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BienfangTracingPaper Rolls
BlickMega GoldenTaklon Brushes
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BlickPencil Case
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Tri-Art's Finest Quality Artist Acrylics are premium quality artist paints designed to satisfy the most discerning artists. Their unique consistency allows for bold impasto effects that are normally associated only with oil colors.
Color Swatches created using heavy application/medium application/50% tint and were applied on acrylic primed canvas (7 oz) material.
iron oxides
FeO or Fe2O3
Mars Black is an opaque black with a strong and cool masstone, a slightly warm tint, and a warm brown undertone. It is not as black as Ivory Black, but it dries more quickly and has three times the tinting strength. Mars Black is normally the only black available in acrylic form and that is safe to over paint. It can be used in all media without reservation and is widely used as an alternative to Lamp Black and Ivory Black.
Mars Black is very lightfast with excellent permanence.
Mars Black has no significant hazards and is the only major black pigment considered non-toxic.
The word Mars refers to the Roman god of iron and war. Mars Black was developed in the early 20th century from inorganic, synthetic iron oxide.
Black Iron Oxide, Iron Black, Magnetic Oxide, Mapico Black, Mineral Black. Sometimes labeled as Vine Black.
titanium dioxide
Titanium White is the most brilliant of the white pigments. It is considered an all purpose oil color useful in all techniques and the best all around white. Its masstone is neither warm nor cool, placing it somewhere between Lead White and Zinc White. It is less prone to cracking and yellowing than Lead White, but it still yellows easily. Titanium White dries slowly in oil form, more slowly than Lead White but more quickly than Zinc White. It is opaque in oil and acrylic forms and semi-opaque in watercolor form. This pigment has good chemical stability, and its tinting strength is superior to both Lead White and Zinc White.
Titanium White has excellent permanence and lightfastness.
Titanium dioxide is highly stable and is regarded as completely non-toxic. Animal studies give no indiciation that it is absorbed biologically, even after long periods of exposure. The primary safety concern is with inhalation of fine pigment dust particles. Titanium White, if inhaled in large amounts over the course of several years, may cause a benign pneumoconiosis that is visible on x-rays. The National Institute of Occupational Safety and Health (NIOSH) considers fine titanium dioxide particles, if inhaled, to be a human carcinogen. The primary concern for artists is to avoid exposure to fine particulate dust from raw pigments.
Titanium is the ninth most abundant element in the Earth's crust, however mineral deposits that are economical to mine are less common. Titanium dioxide was first discovered in 1821, although it could not be mass produced until 1919. Widespread use of the pigment began in the 1940s. Since that time, it has become the most commonly used white pigment. The name comes from the Latin word Titan, the name for the elder brother of Kronos and ancestor of the Titans, and from the Greek word tito, meaning day or sun.
hydrated iron oxide
α-FeO3+(OH) or Fe2O3
Raw Sienna is a moderately dull deep earth yellow with medium tinting strength and excellent transparency. It is one of the basic permanent artists' pigments and is made from a form of limonite clay whose yellow-brown color results from ferric oxides. Raw Sienna is preferable to Yellow Ochre for creating flesh tones, due to its higher subtlety of color when mixed with white. It creates a bright Ochre when mixed with Cadmium Yellow and creates greens and grays when mixed with Ultramarine. Raw Sienna dries quickly.
Raw Sienna has good permanence.
Raw Sienna has no significant hazards.
Raw Sienna has been used as a pigment since prehistoric times, although its current name came about during the Renaissance. It comes from the city of Siena, in Italy, and is short for terra di Siena, meaning earth of Siena. Sienna was famous for the mining and production of earth pigments from the Renaissance until World War II. Due to the depletion of clay deposits in Tuscany, Italian siennas now come from other areas, including Sicily and Sardinia.
Italian Earth, Natural Brown Iron Oxide, Sienna.
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Filing Agents
Friday, March 1, 2013
Effective Monday March 4th, attorneys will have the ability to add filing agents to their CM/ECF accounts. Instead of registering for several different attorney accounts (for your office personnel), you can add several filing agents under your one login. See the attached document for step by step instructions to add the agent to your account.
Related File:

subset: commoncrawl


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The forum has moved to community.paydirt.co.nz, see you there!
This forum is now an archive to preserve the knowledge and finds posted here. Existing users can still login to retrieve old messages they may still need access to.
Edited by user Saturday, 2 July 2016 10:49:39 PM(UTC)
| Reason: Not specified


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This year our chefs have been working hard to create delicious Christmas menus that will make your celebrations truly memorable.
Full of festive flavours, our menus include hand carved roast turkey breast with all the trimmings, Halibut fillet with a champagne Thermidor sauce and of course our Miller & Carter steak experience – not forgetting a delicious selection of indulgent desserts. Why not enjoy our festive dishes with a perfectly matched wine to get you into the Christmas spirit?
View our Christmas page for all menus and festive offers and we look forward to welcoming you at Miller & Carter for a Christmas expertly done.


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I don't know what im do wrong. I load the os 4 software on the system and it says I no slb found and it does back to uboot
my amigaone xe g4 load the os with no problem . all updates applied .
on the sam440 flex the cd didn't come with the board so im using a difference os 4 cd also for sam440 board board is register in my name.
so what am doing wrong I format and loaded the os4
thanks for all the help got it working.. everyone has been great on here. great site for help


