practically nothing leading into the solo jump. Not much difficulty -- only the choctaws (which weren't connected to anything) could really be considered even moderately difficult. Quality was commensurate with her skating level, nothing special.
Performance/Execution 5.5
She maintained her involvement to the program throughout. Not a lot of energy, but no dropping out either, unless you consider brief hesitations with the slight balance struggles at the end of the combo spin and in the first spiral position. Carriage was good, clarity of movement generally good -- most of her positions were pleasant, with nice stretched free leg when applicable. Layback position just OK, and the wrapped free leg in the jumps was slightly distracting. The style of movement was appropriate to the music. Some variety/contrast between staccato and legato movements, though no extremes in either direction. Not a lot of variety in tempo, force, size, shapes, or angles though. Projection OK -- she was presenting the program outward, but not on a large scale.
Choreography 5.25
There was purpose and unity to the program defined in relation to the music style, and the movement phrases matched the musical phrases. Proportion fine -- nothing seemed to be under- or overemphasized. As far as I could tell from the video she did not significantly favor one side or end of the arena. However the patterns seemed very standard and unoriginal. Final position of the combo spin was a little unusual, and I liked her use of the arms to the music in the layback. Ice coverage suffered from her lack of speed and edge depth.
Interpretation 5.5
She was aware of the musical style and rhythm throughout. I wouldn't characterize her movement as either effortless or effortful. There were some details and nuances throughout -- more in the opening section. Arm movements contributed the most to the expression, but there was also some use of rhythm in the steps and some nice sharp head movements. Not much use of the body core.
Skating Skills 6.5
The speed/acceleration was refreshing -- I especially enjoyed the way she gained speed through that forward outside three a little before the axel attempt, and kept good speed through the step sequence -- and the edges and knee bend fairly deep. Not many clockwise turns though. Other criteria seemed neither to be strengths nor weaknesses.
Transitions 5.5
I particularly took note of the clockwise back turn into the spiral sequence, the full rink worth of varied moves (quick mohawks/"Scottie" turns with nice rhythmic knee action, outside spread eagle, more quick turns, half-flip) into the double flip and the step directly from the flip into the layback as examples of variety and intricacy. I suppose we could also consider the Ina Bauer within the spiral sequence as a transition between spirals. The other jumps, and the combo spin, were a bit telegraphed (although the long entry to the combo spin fit the musical phrasing well). Difficulty was commensurate with her overall skating, as was quality, especially in maintaining good speed. Ideally I would have liked to see fewer crossovers, though, as strong as they were.
Performance/Execution 5.25
Well, the waxel was a complete failure that disrupted the program for just about 5 seconds, more than a typical fall, and the layback was notably shaky. I thought the flying camel was especially strong on speed and energy.
Otherwise, her involvement in the program seemed reasonably good -- she skated with energy and attack and mostly maintained the character of the music. Carriage and clarity seemed adequate to me but a relative weakness compared to her other qualities.
Choreography 5.25
The use of the music was generally fine but kind of generic in my opinion. I'd give more credit for "phrasing" than for "purpose."
The fact that she included a triple lutz at a time when only a few dozen ladies in the world were doing that jump, and the time she needed to set it up, may have given it undue weight compared to the other elements. The axel also took disproportionate attention on account of its complete failure.
I did like the choice to open with the flying camel, which was a strong element for her, and checked out right in time with the musical phrase.. The final combo spin position (would you go so far as to call it a back layback, or just a back attitude spin with epaulement?) was fairly original. Ice coverage was pretty good on account of her power, and the patterns a little bit surprising at least in the entry to the spiral sequence.
Interpretation 5.0
Again, there were some details and she never lost complete connection with the music except for those few seconds of waxel recovery, but the nuances were small and generic IMO; not much in the way of subtlety.
Skating Skills 4.75
Her speed looked adequate, but far from effortless. She wasn't really down into her knees, and she didn't use very deep edges. And there was some extranous upper body movement or pumping in her back crossovers. Lost speed on jump landings. There were a number of clockwise threes scattered throughout, so some multidirectional skating. The step sequence seemed to complete only about 3/4 of a circle, and the knee action on the forward and backward inside threes was nicely rhythmic but mechanical.
Transitions 3.0
There were steps into the solo jump as required, though nothing very impressive. Occasional three turns and mohawks, some arm movements, but no real difficulty or intricacy, not much variety or quality.
Performance/Execution 4.5
Physically she seemed sufficiently engaged in the program, but there wasn't a lot of emotional or intellectual involvement evident most of the time. Carriage OK but a bit stiff -- lacked fluidity in her back and knees. Not much variety in her use of the body, except some lyrical arm movements in the spiral sequence. Projection mediocre, clarity of positions mediocre. Just kind of "eh" all around.
Choreography 3.25
I saw some purpose in the connection between movement and music in the steps at the very beginning, in the arm movements during the spiral sequence, and in the poses. Otherwise the program seemed to be almost entirely about executing the technical elements. The music cuts were jarring and therefore the program seemed to lack unity and threading between the separate sections. Ice coverage was OK, patterns fairly predictable.
Interpretation 3.25
See above. Aside from those few sections I mentioned that seemed to use the music well, she didn't seem to be aware of what she was hearing during the rest of the program. At best there was some acknowledgment of different types of movement to powerful/rhythmic vs. lyrical music on the scale of whole sections of the program, but rarely any acknowledgment of the shape of four-measure phrases, let alone of the accents within each measure.