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Adopt a Gluten-free Blogger Roundup February 2012
Calling all gluten-free bloggers who would like to help promote our gluten-free, online community of bloggers! If you've noticed, I've been a little quiet here recently. A lot has been happening at home.
I've properly started writing my dissertation (at a dissertation bootcamp, no less).
The DH had to rip out our bathroom shower and we ended up doing the world's most frugal, do-it-yourself bathroom remodel of our circa 1950s bungalow.
I am taking Japanese conversation classes to get my speaking back up to speed.
The dear Toddler Yum has been insisting on my attention whenever I'm not doing one of the other tasks.
I've been finalizing plans for an upcoming 3 month trip to Japan for fieldwork.
So, it has been busy. And, it isn't going to get quieter anytime soon. This is a cry for help, actually. If you have always wondered what it is like to host Adopt a gluten-free blogger, these next few months would be the perfect time to try it and find out! If you'd like to host for any month (including the current one!) just post a comment indicating that and I'll be in touch.
I'm also looking for anyone who might be interested in doing a guest post while I'm overseas. I thought about setting an "international recipe" challenge, or an "allergen-friendly" recipe challenge. If you'd be interested, let me know. The only requirement would be that the recipe be gluten-free, vegetarian, and oat-free.
Thanks my dears! And with no further ado, here's the amazing collection of recipes that were reviewed this month.
Kalinda of Wheat-free Meat-free adopted Zoe from Z's Cup of Tea and made this gorgeous grapefruit olive oil cake. I can't help but want to try this recipe because Toddler Yum adores grapefruit and it just sounds so tasty! The cake also looks like it is glowing, too, which makes it just that much more tempting. Yum! Both Zoe and Kalinda struggled a bit with the bitter pith of grapefruit, but it sounds like they worked it out. Zoe also made an orange version that got around the bitterness issue. Either way, I have to try this!
Grapefruit Olive Oil Cake
After years of hearing wonderful things about Maggie's blog at She Let them Eat Cake, I finally went ahead and adopted her, trying two brilliant recipes. I made her nutty bread with home-ground walnut meal and her amazing egg-free, flourless morning glory muffins. The latter are likely to become a staple, if I can just remember to keep zucchini in the refrigerator!
GF CF EF Morning Glory Muffins
GF CF EF Nutty Sandwich Bread
Alta Mantsch adopted Kalinda of Wheat-free, Meat-free and tried 4 recipes of hers. She tried braised celery, dill pickle soup, braised brussels sprouts in mustard sauce, and a bok choy bell pepper stir-fry.
dill pickle soup
braised brussels sprouts in mustard sauce
bok choy bell pepper stir-fry
braised celery
Paula Decaria adopted Cassidy from Cooking Gluten (& Dairy) Free and made her 'The Best Cinnamon Rolls'.
Gluten-free and Dairy-free Cinnamon Roll
Shannon adopted Joyful abode and made not one but three delicious recipes. These recipes have adorable names as well as tasty ingredients, from Good Chicken Salad with Grapes and Pinenuts,Yummus Hummus, and Grain-Free Gluten-Free Sugar-Free Cookies of Awesomeness. They sound so good!
Gluten-free Grain Free Awesome Cookies
Good gluten-free Chicken Salad with Grapes and Pine Nuts
Yummy Gluten-free Hummus
We welcomed first-time adopter Desi, who adopted Pure2Raw and made beautiful and tasty Lemon Coconut Bars.
Lemon Coconut Bars
Alma adopted Shauna the Gluten-free Girl and made Chocolate Banana Bread with Teff Flour.
Chocolate Banana Bread with Teff Flour
Sunita adopted Ali at Whole Life Nutrition Kitchen and made Gluten-Free + Vegan + Sugar-Free Cake and Gluten-Free Gingerbread Muffins. If you look at her post you can see Sunita's dear boys enjoying an absolutely darling cake and read some very funny stuff about her experiences with prunes.
Gluten-Free + Vegan + Sugar-Free Cake
Gluten-Free Gingerbread Muffins
Cheryl of GF Goodness adopted the delicious wendy of celiacs in the house and made her ginger compote.
Ginger Pear Compote with Currants
And, I am blushing here, but vegan cookbook author Kim of Welcoming Kitchen adopted me at the Book of Yum and made chocolate mousse, a raw foods marinara, and chili garlic roasted broccoli.
allergen-free chocolate mousse
raw foods marinara
Roasted chili garlic broccoli
What a great turnout! Let's hope we can keep it up.
You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


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Jordan Fishman, the star of Lt. Gov. David Dewhurst's latest campaign ads for U.S. Senate, traveled from Florida to Texas to chat about what made him decide to help Dewhurst attack GOP opponent Ted Cruz.
He was in Houston and San Antonio on Monday, and made stops in Austin with plans to head to Dallas on Tuesday.
Bottom line: When Cruz, a lawyer, represented a Chinese company accused of copying Fishman's blueprints for a tire design, he waded into a battle that for Fishman is deeply personal.
Fishman is embroiled in a lawsuit against Shandong Linglong. He won a $26 million judgment against the company in trial court, but it's appealing with the help of Cruz.
Cruz's campaign has noted that an appeal is a normal part of the legal process.
Fishman, 74, who sometimes gets choked up when he talks about America and his case, doesn't see Cruz's involvement as simply business.
"I can't vote in Texas. I don't know anything about Texas law. I'm not here to support or not support anybody I was given the opportunity to sit and talk about what I feel what is happening to us, which is important for people in this country to understand. Because it's not us alone, it's happening to lots and lots of little companies and big companies. It's happening all over, and it's not right," he said.
Whether Cruz was hired directly, or his firm was hired and asked him to take the case, Fishman said Cruz had a choice of whether to work for the company.
"He is the lead attorney. And he accepted, and he had a choice," Fishman said.
Fishman, who describes himself as conservative, said he doesn't identify with either the Democratic or Republican parties.
He's also not affiliated with the tea party, although he added that those in it appear to be "just people who care about this country. If that's the fact with them, I agree with that 120 percent."
"And I can't see how this person, Cruz, can wave this flag and say, 'This is what I am …'," Fishman said.
If he spoke directly to Cruz, Fishman said he'd want to ask, "How can he do that? It's not right. If he wants to do something, and he wants to make a change, start making the change now with what he's doing, and how he's doing it. Say to these people coming in from overseas, 'You're going to have to find somebody else to protect you, because in good conscience, I as an American can't do this. I don't care how much you pay me.'"
As Fishman sees it, what's at stake is this country and his life's work.
"If somebody paints a picture, writes a book – that's you. That's you. Maybe you write an article – that's you, on the line," he said. "When I do one of those blueprints, that's me.
"That's what they stole. That, you can't have," he said. "If you take that from me, if you take something like that from America, to me it's personal."
Jason Johnson, Cruz's general consultant, said, "The question is whether or not a lawsuit between two private parties who are not located in the state of Texas is more important than David Dewhurst's record of increasing spending $72 billion and proposing wage tax, because it seems clear that his intent with attacking Ted about a private dispute between two parties that are not in the state of Texas is simply an effort to distract voters from his tax and spend record."
Dewhurst has said he has cut the budget, portraying his record as one of fiscal restraint.


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Learn more about media services you can use on the Academic Technology Services
Digital Media Presentation website
Digital Media Services is a division of Information Technology Services. Its mission is to assist faculty and their students with the production of digital media materials and to encourage and enhance their use of current and emerging media technology to support teaching, learning and research.
Services include:
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If you have any questions or need help, contact the ITS Service Desk at 617.373.4357 (xHELP), email email@example.com or initiate a chat session. For training and in-depth consultation for these services, for individualized projects support, and for support for academic technologies in the classroom, please contact email@example.com.
Academic Technology Services provides technical support and consultation for Blackboard, Web Conferencing, Lecture Capture, Clickers, Learning Object Creation, and other academic technologies.


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Topic: My farewell
I'll be taking a slightly more extended absence this summer than I had originally planned but, when I do get back again I'll have gone to NDK and might have a worthwhile photo spread to share.
For those who don't know what NDK is...it's one of the few anime conventions in Colorado, maybe the only one that I'm aware of, held annually in Denver around the fall or so.
Anyway, sorry I haven't been as active as I used to be. Being a moderator I'll try to log in when I get the chance.
Does it matter that I'm mentioning this? Probably not but I feel better at least doing it.
This is absolutely not a cry for attention.
P.S. This is what a section of the alphabet would look like if Q & R were eleminated.
(BFFC Moderator)


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0 Members and 1 Guest are viewing this topic.
ETIKETT (One t) = labelSTEMPEL = Stamp (presumably etched)
... Around the edge it mentions; 'SAN MARCO : MURANO : Made in Italy. Does anyone know the maker?
More labels:Click on thumbnails to enlargeThe first is a uranium green vase 8½" (21.5cm) tall. Strictly speaking I don't think this is Murano, but 'Venetian'. The label (badly ripped) merely states 'Venetian Art [Glass?]' and is situated on the neck. It also has one of the small circular 'Made in Italy' labels on the base. The central portion of this label has a tiny logo that looks like a 'G' with an 'H' in the centre, so either 'G.H' or 'H.G' is the maker?
David, I have a peacock vase made by the Swedish glass company Elme, which has a label with G.H as described by you.
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Electric green shimmers through swirls of black, splashes of royal blue and shades of purple: the giant 2m square painting by Australian artist Dale Frank virtually leaps off the wall at Auckland auction house Art+Object's Newton saleroom. The glossy catalogue suggests a price of $38,000 to $55,000.
Auctioneer Ben Plumbly starts the bidding at $20,000. Within minutes bidding reaches the reserve - the bottom of the guide range. A few minutes more and it has broken through the top of the range. Someone is bidding from the back of the room, someone over the phone. All other bidders have dropped out. About 80 members of Auckland's well-groomed contemporary art-collector set - many as colourful as the paintings before them - swivel in their seats, craning for a glimpse of the bidder at the back of the room. The hammer falls: "Sold at $71,000." There is clapping and smiles, calls of "well done" and a palpable feeling of relief all round, as if the entire audience somehow had a hand in the sale of Frank's mystifyingly-titled work, Ultimogeniture Brachylogy Brain Fever.
The Frank sale comes about half-way through A+O's auction of Russell and Shirley Hodgson's contemporary art collection. It's an eclectic grouping: a huge, almost photographically accurate portrait of Ralph Hotere by Martin Ball rubs shoulders with two screenprinted brown paper bags with eyeholes, one labelled "Maori", the other "Pakeha", by Wayne Youle. There are oil paintings by Seraphine Pick and Judy Millar, bronze and glass sculptures by Kingsley Baird and Galia Amsel, a beautifully delicate painted steel dome by Neil Dawson and huge-eyed girls in acrylic on linen by Peter Stichbury.
Auckland businessman Russell Hodgson and his wife are "serious" collectors, says A+O managing director Hamish Coney. "They come to all the collections. They're not like Charles Saatchi; not that high profile, but they are quite well known."
The couple are apparently too shy to be interviewed, so Coney speaks on their behalf, explaining how unusual it is for people to put their entire collection up for sale.
For the Hodgsons, this is the second time they've done just that: when their collection reaches a certain size, they sell it and start again. They did it 12 years ago and they've just done it again because they sold the family home, says Coney. "People like the Hodgsons are important to the art market because as soon as they sell, they reinvest in new, younger artists."
The Hodgsons sold about 60 per cent of their collection at the A+O auction, grossing about $500,000 - not bad for a couple of hours mingling, a few glasses of wine and a gloriously glossy catalogue. The final tally includes an industry-standard buyers' premium of about 15 per cent added to each painting sold - bumping the final recorded sale price for Dale Frank's Brain Fever to $83,245 (including GST on the premium) - nearly double the artist's previous sale record.
Typically, New Zealand auction houses sell between 40 and 70 per cent of what's on offer at auction, says Coney's business partner Ben Plumbly, so 60 per cent sold isn't bad going for the Hodgsons' collection. The auction house pockets a vendor's fee - about 10 per cent of the final hammer price, plus the 15 per cent buyer's premium on each work. Like other auction houses, A+O holds an auction about once a month.
Coney, Plumbly and James Parkinson are the new kids on the block of New Zealand's art market. Celebrating the fifth anniversary of their first auction last month, A+O was the first new auction house in New Zealand for more than 30 years.
The founders came from Webb's, the self-proclaimed leader in New Zealand's auction market - though most of the bigger houses make similar claims. Webb's is typical of the bigger auction houses in selling a wide range of items: art, collectibles, jewellery, books, wine - even motorcycles.
Coney says they left Webb's because they wanted to do things differently; to adopt a more international model with more specialised auctions focused on a narrower genre of art. In A+O's case this is contemporary (post-1990) and modern (from about 1940 - though "modern" can include older works with a modern take). They also wanted to include more objects in their sales and to keep collections together or better group mixed collections.
Coney says there had previously been a bit of "an applied-arts ghetto" in New Zealand. "The traditional auction house method has been a bit like The Price is Right, which is whatever comes along in that two-month period goes into that catalogue. A+O has produced more tightly themed and more curatorially-driven catalogues."
Coney's office is the antithesis of A+O's large, light and airy gallery. Tucked away behind the main gallery space, the tiny windowless office is packed full of paintings, catalogues and books. Coney's desk overflows with piles of paperwork, and the multitude of Post-it notes on the walls resemble a contemporary art work in the making. Like all auction houses, he says, A+O on the surface is like a swan gliding gracefully, but underneath the legs are furiously paddling away.
Tighter theming of collections is the way of the world, claims Coney. But others say New Zealand is just too small to copy its peers in Europe. "We have 150 years of art; they have 1500 years," says Richard Thomson, director of the International Art Centre in Parnell, which specialises in fine art.
Sophie Coupland, a director of Webb's and head of its fine art department, says there is definitely more theming than there was. But rather than grouping collections by genre, Webb's tends to group its auctions by value. "Back in the day, in the 1980s, auctions did have things worth $100 and things worth $100,000 in the same auction. There's been far less of that in the last 10 years."
Webb's initiated affordable art sales about 15 years ago, separating out the lower value and less interesting works into what it calls its A2 category, meaning under $20,000. More recently it introduced an A3 level for artworks likely to sell for less than $2000.
Both Coupland and Thomson also dispute Coney's claim that it is becoming more common for collectibles or objects, such as sculpture, glassware and ceramics, to be included in "art auctions."
Photography is another disputed area. Well-known TV personality Dunbar Sloane Snr says it is creeping into art catalogues more and more, but is not yet included as a matter of course. The secondary art market, or the auction market - the primary market being new works sold through the country's many galleries - is still dominated by paintings and prints. Of the 25,000 to 30,000 items Dunbar Sloane sells each year through its Auckland and Wellington auction houses, however, only about 2000 to 2500 are categorised as fine art. But with many New Zealand artists now commanding $100,000-plus for their paintings, it's the big money earner, says Sloane Snr.
Mention the word "investment", however, and some art aficionados sigh.
"In five years of business I have not met one investor," says Coney. "Because my definition of an investor is someone who comes through the door and goes, 'I don't give a shit what I buy, you just tell me what's going to make money'. That's not how people think about art.