I'm another in agreement that they should combine some or all of the Components. I think part of the reason that scores are so similar for each of the marks is that so many of the components overlap. You transitions are part of the choreography, so a low mark on transitions should automatically lower the mark on the choreography. Choreography is also the primary means by which the skater interprets the music, so a badly choreographed should automatically lower the interpretation score. A persons skating skills affects the types of transitions & choreography that they can handle so will either affect the CH/TR mark if too easy, or the PE mark if the choreo is too difficult for them.
I don't think you can compartmentalize the 2nd mark like you can the technical score its components are far to interwoven.
Okay (especially gkelly and Aussie Willy), I gave it some good thought, as to what program(s) to consider, in terms of my beefs with the way PCS is scored. I almost chose Chan and Ten's FS at this year's Worlds, as the end result has caused such a ruckus amongst many fans, but I really didn't want to open up that can of worms. So I've chosen Michal Brezina's FS at this year's Worlds. He had a lot of techincal errors, falls, etc. and was punished for them in TES (he ended up 11th in the free): http://www.youtube.com/watch?v=0qglHd7F9hI
But we're talking about PCS here, so here's my assessment.
Skating Skills: He covers the ice pretty well, has decent speed and is capable of nice deep edges, sometimes. Turns in the first footwork sequence were executed quite well (unlike some higher-ranked skaters whose brackets, rockers, counters, etc., were quite shallow). Second sequence not so much. Body carriage and line goes from fair to okay, flow out of jumps okay but not exceptional. The falls should detract from the score a bit.
My score: 6.75. The actual scores given: 8.00 8.00 7.75 8.00 8.50 7.75 7.75 8.25 7.75
Transitions/Linking Footwork: Not much creativity here. Some elements connected by nothing more than crossovers (and not particularly notable ones). The transitions that do exist are nothing particularly exceptional or difficult. Overall, disappointing.
My score: 5.00 The actual scores given: 7.75 7.75 7.75 7.75 7.75 7.50 7.50 7.75 7.25
Performance/Execution: Not great. Many errors mixed in with a few good things here and there.
My score: 6.00 The actual scores given: 7.75 7.75 7.75 7.50 7.50 7.75 7.75 8.00 7.25
Choreography/Composition: Here's where I start going nuts and will do so even more re: "Interpretation." This is a HORRIBLE program. The music is awful for a competitive program, as it so monochromatic as to have no real high points. I believe I counted all of one jump that even landed on any kind of a beat at all. A clear case of "any music could have been playing, it wouldn't have mattered." Absolutely awful. The judges' scores for this dreck, are ludicrous.
My score: 3.25 The actual scores given (are you freaking kidding me???): 7.75 7.75 8.00 8.00 8.00 7.50 7.50 8.25 7.50
Interpretation: Interpretation of what? Horrible, horrible music for a skating program. Still, the two footwork sequences did fit, a little bit, with the character of the music. And--ooooohhh--he slowed his skating down a touch and seemed, at least for a few seconds, to "really feel" the middle "lyrical" section (I'm being somewhat facetious here, but the awful music did slow down in the middle). Oh, and he had some quirky hand gestures at the opening and close of the program and he finished on time with the music. Fatigue was a factor for the second half of the program, he was obviously tired.
My score: 5.00 The actual scores given (in what universe does this score in the highs 7s and 8s?): 8.00 8.00 7.75 7.75 7.75 7.50 7.75 8.25 7.50
By the way, I don't hate Brezina at all. He's a fine skater, seems to be a likeable guy and I'm sorry he had a bad skate here. But I did hate the program, because it WASN'T a program. I've seen novice competitors with much better programs. And while Brezina was deservedly dumped in TES, his PCS here was scored higher than, among others, Takahito Mura and Misha Ge. No, no, no, no, no!!!!!
So there it is (for starters). Someone convince me I'm wrong here. I'm not being sarcastic, I'm serious. I would like to understand how, in the name of the skategods, these scores are appropriate. Thanks!
Comparing the components of Chan, Ten, and Brezina in the FS:
SS 9.11 8.54 7.93 Brezina to Chan: -1.18 (-13%); Brezina to Ten: -.61 (-7%)
TR 8.96 8.43 7.68 Brezina to Chan: -1.28 (-14%); Brezina to Ten: -.75 (-9%)
PE 8.61 8.89 7.68 Brezina to Chan: -.93 (-10%); Brezina to Ten: -1.21 (-16%)
CH 9.0 8.86 7.79 Brezina to Chan: -1.21 (-13%); Brezina to Ten: -1.07 (-12%)
IN 8.96 8.86 7.70 Brezina to Chan: -1.26 (-14%); Brezina to Ten: -1.16 (-13%)
Ten: 43.85
Brezina: 38.78
Difference: -5.07 (-12%)
Was Ten only 12% better than Brezina in components?


text: Wolff and a couple of others make spring kits for the K frame guns. Brownells has them. Trigger weight can be important to people with less hand strength, but I tend to feel smoothness is even more important. When the internals are smooth, even the same springs feel lighter. If you choose to put in reduced power springs, be sure to test the gun to ensure positive ignition and cycling. As a designated home defense gun, reliability is the most important consideration.


text:
|Topic Review (Newest First)
|the drill bit that comes with some pop rivet kits is a favorite also..
My Pick
We have been through a few spot welds bit here while doing body restoration projects. We recently tried out a few bits from Auto Body Drill (autobodydrill.com) and were very impressed with how they held up. The TiN Coated type 187 punched through close to 200 spot welds. Supposedly they are manufactured in the USA and they specialize in spot weld supply. Just my 2 cents.