"If you want to speculate, buy gold. Most investors really don't care how they make their money. The difference with an art collector is they intensely and passionately do care about the culture they're involved in."
Though less dramatic, Coupland is equally derogatory about art-market speculation: "It's not healthy for a tiny market like New Zealand. It creates instability."
Before the global financial crisis, New Zealand had been experiencing something of an art-market bubble. Prices for some of our better-known modern artists such as Ralph Hotere were pushed to unsustainable levels, says Coupland. "If that sort of hype hadn't been around Hotere in the early 2000s, his market today would be more stable."
Works by Hotere and some other artists have fallen significantly since the recession hit, but in general the art market has been remarkably stable, returning a steady $15 million or so a year. But the nature of the market has changed, with collectors becoming far more discerning about what they buy and how much they pay for it, says Coupland. "The best of the best is selling really well, while the mediocre works are falling by the wayside. Collectors really are doing their homework and that's great for the market."
Though spurred by the recession, this narrowing reflects a maturing of the art market, says Coupland. Thomson agrees, adding that in a more mature market an artist's best works will always fetch a premium, and will continue to do so long into the future.
Thomson says the most sought after artist in New Zealand today is Charles Goldie, famous for his detailed portraits of Maori. Closely behind is the much more modern Colin McCahon, whose most popular works often combine words and pictures.
Also on the up, says Sloane Snr, are Pat Hanly, Bill Hammond and Shane Cotton. But it doesn't pay to generalise too much, he warns, as some works by an artist may be rising in popularity while others by the same artist are less sought after. If you own a 1980s bird picture by Don Binney, for example, you'll be very popular with the auction houses as they are highly sought after. But Binney's other paintings - like Goldie's little-known Paris scenes - won't fetch anywhere near as much as a bird or a Maori chief.
"Even then, if a Maori chief looks pretty angry and nasty, people won't pay as much for that as they would for a happier chief," says Sloane. "It's funny how little things like that make a big difference. If I try and sell a picture of a graveyard, it's bloody hard going. People just don't want to hang a graveyard in their house."
There's a very strong market for early topographical paintings of New Zealand, says Coupland. "Anything that depicts an early city, an early settlement and isn't a view of the Milford Sound that essentially looks the same today as it did 100 years ago."
Modernist painters Frances Hodgkins and Rita Angus are also sought after because they both broke new ground, says Coupland. "[Angus'] work really did deliver into the contemporary movement ... so they are historically important, but they are also very beautifully crafted and highly aesthetic, so they've kind of got everything going for them."
People buy art because they connect with it in some way, says Coupland. "Because of the reputation of the artist, because of the sentiment, the message, the political or cultural reference it has, because it talks to them about who they are; who they are as New Zealanders; who we are as a nation."
Apart from the old masters or the impressionists such as Degas, Monet or Renoir, which can be bought only by billionaires or nations - the Gulf state of Qatar recently set a record for a painting, paying US$250 million for Paul Cezanne's The Card Players - people tend to buy art from their own countries. Thus, New Zealanders buy New Zealand art. Coupland says there is a small market in Australia for McCahon and a small market in Britain for Hodgkins, because she lived there for a short time, but these days even Goldie tends to attract interest only from New Zealanders.
In the contemporary market, however, things are changing, says Coney, with more Australians looking at New Zealand contemporary art and vice versa - which is why Dale Frank's Brain Fever was able to set an Australasian record for the Australian artist despite being sold by an Auckland auction house.
"In the last five years the Berlin Wall between Australia and New Zealand has really, really come down," says Coney. "We've grown up. We're coming out a period of time where our contemporary art was about national identity. Now we're a lot freer."
The trend to promoting art auctions online, enabling online bidding and even video streaming of live auctions are helping break down the barriers. At present, A+O is the only New Zealand auction house to live video stream its auctions, allowing online bidders to participate as the auction happens, but most now enable online bidding and say it is increasingly important to their business.
Christopher Taylor, a director and co-founder of Ocula Auctions, Australasia's only dedicated online-only art auction site, says he and co-founder Simon Fisher set it up after some ad hoc auctions they ran proved popular. The auctions attract bidders from across the world, especially expats, says Taylor, and though the site has only been officially up and running for a few months, it is proving increasingly popular with sellers and buyers. "We are getting a lot of positive feedback, especially from people who don't live in the main metropolitan centres."
Overseas there are a growing number of online auction sites. Even eBay sells art, though you wouldn't call it "fine," says Taylor. Nor does it come with all the information or the checks and balances Ocula or the more traditional auction houses offer.
Overseas, even the big guns are playing more in the virtual world. Christie's made history at the end of last year when it sold part of Elizabeth Taylor's jewellery collection in an online-only sale. In an interview with Britain's Daily Telegraph, Michael O'Neal, Christie's digital media director, said Christie's hoped the move would attract a new audience to its auctions. "Most people when they think of Christie's think of paintings which sell for US$40 million. But with this online-only sale, there are lots of affordable items which we think will bring a new group of buyers."
Coney echoes others, however, when he says he can't see A+O becoming cloud-based any time soon. "We love what we do. We love handling the art. You can't avoid the online platform, that's true, however - and it's a massive 'however' - the serious collector still wants to see the work. A photo online only gives you a fraction of the story; in the room you can see how the work's constructed, how the paint's applied, the type of paint and materials used - all of those things are absolutely material to your understanding of the work. You can't get that online."
That said, one of the new and growing genres of contemporary art, digital video work, should benefit from the move to online and the breakdown of traditional geographic boundaries. Video is one of the "new frontiers" of art, says Coney. "In the future I think we will have a pay-per-view video art channel. We will be watching art on our tablets."
Things are changing so fast in the art world that in a few years time what we consider to be "art" and what we collect will be far broader than it is today, he says. "It's going to broaden into ways we can't anticipate today. Art is about where the new frontier is and it's the job of the artist to tell us what that is."
But whatever your taste in art - traditional, modern, contemporary or perhaps whatever's around the corner - if you decide to take a punt in the art market do it because you love it, not because you think it's going to make you money, says Thomson. "After all, art is a tangible asset ... The worst that can happen is the thing ends up on your wall, and that's no bad thing."
New Zealand's highest prices at auction
Early 1980s to 2011
1. Let Be, Let Be - Colin McCAHON
2. No. 2 - McCAHON
3. Te Aho O Te Rangi Wharepu - C F GOLDIE
4. Forty Winks - Rutene Te Uamairangi - GOLDIE $568,635
5. He Calls for Elias - McCAHON
6. I Considered All the Acts of Oppression - McCAHON
7. Still Life with Landscape - Frances HODGKINS
8. Hori Pokai - Sleep, Tis a Gentle Thing - GOLDIE
9. Te Aho, a Noted Waikato Warrior, 1905 - GOLDIE
10. Tirangi II - Gordon WALTERS
Last year's highest auction prices
1. He Calls for Elias - McCAHON
2. Singer Songwriter - Bill HAMMOND
3. Kotare Over Ratana Church, Te Kao - Don BINNEY
4. Dawn/Water Poem - Ralph HOTERE
5. A Midsummer Day, Maoriland Pokai - GOLDIE
NZ art market turnover at auction[$million]
2007 $14.4
2008 $18.6
2009 $15.3
2010 $15.2
2011 $15.5