Funny you I should see this today as I spent a good part of yesterday sitting in the hospital with my wife and had the time to write a "Basics of Basics" on seperating welded on panels. I went thru the three common types of bits for drilling out spot welds.
That blair "mini hole saw" is actually the last one I would pick. After reading your posts I don't hate it as much as I use to though. In certain places and times it may not be a bad choice.
But I still would HIGHLY recommend more of a "pro" type drill. I haven't seen one of those blair style in a body shop in almost 20 years!
This is more of what we use today in a shop though this particular exact design I haven't had good luck with but it gives you an idea. What we use is a one piece bit that looks like the one on the bottom of this photo with the pilot bit retracted in.
This is a lowsy photo but here is one.
|I'll probably try the blair kit 11082. I probably have spent more in cheap spot weld cutter than if I just bought this kit. I looked at the site what is the difference in the blair spot weld cutter and the blaircuttersand rotabroach? You know?
|Old Fool
I have had great success with the Blair Kit no. 11082 AND the Blair 11750 lube stick.
I drilled out all the spot welds to remove the aprons on a 2005 Ford Focus using this tool and lube, and only used one cutter bit for the total project, which was around 150 welds or so..
The lube stick is awesome, it cuts faster and the bit lasted for the project.. money well spent.
I like the fact that it cuts around the weld, leaving the metal intact on one side of the seam. Just take a disc grinder and dust off the weld from the flange and you are ready for fit up of the new panel..
You didn't say what type of spot weld drill you have in mind or what price range you are looking for but don't waste your money on these from Northern tool, Tractor Supply and several other discount tool suppliers.
These are total junk and although they may look like the higher quality cutters you will be lucky to get 3 or 4 holes drilled before the teeth dull and/or break off. These are are almost certainly the exact tool you have from HF so you already know what I am talking about. The same type of tool from Snap-On and other major pro suppliers works quite well however but are more expensive.
Northern does also carry the H&S Industries Cobalt spot weld cutter and these work quite good, at about $30 for each bit they are not cheap but they last a long time and do a really good job.
|Twisted Minis
|I use a Blair spotweld cutter. Very nice quality, unique design. You have to center punch the spot weld for it to center itself successfully. I have about $50 into mine, but I have about every size head for it you would need to take a car apart. If you just need one size the cost is about $25 if I remember right. The main cost is the piece that is spring loaded and holds the bits. I use mine in a shop setting, and they are still going, probably cut almost 1000 spot welds with it so far.
Best spot weld drill?
I was wondering what your opinions on the best spot weld driller are? I've been using the ones from harbor freight, and they work great and I like the design but they don't last very long. I cut the core support off my front, and was about a total of 30 spot welds, and I went thru 4 thats about $20 in spot weld drills.
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text:
To Ball State University Museum of Art patrons, Childe Hassam's Bowl of
Goldfish (1912) is quite familiar. It has remained a favorite painting
long after the 1985 exhibition Childe Hassam in Indiana. As Alain Joyaux
noted in the book of the same name, the exhibition was held to
celebrate the 50th anniversary of what was then known as the Art
Gallery, so it is fitting that at the conclusion of its 75th anniversary
celebration, the museum has chosen to once again feature the artist in
the exhibition Childe Hassam: Paintings and Prints.
Childe Hassam first found success as an illustrator for books and
magazines in the late 1800s. He returned to graphic media after the turn
of the century, first to etching and drypoint in 1915, then to
lithography in 1917. However Hassam best known for his accomplishment as
a painter within the American Impressionist movement.
work has long been important to the Muncie art community. In 1907, the
newly organized Muncie Art Association set its eyes on acquiring
Entrance to the Sirens' Grotto, Isles of Shoals (1902). Local historian
Ned Griner writes that while Hassam discounted the cost of the painting
to a mere $400, it was still $300 over the group's budget. Thanks to a
subscription drive undertaken by Frank C. Ball and George McCulloch, the
money was raised, and the group made what became a significant
Entrance to the Siren's Grotto, as well as Bowl of
Goldfish, will be on view during the exhibition, as will The Old Lyme
Bridge (1903) and Reflection (1917). In addition to the oils, a
selection of Hassam's prints will be included in the exhibition.
Exhibition Date: May 20, 2011 - August 28, 2011


text: I simply can't see things in this kind of terms. All I see is a playoffs fast approaching. All I see is a young guy who can help us win the whole thing. But only if he plays extensively. Its not about AJ. Not one bit. Its about winning it all. AJ needs to play. Forget him. Remember the team. What is good for the team is AJ playing, getting better, and providing us a really good option to go to whenever Dyess, Sheed, or JMAX is in foul trouble.