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Recipe from Vicki Kinsel of Corbin, Ky.
Prep Time and Total Time: 5 minutes
1 -16oz jar of peanut butter
1 -16 oz. can of cream cheese frosting mix
1. Remove lid and liner completely from peanut butter jar. Place jar in microwave for 3 minutes.
2. Mix softened peanut butter with frosting mix.
3. Pour into a greased pan (9x9 or 8x8) and refrigerate.
4. Remove from refrigerator just before you will serve.
Servings: Usually 24-36 servings (Depends on how large you like your servings)
This really is good candy, despite being incredibly easy to make!
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December 24, 2010
Christmas Magic
26 comments:
Thanks for your commment! I love those pants! They're great! Have a very Merry Christmas!ReplyDelete
Oh My God!! Those trousers are simply stunning! I really do love this outfit. Have a fantastic Christmas. :)SarahDReplyDelete
the way your red hair zings and clashes with the popping green and white is just magical! xReplyDelete
- AnonymousDecember 24, 2010 at 12:02 PM
Your hair is stunning, and id throw those pants on in a second! Gimi!ReplyDelete
you look soooo nice =)ReplyDelete
Love the green pants!ReplyDelete
- AnonymousDecember 24, 2010 at 7:36 PM
loving all what you wear :)ReplyDelete
come and visit me here and you can follow me if you like,or follow eachother? :)
merry christmaaaaaaaass x
I love this look of yours! Those pants are so gorge! You are a true fashion creator! Lovely!ReplyDelete
Merry Christmas!ReplyDelete
I love the pants! have a very merry christmas!ReplyDelete
Imi faci in ciuda acuma, nu?:)) Sti ca-mi place parul, sti ca-mi place catifeaua, si le mai pui si in culorile alea, rosu cu verde ca sa fie contrastul mai puternic.Gata, nu mai ma joc cu tine:DReplyDelete
Ok, gluma gluma dar...imi plac pantalonii aia de moooooooooooor! Culoarea e superba, unde mai pui ca e si catifea...Si lantul mamei tale e foarte frumos:X
Craciun fericit:*:*:*
Craciun fericit!ReplyDelete
hope u have a wonderful time.
btw your pants are magical. i was so wishing they were from a mainstream store so i could go get some. usually i dont like velvet but lately i think i'm having a change of heart. and seeing u in yours is definly making me love it even more.
fantasticiiiiiii pantalonii, verdele e ireal de frumos. si puloverul crem e frumos de tot *-* olivica e o divaaa 8) pup verde pe nas :DReplyDelete
Arati adorabil! Pantalonii sunt extraordinari!ReplyDelete
Craciun fericit!
Hi grogeous your green velvet pants are unreal! Merry Christmas to you too!ReplyDelete
I love love love the pants:)ReplyDelete
beautiful photos!!!!!!!ReplyDelete
Marry Christmas!
Thats the best xmas outfit i have ever seen!! thanks for your post on my blog. Ill be following yours now : )ReplyDelete
Oh you look so christmasy! Hope you have a lovely day <3333ReplyDelete
Those pants were made by you? Fantastic, really beautiful and just perfect. I love your cardigan too, very feminine.ReplyDelete
Merry Christmas !!!
niiiiiice pants!!! This look is so amazing, wow!!ReplyDelete
You have incredible style wow!! :)
these pants are pure awesomeness! actually, the whole look is pretty damn awesome.ReplyDelete
such amazing outfit!ReplyDelete
these trousers look awesome!!!ReplyDelete
great job!ReplyDelete
they're awesome:x
I'm crazy about velvet – I can never have enough velvet clothes. The pants are superb – the shape and the color – OMG, you're very crafty! Love everything about this outfit!:)ReplyDelete


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Patrick Eaves' life changed on Nov. 26, 2011.
That was the night Eaves took a slapshot off the stick of Nashville's Roman Josi, breaking his jaw and also giving him a concussion.
Nearly 14 months later, Eaves' was finally able to continue his playing career.
"I couldn't be a parent, I couldn't be a father, I couldn't be a husband," said Eaves, a forward for the Detroit Red Wings. "I think that was probably the worst part. I was in a dark room for a while. That was the worst part of the whole thing. My wife held the ship together, ran everything and took care of me."
Eaves has been nominated for the Bill Masterton Memorial Trophy, which is awarded to the NHL player who demonstrates perseverance, sportsmanship and dedication to hockey. The selection is made annual by the Detroit chapter of Professional Hockey Writers Association.
"She was pregnant the whole time and then we had a one-year-old too, so she should be nominated for this," Eaves said when he learned he was being nominated for the award. "I just got hit in the head with a puck. She deserves all of the credit."
During the game against the Predators at Joe Louis Arena, Eaves went down to block a shot from the point by Josi and nailed directly in his jaw.
"I vaguely remember leaving the ice," Eaves said.
Assistant trainer Russ Baumann called Eaves' wife, Katie, from the ambulance.
"She was really calm, she's a nurse so she wanted to know facts and where I was going," Eaves recalled. "Unfortunately, my in-laws were at the game, so they had to hustle home so Katie could come get me.
"I remember this to this day because I was like 'don't drop me,'" Eaves continued. "I just knew that I couldn't get hit again. But (the guy in the back of the ambulance) knew like every bump along the way to the hospital. So when he knew a bump was coming he would hold me and I remember that. I wish I knew who he was. He was unbelievable. He'd hold me and there would be a bump right when – OK – I knew every time he held me that something was coming and I would kind of brace myself. He did a wonderful job."
Eaves thought he had been cleared of the headaches late in the summer, but then suffered a setback when he resumed skating with teammates in September.
"That made me nervous," Eaves said. "I remember that I got really dizzy and then the migraines came back there. That was frustrating because I thought that I was finally on my way. So I basically had to shut it down for a bit, but I knew I'd come back."
Eaves finally returned to action on Jan. 21 this season.
"I didn't know how long it would take, that was the biggest thing," Eaves said. "I just knew that I would be back at some point. I had a lot of rough days in there though. But I knew that I would come back somehow. I've been pretty resilient my whole life, I guess, so I knew I'd come back, I just didn't know when."
Eaves has played 30 games this season.
"Patty is a great human being, No. 1," Wings coach Mike Babcock said. "He's an unbelievable person, he does things right. Patty Eaves is one of these guys that when he's scratched he leads the stretch, when he's scratched he's in the power play and penalty kill meetings, he dresses for warm-up, he does everything right. If you can be as mentally tough as Patty Eaves and you keep digging in then you will be fine in life. Patty Eaves is one of those people. He makes people around him better because of his commitment to the team and his mental toughness, and he doesn't let you get in the way of him having a great day. I think he's impressive."


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migya wrote:Amazing that we got Bogut for him and amazing Dallas were stupid enough to get him. He is probably alright as a backup on 6 million year right now but nothing more. Dallas looks awful defensively and I think they'll win no more than 35 games.
I heard they picked him up because Dirk wanted him and they probably want to try to make him as efficient as his third year or at least think their is potential to make him more efficient.
They may be right, but eh.


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|International Space Station Imagery
high res (1.7 M) low res (116 K)
|ISS005-E-21513 (26 November 2002) --- The Expedition Six crewmembers, wearing Russian Sokol suits, pose for a crew photo in the functional cargo block (FGB), or Zarya, on the International Space Station (ISS). Pictured are astronaut Donald R. Pettit (front), NASA ISS science officer; cosmonaut Nikolai M. Budarin (left back), flight engineer; and astronaut Kenneth D. Bowersox, mission commander. Budarin represents Rosaviakosmos.
Curator: Kim
Dismukes | Responsible NASA Official: John Ira Petty | Updated: 02/26/2003


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For those not aware of the immediately direct relevance of this to those interested in English glass, I'm reasonably certain that the Wedgwood Museum collection includes:The Stuart pattern books,The pattern books of Philip Pargeter, acquired by Frederick Stuart in 1881 when he took over the lease of the Red House Glassworks,Other Stuart glass, some unmarked, including some enamelled pieces, formerly on display in the Red House shop.
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James Holmes, the man charged with the Colorado theater shooting, will not have to enter a plea until March, after the judge hearing the case delayed the arraignment on Friday.
District judge William Sylvester ruled Thursday night that prosecutors had presented sufficient evidence to proceed with charges alleging that Holmes killed 12 people and injured 70 others at a suburban Denver movie theater on July 20.
Holmes is charged with multiple counts of first-degree murder and attempted murder.
Holmes will not have to enter a plea until March 12 after the judge on Friday granted a defense motion to delay that proceeding.
A majority of the families of the victims objected to the delay.
An unidentified man seated in the courtroom yelled "Rot in hell, Holmes" at the end of the hearing. The judge reconvened the proceedings to discuss the outburst.
Defense lawyers did not give a reason for the delay.
One possible reason could be to seek a mental health evaluation by a doctor of their choosing. His lawyers have said Holmes is mentally ill, raising the possibility of an insanity defense.
If Holmes had entered an insanity plea, an evaluation would be done by state doctors.
Holmes' attorneys also objected to news media requests to bring cameras into the courtroom during the arraignment. Cameras have been barred from court since Holmes' initial appearance in July.
If Holmes, 25, is convicted of first-degree murder, he could face the death penalty. Prosecutors have not said whether they would pursue that sentence.
At a preliminary hearing this week, prosecution witnesses testified that Holmes spent weeks amassing an arsenal and planning the attack at a midnight showing of The Dark Knight Rises. They also detailed an elaborate set-up at Holmes' apartment designed to explode at the same time as the theater attack several miles away.
Prosecution witnesses testified that Holmes began acquiring weapons in early May and by July 6 had two semi-automatic pistols, a shotgun, a semi-automatic rifle, 6,200 rounds of ammunition and high-capacity magazines that allow a shooter to fire more rounds without stopping to reload.
Holmes' lawyers called no witnesses this week. They have said he is mentally ill.
The defense motion suggested the possibility of more delays in the case.
If Holmes were to be found incompetent, the case would come to a halt while he receives psychiatric treatment at the state mental hospital. He would remain there until doctors can restore him to competency, at which point the case would continue.
Once the judge rules Holmes is competent — either immediately after a competency hearing or after psychiatric treatment — and any other delays are resolved, Holmes would then enter a plea.
This happened with Jared Loughner in the Tucson shooting that killed six people and wounded 13, including Gabrielle Giffords. A federal judge ruled that Loughner was incompetent to stand trial. After more than a year in treatment, Loughner was ruled competent, the case proceeded, and he entered guilty pleas. He is serving life in prison.
Ultimately, Holmes was widely expected to plead either not guilty or — more likely — not guilty by reason of insanity.
If found not guilty by reason of insanity, Holmes would be committed to the state mental hospital for treatment. His case would be reviewed every six months. He conceivably could be released if he ever is deemed no longer insane.