text:
Quayle Hodek On The Future of Renewable Energy
Called one of the "7 Hottest CEOs " by Treehugger.com and one of Red Herring's "Top 25 Entrepreneurs under 35," Quayle Hodek is a pioneer in the field of renewable energy. As the CEO of Renewable Choice Energy, Quayle has been on a mission to convince companies that switching to renewable energy is the right thing to do, for the planet and the bottom line. He spoke at TEDxMaui 2013:


text:
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text:
Discussion in 'Pistons and NBA' started by mikhail1973, Jan 30, 2013.
yeah I got a chuckle outta that
Pistons given A's by analysts for Tayshaun Prince trade | Detroit Pistons | Detroit Free Press | freep.com
Nice trade. Calderon is obviously a poor man's Steve Nash. He'll make everyone on the floor a better player, including whoever he's guarding. He's really a 23-28 mpg guy, not necessarily a starter. It will be interesting to see how it effects the rotation. Who plays with him? Do you go with three perimeter shooters- Jose, BK, and Kyle? Jose and BK form a smallish duo, but BK's 6'7 wingspan helps offset that. That duo would almost force Frank to drop either Stuckey or Bynum from the rotation. Or do you insert a penetrator into the starting lineup in Stuckey? With three nice distributors in Jose, Kyle, and Monroe, you might be able to get away with it. Do you go with Bynum and Knight on the second unit? If you're bringing Jose off of the bench, does it make any sense to have Bynum on the floor with him? I could see Jose coming off of the bench for 5-10 games, but eventually he'll need to start on this team. In fact, I could see both he and Dre coming up to the first unit together 5-10 games from now. It still begs the question- Who will play the 2? If Dre is inserted into the starting unit, then you would think that it would have to be either BK or English.
At this point, you might as well just blow the rotations up and start: Calderon, Knight, Singler, Monroe, Drummond
Many of us have been asking for a true veteran PG to come in and mentor Knight. Many of us have been wanting to get rid of Daye. Many of us have been wanting to get out of Tay's contract. Several prayers have been answered it seems.
Tay and Daye gone, a true PG, JJ at SF, a slight chance this might trigger Drum starting, Kenny getting minutes, Krava with a flush per minute - alot of good stuff. Every player, except the Joggernaught, that's not in the Pistons future plans are now on expiring contracts. Jose should start.
Btw, did you guys see that dissapointed fan at the beginning of the game first hearing about Prince? kinda sad...
Why does Knight need a mentor ? Why can't the coaches mentor him. Why is he so stupid or does he just lack permission ?
Whoever said $5m for Calderon, please re-evaluate that number. He is one of the top point guards in the league, regularly top 5 for assists, top 5 for ast/tov, great TS%, and pretty much cannot miss a FT. Depending on how he plays, the number he has now seems about fair, probably +2m
he makes $10M
Happy there is a true veteran PG to come in and mentor Knight on court as Frank (a non-HS-player) is never going to be able to do it from the practices. Happy with the salary and timing too - freeing up plenty of cap space to re-up Monroe and go after hopefully Smith this year or another stud next year. Happy that Singler moves back to his true position and JJ gets some burn again (hoping he get back in his groove) Happy Daye is gone. I would have actually preferred it was Stuckey to go instead of Prince though. I still just see him as being the biggest distraction to the offence running smoothly and inserting Calderon won't help this. Plus he is petulant and not as good an influence on the young guys as Prince (although not saying he is great from his on court actions - just better than Stuck). Not sure how the rotations will play out now though, but I fully expect Frank to roll out the starting lineup as it was in Indiana with first sub being Jose for Knight. I have written and deleted what I want the starting lineup and rotations to be a few times, but to be honest, I'm not sure just yet. I think if Calderon can get BK on the right path and having him as a backup PG from maybe next season and the two after would be great. Assuming the progression of the young guys and a couple more pieces, we will start to look real good. Starters: Drum Monroe [insert baller] English Knight Bench: Kravtsov [insert stretch 4 who plays D] Singler or JJ [insert a 2 or possibly Middleton] Calderon Whatever happens, I think we all agree it was another step in the right direction!
Everytime I read or hear the name Calderon I think of Miami Vice.
I'm excited about Calderon in a Pistons uniform. Ben Gordon being one exception, Dumars has done well by our guys when trading them. Calderon was one of the best things about watching Toronto in the first place.
With Jose on board, we are free to trade away Bynum and give Bynum's role (12-15 mpg backup guard) to Stuckey.
I like him at around $7 million. He's an elite backup/ solid starter. As much as I really like him on offense, he is a truly putrid defender. I would really like to see Dre playing behind him.
Thank you.
Holy crap... two days away from this place and the whole thing blows up. I like the trade. I've coveted Calderon for a long time, and although I wish he was about four or five years younger, I like the idea of him showing Knight the ropes. They now have a bonafide distributor, and with Bynum coming off the bench and Knight taking over the role of de facto shooting guard, this team's assist-to-turnover ratio should climb significantly. But even better is the fact that Joe managed to get rid of Prince... if they cut Stuckey loose for four million next year and amnesty Villanueva (I'm not saying they will do either of those, but if they do...) then they'll have nearly $30 million in cap space with Knight, Singler, Jerebko, Monroe, Drummond (a potential starting five, btw), plus Kravtsov, Middleton, and English all signed. Now, the question is where to go from there. Josh Smith would be the ideal, but I think he's out of the question because the Pistons will be competing with too many teams (including Atlanta) for him. Do you package Monroe to make room for Drummond or do you get both of those guys in the gym with each other and take advantage of their polar opposite strengths? Do you hold on that cap space and shoot for someone in the 2014 mega free agent class? This changes everything.
The next couple of games will be as anticipated and exciting for me as any I have watched in several years. There are 36 games left. Will Jose Calderon impress the Pistons enough to warrant a contract offer? Just as important, will the Pistons impress Jose Calderon enough for him to want to stay in Detroit?
I don't think Jose will be here next year but this deal will definitely pay off in the long term
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Cosmopolitan 3708 South Las Vegas Blvd.
Las Vegas, NV 89109 (702) 333-9000
Monday thru Wednesday: Closed
Thursday thru Sunday: 9pm to 5am
Marquee Nightclub & Dayclub at The Cosmopolitan is the premier location for the Las Vegas nightlife experience. Located at 3708 Las Vegas Blvd, Marquee is a 60,000 square foot Dave Rockwell venue containing seven different bars and three rooms—the main room, the Boom Box, and The Library—each with a distinct musical experience. Perfect for a corporate event, networking function, bachelorette party, or regular weekend night, the stylish and sophisticated venue offers a full range of food services, from passed hors d'oeuvres to buffet style dining, beverage options, and bottle service. Marquee is also the number one destination for the world's premier music talent, featuring residencies of world-renowned DJs like Kaskade, Benny Benassi, Erick Morillo, and many more. An innovator of Las Vegas nightclubs, Marquee's Main Room features a state-of-the-art sound and visual system with a 40-foot LED DJ booth and projection stage in conjunction with 32,000 subwoofers and full range speakers. Overlooking the Main Floor is the intimate, lounge-style Library room, which is home to a fireplace, billiards table, and vintage books. Be sure to sample some of the specialty cocktails only served in this section of the club. On the lower level of the nightclub is the Boom Box room, featuring gorgeous views of the strip and a separate DJ and sound system, affording patrons a selection in the music and venue they wish to enjoy. Marquee Dayclub includes eight cabanas with infinity pools and 10 three-story bungalow lofts with living quarters and open-air party decks. This luxurious outdoor facility is perfect for rest and relaxation or a pool party, and it features a daytime menu from executive chef Ralf Scamardella. The best DJs in the world will mix and spin you an unforgettable time at Marquee Nightclub & Dayclub. No other Las Vegas club can offer such a completely unique and exciting experience, so make your reservations today!
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Lesley University has a robust and comprehensive emergency response guide available to members of its community. This response guide addresses the needs of both on-campus and off-campus students.
Please visit Lesley's secure website for emergency procedures, including:
Main Page
Emergency Plan
Security Report
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Emergency Procedures
Phone Numbers
In case of emergency, call 911 before calling Public Safety.
Main: 617.349.8888
Brattle Campus: 617.871.6029
Porter Campus: 617.349.8390


text: Here is something that needs immeadate attention! we should set up a net work just as the allies did in WWll for passing Information and materials, and most of all get that stupid mofo out of office. The world is watching his every freeking move. And it dosnt take and rocket sciensist to know that as soon as they manage to disarm the American Citizan how long do you think it will be before the very enemy we have lost thousands of people too will show up on our doorstep and really cause trouble, death and destruction. But of Course our political leaders we dont know what happened!, or we could have not forseen this comming! Well if I can see it comming and they can;t this means one of two things ..No#1 it proves the goverment didnt give a shit to begin with, No#2 They were to stupid and stuck up to see it eathier way these idoits should not be in office..Doc


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split brass happens....
its either bad brass or bad barrel.
if this were my gun, i would check the barrel for any obvious signs of a defect.... altho it could be a wonky barrel that doesnt correctly support the case.
in my opinion, the more likely of the two is bad brass. i have seen new cases split in guns that have never had it happen before and after.... also seen surplus ammo split every 5 or 6 rounds.
hard to tell based on just one case, fired by another person.
i am sure the customer service guys will have you take it to a local gunsmith to have it checked out...
again, if it were me, based where the split is, i would be shooting instead of worrying (checking the spent brass of course)


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Capture Camden Photography Exhibition and Private View
Following the recent Capture Camden photographic story-telling event, a unique exhibition of images taken on the day will take place in July and August.
The Capture Camden event took place at The Roundhouse in June as part of the Open House The Lives of Buildings weekend. On the day, teams were given different parts of a pre-written, modern version of Sleeping Beauty and sent into the local streets to find inspiration and take photos that responded to or represented each phrase or word.
At the end of the day, all photos were collected and compiled and the tale of Sleeping Beauty was visually reconstructed through the unique photographic story created by participants.
Held at 22 Chalk Farm Road, the exhibition will run from July 28th, to August 2nd and will be a truly unique event. As every photo from the day will be displayed in it's correct place within the story, the exhibition provides a beautifully told story as well as showcasing these creative images.
There will also be a private view for the exhibition, held on Thursday 30th July, which we would like to invite you to. This is a great opportunity to socialise with participants from the event, along with the Shoot Experience team, and to enjoy free drinks.
Capture Camden Exhibition
Date: Tuesday July 28th Sunday August 2nd
Venue: 22 Chalk Farm Road, Camden Town, NW1 8EH
Time: Tuesday - Saturday 11am-7pm, Sunday 11am-3pm
Contact: 0207 0333 555, firstname.lastname@example.com
Capture Camden Photography Exhibition And Private View
Started by shootexperience, Jul 22 2009 02:10 PM
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|Topic Review (Newest First)
|Thanks again, DanTwoLakes.
|John long
|Just love learning cool tricks like that. This forum continually reminds me how much I don't know.
When you start from underneath, just leave a long piece of thread. When you get back to that piece of thread , tie a square knot with the two ends you will have. Sorry anbout that, I thought I posted the picture of the square knot, but I didn't.
Yes, use one continuous piece of thread to make each repair.
You'll need a 4" 17 gauge curved needle from an upholstery supply place. CLICK HERE
Wow! Thank you for taking the time to make up that demo and photograph it.