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As Lolita and Humbert drive past a horrible accident, which has left a shoe lying in the ditch beside a blood-spattered car, the nymphet remarks, "That was the exact type of moccasin I was trying to describe to that jerk in the store." This is the exact type of black comedy that Cecily von Ziegesar, the author of the best-selling "Gossip Girl" novels for teen-age girls, excels in. Von Ziegesar writes in the language of contemporary youth—things are cool or hot or they so totally suck. But the language is a decoy. The heartlessness of youth is von Ziegesar's double-edged theme, the object of her mockery—and sympathy. She understands that children are a pleasure-seeking species, and that adolescence is a delicious last gasp (the light is most golden just before the shadows fall) of rightful selfishness and cluelessness. She also knows—as the authors of the best children's books have known—that children like to read what they don't entirely understand. Von Ziegesar pulls off the tour de force of wickedly satirizing the young while amusing them. Her designated reader is an adolescent girl, but the reader she seems to have firmly in mind as she writes is a literate, even literary, adult.
As the first book opens, Blair Waldorf—who is almost seventeen and lives in a penthouse at Fifth Avenue and Seventy-second Street, with her divorcée mother, Eleanor, her younger brother, Tyler, and her cat, Kitty Minky—is sulking in her room. Blair, in the description of a classmate, is "the bitchiest, vainest girl in the entire senior class, or maybe the entire world," and an antiheroine of the first rank: bad-tempered, mean-spirited, bulimic, acquisitive, endlessly scheming, and, of course, dark-haired. The blond heroine, Serena van der Woodsen (who lives at an even better Fifth Avenue address, right across from the Metropolitan Museum), is incandescently beautiful, exceptionally kind, and, in the end, it has to be said, somewhat boring. The series belongs to awful Blair, who inspires von Ziegesar's highest flights of comic fancy.
Blair is sulking because her mother's new boyfriend, a Jewish real-estate developer named Cyrus Rose, "a completely annoying, fat loser," and her mother are in the kitchen eating breakfast in matching red silk robes. When dressed, Rose "looked like someone who might help you pick out shoes at Saks—bald, except for a small, bushy mustache, his fat stomach barely hidden in a shiny blue double-breasted suit. He jingled the change in his pocket incessantly. . . . He had a loud laugh." What? We're only on page 6 and already reading about a fat, vulgar Jew! Doesn't von Ziegesar know that anti-Semitic stereotypes are no longer tolerated in children's literature? Of course she does. Cyrus Rose is only one among many tokens of her gleeful political incorrectness. An elderly guest speaker at Blair's high-school graduation is another:
"Auntie Lynn," some old lady who'd basically founded the Girl Scouts or something, was supposed to talk. Auntie Lynn was already leaning on her metal walker in the front row, wearing a poo-brown pantsuit and hearing aids in both ears, looking sleepy and bored. After she spoke—or keeled over and died, whichever came first—Mrs. McLean would hand out the diplomas.
Only someone very hard-hearted wouldn't laugh at this. The way von Ziegesar implicates us in her empathic examination of youth's callousness is the Waughish achievement of these strange, complicated books. And in Blair she has found a powerful pivot for her feat.
She has equipped this girl with an excess of the most unattractive but also perhaps most necessary impulses of human nature—the impulses that give us such up and go as we have. Unlike her forerunners Becky Sharp and Lizzie Eustace, who ruthlessly elbowed their way into wealthy aristocratic society, Blair already has all the money and position anyone could want. She is pure naked striving, restlessly seeking an object, any object, and never knowing when enough is enough. However—and, again, unlike her prototypes—Blair never harms anyone but herself. She thinks malevolent thoughts about everyone, but she does not act on them. It is her own foot that she invariably shoots. Her goals of the moment—to lose her virginity to her boyfriend, Nate Archibald, and to get into Yale University—elude her. Something always gets in the way of her doing it with Nate, and her Yale interview is a catastrophe beyond imagination.
Nate is a kind of Vronsky manqué, with a grande-dame mother, like Vronsky's, and a Navy-captain father who is "a master sailor and extremely handsome, but a little lacking in the hugs department." (Too bad Tolstoy didn't think of a father like that for V.) Nate "might look like a stud, but he was actually pretty weak." This is because he is stoned most of the time. He lives in a town house in the East Eighties and is a senior at St. Jude's, a private school that appears to be modelled on the Collegiate School, as Blair and Serena's school, Constance Billard, is modelled on von Ziegesar's old school, Nightingale-Bamford.
Unlike the actual private schools of New York, however, which give a fair number of scholarships to low-income minority students, von Ziegesar's private schools are almost a hundred per cent minority-free. (I say almost because of Carmen Fortier, a scholarship girl from the Bronx, who appears—chewing gum—on page 86 of the first book of the series, and is never seen again.) Of course, this glaring absence is necessary to von Ziegesar's program of provocation. She does not compromise it. There are no Brussels sprouts hidden in her Rice Krispie marshmallow treats. She is writing a transgressive fairy tale, not a worthy book for a school list. "Welcome to New York's Upper East Side, where my friends and I live and go to school and play and sleep—sometimes with each other" is von Ziegesar's opening volley, delivered in the voice of an anonymous figure called Gossip Girl, who continues:
We all live in huge apartments with our own bedrooms and bathrooms and phone lines. We have unlimited access to money and booze and whatever else we want, and our parents are rarely home, so we have tons of privacy. We're smart, we've inherited classic good looks, we wear fantastic clothes, and we know how to party. Von Ziegesar understands that the princes and princesses of fairy tales require the foil of beggars and commoners, and so, of her six main characters, only three—Blair, Serena, and Nate—belong to the world of the disgustingly rich. Of the others, two live on the wrong side of the Park, and one lives in Williamsburg. Dan and Jenny Humphrey share a decaying West End Avenue apartment with their father, Rufus, "the infamous retired editor of lesser-known beat poets," whatever that means, who goes around the house in his underwear and a three-day-old gray beard and cooks inedible tagines from Paul Bowles recipes. But he lacks nothing in the hugs department and, indeed, turns out to be the only attentive parent in the series. (He is also a single parent—his wife ran off to the Czech Republic "with some balding, horny count" a few years earlier.) He "hated the Upper East Side and all its pretensions," but he sends Jenny to Constance Billard and Dan to a private school called Riverside Prep because "the way he saw it, you had two choices in this city":
Either you spent an arm and a leg to send your kids to private school, where they learned to shop for insanely expensive clothes and to be snobbish to their father, but also to converse in Latin, memorize Keats, and do algorithms in their heads; or, you sent them to public school, where they might not learn to read, might not graduate, and risked getting shot.
The question of where Rufus gets the money for the private-school fees—and for the designer clothes that Dan and Jenny buy on his credit card as their lives intersect with those of the East Side kids—is left unanswered. Von Ziegesar has other concerns than writing books that make a lot of sense. Along with the pieties of political correctness, she has taken on the indecencies of consumer culture. Insanely expensive clothes are the engine of her sendup of our time of ceaseless shopping. There is scarcely a page on which the name of a fashion designer doesn't appear. The kids don't wear dresses and coats and pants and shoes; they wear Diane von Furstenberg dresses, Stephane Kélian shoes, Hugo Boss coats, Marc Jacobs shirts. If the book has any redeeming social value, it is as an education in label recognition. After reading the "Gossip Girl" books, you will never walk into a department store again without feeling a little surge of pride as you recognize Christian Louboutin and John Fluevog and Michael Kors—who are to their world what Marcel Proust and Henry James and Theodore Dreiser are to the bookish audience for whom von Ziegesar writes in the guise of writing for the pre-S.A.T. young. The books are full of literary allusions: there are quotes from Wilde, Hemingway, Shakespeare, references to Goethe and Tolstoy, and chapters entitled "The Red or the Black" and "What We Talk About When We're Not Talking About Love."
Dan Humphrey is a caricature of the angst-ridden nerd who writes poetry. Dan's friend Vanessa Abrams is so taken with a poem of his, called "Sluts," that, behind his back, she sends it to this magazine, where it is immediately accepted by our revered (if imaginary) Submissions Editor, Jani Price. After the poem is published, Dan, who previously spent his after-school time in his room "reading morbid, existentialist poetry about the bitter fate of being human," becomes a star. He is courted by an agent. A rock band hires him to write lyrics. He starts shopping at Agnès B.
His sister, Jenny, is a shy ninth grader, who "preferred to be invisible" and might have succeeded "if her boobs weren't so incredibly huge." She is a kind of stand-in for the eighth and ninth graders who read the "Gossip Girl" books, and who will identify with her innocent worship of the cool senior girls. But, except for her boobs, she is not very interesting.
Vanessa is "an anomaly at Constance, the only girl in the school who had a nearly shaved head, wore black turtlenecks every day, read Tolstoy's 'War and Peace' over and over like it was the Bible [and] had no friends at all at Constance." Her hippie parents, Arlo and Gabriela, who live in Vermont in a house made of recycled automobile tires, have allowed Vanessa to live in Williamsburg with her older sister Ruby, who plays bass in a rock band, on the condition that she get "a good, safe, high-school education." Writing of a visit the hippie parents make to New York, von Ziegesar fulfills her pact with youth to lose no opportunity to express the disgust it feels for the old and unbeautiful and deviant. She dresses the "gaunt and alarmed" Arlo in a Peruvian poncho and ankle-length hemp skirt ("Yes, that's right, a skirt") and the gray-braided Gabriela in a garish African schmatte, and sends them off to an exclusive New York benefit. When Vanessa asks where the benefit is being held, Gabriela replies, "Somewhere called the Frick. It's on Fifth Street, I think. . . . I've got the address written down somewhere." Weightless little in-jokes like this are scattered throughout the books, like the optional confectioner's sugar on tea cake. Von Ziegesar's hands are never idle.
Of course, the cake itself is of Hostess Twinkie immateriality—the "Gossip Girl" books are the lightest of light reading. They revolve around the twin desires of von Ziegesar's high-school seniors: to have a good time and to get into college. The conflict that might exist between these desires in the real world does not exist in the world of "The Gossip Girls." No one ever cracks a book (they are too busy shopping at the three "B"s—Bendel's, Bergdorf's, and Barneys—or working in soup kitchens so that they can say they did on their college applications), and (with one exception, a vicious boy named Chuck Bass, who "could barely spell, had never read a book in its entirety, and thought Beowulf was a type of fur used for lining coats") everyone gets into college. This is not much of a plot, admittedly, but von Ziegesar's impudence invests the dopey activities of her characters with true page-turning interest.
Von Ziegesar uses the technique of narration through interior voice with all her major characters, but when she gets into the id-shaped mind of Blair Waldorf she crosses a kind of boundary. Blair is both a broader caricature and a more real person than the others. Her over-the-top selfishness and hatefulness has the ring of behind-our-masks-we're-all-like-that truth. And among her malevolent internal mutterings lurk some of the series' funniest lines. When her mother marries Cyrus Rose, for example, and proposes that Blair reconsider her refusal to take his name, Blair's inner voice growls back: "Blair Rose? No thank you. It sounded like the name of a perfume made especially for Kmart." Her refusal is a rare gesture of defiance. In almost every other respect, she is an obedient, even rather docile, child. She is angered and embarrassed by her mother's marriage to the oily Cyrus (and by her pregnancy at forty-seven), but she confines her fury to her thoughts. She is always perfectly civil to Cyrus, who is a perfectly amiable goof. Nor does she kick and scream when her pretty bedroom is requisitioned as a nursery for the baby and she has to move into her stepbrother Aaron's ugly, ecologically correct room (it has a cruelty-free mahogany dresser), which smells so strongly of his dog, Mooky, that Kitty Minky urinates all over the bed in protest. She merely packs a bag and moves into a suite at the Plaza. Has the powerlessness of children and the power of money ever been so nicely fused? The gesture also gives rise to one of the series' best set pieces.
Ensconced at the Plaza, Blair calls Nate and tells him to "get your ass over here right now." Nate agrees, but, because he is with friends getting stoned, he quickly forgets about the call. Blair waits and waits. She calls Nate and gets no reply. (He has wandered off to the Battery to sail his father's boat to Bermuda and left his cell phone behind.) Blair is wearing black silk La Perla underwear and has ordered champagne and caviar on toast points. She eats a toast point, then another, and calls her father, Harold Waldorf, in the South of France, "where he'd been living since he and Eleanor split up over his gayness almost two years ago." It is late at night in France, and "Blair could picture him perfectly, naked except for a pair of royal blue silk boxer shorts, his sleeping lover—François or Eduard or whatever his name was—snoring softly beside him."
" 'Bear? Is everything okay? Did you hear from those fuckheads at Yale yet? Are you in?' her father demanded as soon as he heard her voice."
Blair reflects that "talking to her dad was exactly like talking to one of her girlfriends." As she finishes the toast points and begins drinking the champagne, Harold inanely tells her, "You deserve to have it all." She is moved to ask, "If I deserve to have it all, then how come stupid Yale hasn't let me in yet?"
" 'Oh, Bear,' her dad sighed in his manly-but-motherly voice that made both men and women fall in love with him instantly. 'They will, dammit. They will let you in.' "
I will not give away whether Blair does or doesn't get into Yale. I would like to go on telling Blair stories until they are gone, like the toast points. The platter has barely been touched. But I think I have given enough of an idea of what she and her creator are about. The television series based on the "Gossip Girl" books was reviewed here by Nancy Franklin (November 26, 2007). I completely share Nancy's (or should I say Nanci's?) dim view of the adaptation. It is related to the original only in the names and outlines of the characters. " 'I don't know what I'd do without Barneys.' Serena sighed, as if the store had saved her life." Without von Ziegesar's fast, mocking commentary to propel them, the TV episodes are sluggish and crass—a move from Barneys to Kmart.
Among the many errors that the TV series makes, perhaps the most glaring is its promotion of the books' parents from their status as emblems of parental inadequacy to that of characters in their own right. In the TV version, we are asked to follow the stories of the parents in tandem with the stories of their children: Lillian van der Woodsen and Rufus Humphrey, for one particularly unfortunate example, are thrust into a trite romance. What makes classic children's literature so appealing (to all ages) is its undeviating loyalty to the world of the child. In the best children's books, parents never share the limelight with their children; if they are not killed off on page 1, they are cast in the pitifully minor roles that actual parents play in their children's imaginative lives. That von Ziegesar's parent characters are ridiculous as well as insignificant in the eyes of their children only adds to the sly truthfulness of her comic fairy tale. ♦