That's exactly the information I needed. For better or worse, patience and attention to detail are part of my character. Sometimes it's a curse, especially if you ask my wife.
Just a few questions if you don't mind...
To start, do I just tie a knot at the end of the thread so it doesn't pull through on the first stitch, or do I make a single stitch and tie that as a loop to start off? Or is there another method I should use?
Similarly, what's the best way to tie off the end when I'm done?
Is it best to do a repair area with one continuous thread back and forth or doesn't that matter?
|You can hand stitch your top and get it almost as good as machine sewed if you take your time and are careful to go through the original holes in the fabric. You will need polyester thread the same size as the original which will probably be size 138. The only other thing you will need is a small curved needle, and an infinite amount of patience. Sew up and and down every other hole like in the pictures, and when you get far enough to repair the open area, reverse directions and sew opposite of the way you sewed the first time. Make sure you start and stop from underneath to hide the ends of the repair. The only other thing to remember is to not sew through your thread. I used great big twine and a large needle for this example. Regular stitching looks like the other two rows.
Convertible top restitching
Not really a hot rod, but my daily driver has a canvas top.
The piping around the window, and the same on the sides (forms a sort of drip rail) are coming loose in a few spots.
I examined them and there are no tears, it just seems the OEM thread disintegrated. Doesn't seem like the material has shrunk - I think I can get it right back where it was if I could stitch it back together.
Founds some posts to use polyester thread, and have found a source for that, but these areas are at most a few inches long - it's a huge job to get the top off the frame and reinstall it to use a machine, if I even had one.
Seems this would be the type of repair for which hand stitching would be appropriate. I'm pretty sure I can even reuse the old holes and just rethread it.
Am I nuts? I don't mind if it's tedious, but I don't really know if there's a type of stitch that I should use and what sort of needle and thread size. I expect it would be a good idea to extend the repair a little past the problem areas until I connect with solid thread again.
Any advice?
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Ozone Hole Leaks and Other Tales
[2] The hole in the ozone layer and atmospheric pollution (including but not limited to aerosols) cause global warming. Like the previous one, this one is also very tenacious and difficult to dispel because it is often presented this way in the media and most primary and secondary school teachers share the same fallacy. Perhaps one of the underlying faulty notions here is that the Earth receives heat from the Sun, instead of radiation. So, the thinking here is that the ozone layer shields our planet from the Sun's harmful rays and its heat. And because there is a hole in the ozone layer, the extra heat seeps in and gets stuck under the ozone layer causing the greenhouse effect. I know, yikes!! I try to dispel this misconception by explaining that though the sun is indeed quite hot, there is all this empty space between the Sun and our planet and heat travels to Earth as infrared radiation from the sun, but the Sun's output of infrared is only a fraction of its output as visible light. Energy from the sun mostly reaches us as visible light and ultraviolet radiation. (Minor edit to remove confusion with sensible heat and radiation. Sorry about that!).
However, the notion that global warming and ozone depletion are linked is not entirely wrong. As was discussed earlier on RealClimate (Ozone depletion and global warming), original CFC's as well as ozone itself are powerful greenhouse gases and stratospheric cooling caused by the increase in atmospheric CO2 actually accelerates ozone loss there. Even the replacement gases to be used in lieu of CFCs may have significant greenhouse warming potential. BUT, ozone depletion ("the hole in the ozone layer") does not cause global warming.
This discussion eventually lends its way to a discussion of aerosols (see Aerosols: the Last Frontier) and although aerosols tend to scatter or absorb incoming solar radiation (hence a warming effect), their net effect is in the direction of cooling because they have a positive influence on the nucleation of clouds which increases our planet's albedo (ability to reflect light).
[3] The greenhouse effect and global warming are the same thing. This is another yikes!! Perhaps the root of the problem here is that the discussion of the greenhouse effect in the classroom is often tightly linked with that of global warming. It needs to be explicitly pointed out to students that without the greenhouse effect our planet's surface would be about 30 degrees C cooler and with wild differences in temperature between night and day. Not exactly habitable. But anthropogenic global warming is caused by the human-induced increase of greenhouse gases in the atmosphere since the Industrial Revolution, particularly CO2. Most of the past changes in climate on glacial-interglacial timescales can be explained by invoking changes in solar activity and greenhouse gas concentrations in the atmosphere, sure. But the warming we have been experiencing in the last few decades cannot be explained if we do not include the effect of greenhouse gases released by human activities (see the IPCC 4th Assessment SPM, and Avery and Singer: Unstoppable Hot Air, just to name a couple).
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|Topic Review (Newest First)
I put my puppy on adult food at six months, and we never had pano problems after that. I was told that the adult food slows the growth, which is helpful on bones and joints. Give her the anti-inflammatories when she shows signs of pain. You should be able to go ahead and do more training classes unless her pano is very severe. My vet told me that I could go ahead with Krieger's protection work training the day I took him to her for pano issues! But, like I said, your dog's case could be much worse than Krieger's was.
Also, I found that beef tracheas helped TREMENDOUSLY as a source of glucosamine and chondroitin. Krieger loved to chew those. My vet made a remark about how Krieger was the only one out of his litter who didn't have floppy ears when teething, too. I attribute that to the beef tracheas big time.
|Thanks for all of the recommendations! That gives us a lot of different things to try, if we continue to have issues. I'm not sure she could handle the fish oil, although I have used it with other dogs in the past (although for skin or arthritis issues). We do supplement with probiotics and enzymes already -- I think they really help her stomach (although I haven't tried Sunday Sundae -- I'll look into that). I'll also try the vitamin C -- she had some cranberry/C supplement that she was taking for puppy vaginitis that totally upset her stomach, but I think that might have been the cranberry more than the C.
|Look into fish oil capsules or liquid -- get a good one. It's a natural anti-inflammatory, and they can tolerate a pretty big dose (work up to avoid loose poops). Pano is an inflammatory response in the bone, so a holistic vet recommended this -- along with ester-C and a glucosamine/MSM/chondroitin comb (human grade -- 1500 mg of glucosamine/day).
There are 2 Homeopathic's that my Holistic Vets recommend for Pano. Calceria Carbonica 30c (crushed between 2 spoons) choose potency 30c, choose pill size #40, choose 1 ounce bottle Calcarea Carbonica ~ Washington Homeopathic Products
Mezereum 30c (crushed between 2 spoons) (is for pain and burning in tibia and long bones) choose potency 30c, choose 1 ounce bottle, choose pills size #40 Mezereum ~ Washington Homeopathic Products
Both given 2 x daily at different times of the day, 2 pills per dose. If you are not familiar with Homeopathy, remedies are given in "a clean mouth" which means 30 minutes away from food and water on both sides of dosing. The crushed globules are placed inside the dogs lip to dissolve into system through the mouth tissues.
An appointment with a certified dog Chiropractor may also help.
Sounds like your Fur Baby needs some digestive enzymes and a probiotic to help her assimilate her food properly and improve the health of her gut (75%-80% of disease begins there!). This one is fantastic! Sunday Sundae (Digestive Enzyme & Pro-Biotic Combo): Sunday Sundae Nutritional Supplement or from Animal Nature 412- 723-2194 animal nature product listing
If you decide to change foods, you may want to try The Honest Kitchen LOVE De-hydrated food. Honest Kitchen is the ONLY pet food on the US market that the FDA will legally allow to use the words "100% Human Grade Ingredients" on their advertising and packaging. This is because besides the ingredients being 100% human edible, it is manufactured in a Human Grade Facility. A 10# box (approx $100) RE-Hydrates to 40 pounds but since this is real food and not extruded like kibble, you actually feed a larger quantity. The Honest Kitchen has helped MANY dogs with stomach problems!
Love has 31% protein (7% lower than the Merrik you are feeding) and is recommended for "All Life Stages". Love Dog Food ? Gluten Free | The Honest Kitchen All ingredients dehydrated: Beef, sweet potatoes, potatoes, organic flaxseed, organic coconut, parsley, dandelion greens (to be replaced by chard), papaya, cranberries, pumpkin, honey, tricalcium phosphate, choline chloride, zinc amino acid chelate, vitamin D3 supplement, vitamin E supplement, potassium iodide, potassium chloride, iron amino acid chelate, copper amino acid chelate. Store locator – type in you zip code here: Where to Buy Honest Kitchen - Honest Kitchen Stores | The Honest Kitchen
Good Luck! I hope you find the right combination for her.
|my guy is limping too. I don't want to give pain meds because I think he wont stay off it then. I used meds the first time (x-ray confirmed pano) and he had a second bout of it and now his third. I stopped giving him hokomix because it has calcium in it and I started Vit C this morning. he's doing better than yesterday, I don't know why
I just got the Wal-Mart brand. Not flavoured though
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|wolfy dog
Originally Posted by mamalimpopo View Post
Thanks for the commiseration and the advice. I hadn't thought about trying Vitamin C supplements, so we'll see if her stomach can handle those. Is there any particular brand/type you'd recommend?
At least the pain pills seem to be helping -- Bonnie is much cheerier now! Although she's super bummed that we've had to temporarily discontinue her morning and evening fetch sessions.
Thanks for the commiseration and the advice. I hadn't thought about trying Vitamin C supplements, so we'll see if her stomach can handle those. Is there any particular brand/type you'd recommend?
At least the pain pills seem to be helping -- Bonnie is much cheerier now! Although she's super bummed that we've had to temporarily discontinue her morning and evening fetch sessions.
I did Vitamin C with Bob and within a week saw a difference. Within 2 weeks his limp was completely gone.
I guess every dog is different.
And yes keep her on the thinner side
Also it sucked, but I cut off all intense exercise. He had no walks, no runs. He went outside to use the washroom and that was basically it. And then I slowly brought back his normal exercise routine.
It's like the old saying "You have to be cruel to be kind".
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|wolfy dog
My breeder recommends Vit. C; 500 - 1000 mg twice day but I didn't see much results.
Keep her on the skinny side.
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Zip, your arguments are a good example of starting with an unproved premise. i honestly don't care what you believe, but we all should recognize that what we believe is based on a starting foundation. self checking is important in science, belief systems, and life in general.the questions of how? and why (not)? are the basis for all advancement in thought and society. only man has the ability to engage in this kind of thinking and sadly, we waste the skill more often than not.
i honestly don't care what you believe,
CERN the particle accelerator sent a series of signals exactly 812 miles and it arrived (measured by atomic clocks) FASTER than the speed of light - they now are scrabbling to explain whether particles can exceed the unthinkably unbreakable speed of light or was there errors in the distance measuring? If it is the prior, than all Einsteinium theory and physics as we know it is out the window and needs to start over.


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03 April 2014
Online casino gaming is becoming ever so popular. Online casinos are not only limited to slot machine types of games, but there are card games and bingo games as well. Usually, casinos can be found only in large luxury hotels. These days, with the onset of online casinos, there are small establishment similar to internet shops that already offer these games, making it more convenient for a lot more people to access.
Pros and cons of playing casino games online
Gambling is a form of entertainment for a lot of people. And while some knows the risks one takes in a casino, others don't. That being said, there are certain pros and cons when it comes to playing casino games online.
The most popular game when it comes to online casinos is the slot machines that can be found at for example Norske Spilleautomater. It is easy to learn and easy to play. The sudden availability of these video slots played online has made it even easier for gamblers to play the game even at the comforts of their own home. All that is needed is a fast internet connection and accounts for online banking in order to purchase credits.
One huge disadvantage of this is that it allows individuals easier access to these games, luring them to buy more credits and spend their money. If they do not know how to control their gaming fix, they could easily get into financial trouble. But for those who can manage their finances well and treat online gambling merely for entertainment purposes, then it could be advantageous. Online casino slots, compared to the traditional slots, give higher progressive jackpots and usually get a higher payback for the money they wagered, if they ever get lucky. This is because online casinos have no need to pay any overhead for space rentals, personnel and other expenditures a typical casino establishment would have. Everything is managed online and it only takes a few people to keep this kind of business operating efficiently.
Another great thing about online casinos is that one has the initial option to play for real money or just for fun credits. This allows the players to become familiar with the game first before deciding to play the game using real money.
When it comes to playing online casinos, one needs to maintain a stronger self-restriction and discipline. It is easier to spend money online compared to traditional land casinos. One can easily be lured by the high progressive jackpots and the easy way to purchase credits using credit cards or online banking to keep on playing.


text:
Preliminary Investigations into Ontology-based Collection Selection
Bruza, Peter, King, John, Li, Yuefeng, & Nayak, Richi (2006) Preliminary Investigations into Ontology-based Collection Selection. Australian Journal of Intelligent Information Processing Systems, 9(2), pp. 33-40.
Impact and interest:
Citation counts are sourced monthly from Scopus and Web of Science® citation databases.
These databases contain citations from different subsets of available publications and different time periods and thus the citation count from each is usually different. Some works are not in either database and no count is displayed. Scopus includes citations from articles published in 1996 onwards, and Web of Science® generally from 1980 onwards.
Citations counts from the Google Scholar™ indexing service can be viewed at the linked Google Scholar™ search.
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|Journal Article
|Information Retrieval, Document Databases, Digital Libraries
|Australian and New Zealand Standard Research Classification > INFORMATION AND COMPUTING SCIENCES (080000) > INFORMATION SYSTEMS (080600)
|Past > QUT Faculties & Divisions > Faculty of Science and Technology
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|17 Jun 2009 13:56
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Grim Reaper Razortip Mechanical Broadheads
Sale price: Clearance price: Starting at: Sale starting at: Clearance starting at: Reg. price:
Top performance starts up front with the Grim Reaper® Razortip mechanical broadhead. The exclusive Trocrazor™ tip features three mini .015'' thick razors securely locked in a hardened steel Trocar tip to pulverize heavy bone and slice like a scalpel. Broadhead design ensures the tip digs into the target before the blades to ensure no deflections. LockNotch blade retention system keeps the three Maxx Edge blades in place without O-rings or bands until the target is struck. Maxx Edge blades give you a .035'' blade with the sharpness of a .020'' blade. Blades switch out in seconds. Includes cutting diameter. 1-3/8" cutting diamter. 3 pack.
- Trocrazor tip features three mini razors in hardened steel tip
- No deflection design
- LockNotch blade retention system provides quick and smooth blade expansion
- No O-rings or rubber bands
- Maxx Edge blades
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does this broadhead come with a practice tip
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"These are great shorts. Good compression, smooth material, no chafing. I would recommend them." (E31965)
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Epic Sports
Nouvella Womens Space Dyed Terry Shortie Socks [E66604]


text: This thread's goal is to bring peace. I always thought Chauncey was overrated, and Rip and Tayshaun were under-appreciated. Don't get me wrong, the guy can lead a ball club. I'm just really tired of all the blame being put on Ivo and all the praise going to Billups. STATISTICALLY, Iverson trumps Billups in almost every category. The biggest knock on Ivo is his FG %, but you know what, Billups is an even worse shooter! Billups has shot under 40% six times in his career. Iverson only had two "under 40" seasons, and shot a career-best 45.8% last year (and 45.1% the year before). Iverson doesn't pass? His career average in assists is greater than Billups' avg, but of course Ivo played a lot more minutes. So maybe that's negated. Turnovers, FT% and 3-pt% is where Chauncey shines. However, Ivo's FT% is pretty good. He was mediocre at FTs out of college, but worked on it every year until he became a reliable 80% guy. If you throw out the first 3 years of his career, his career FT% is in the 80s (78% w/out). Points, FG%, Steals, Rebounds, Assists, you name it. Better. Period. So let's not call him "inefficient" on the forums anymore. Ok? I'm not even going to get into individual accomplishments, because that would be petty. LEADERSHIP isn't something you can really measure, but obviously, Chauncey is great at bringing chemistry to a team. The fact is, if a good team is missing a starting point guard and you give Chauncey a prominent role, the team will improve. With Ivo, you have to build a team around him. He's a superstar and a scorer. That's how it always works. The trade was a business move for cap space. That's the harsh reality of the situation. Let's just be harsher on Curry's impossible job of managing all the talent on his team.