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Code: Select all
{"month": "4", "num": 1671, "link": "", "year": "2016", "news": "", "safe_title": "Arcane Bullshit", "transcript": "", "alt": "Learning arcane bullshit from the 80s can break your computer, but if you're willing to wade through arcane bullshit from programmers in the 90s and 2000s, you can break everyone else's computers, too.", "img": "http:\/\/imgs.xkcd.com\/comics\/arcane_bullshit.png", "title": "Arcane Bullshit", "day": "22"}
Unfortunately, the resulting JSON object still contains a link to an image over HTTP, causing various clients to download the comics unencrypted. Could you please fix this?
Kind regards,


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The U.S. Navy flag officers who waged Guadalcanal's naval battles are well known. But who were the admirals who led the opposing forces?
Americans on Guadalcanal overwhelmingly remembered it as "the Night," the South Pacific evening when two huge Japanese battlewagons appeared offshore and then blew them to hell and gone. That night, 13–14 October 1942, the Imperial Japanese Navy came as close as it ever did to actually neutralizing the vaunted cactus Air Force at Henderson Field. The fast battleships Kongo and Haruna used special ammunition, cruised at leisure through the waters of Iron bottom Sound, and inflicted severe damage on the Marine positions on the 'canal. It was an experience that Americans hoped never to repeat.
That much is received history. But barely understood—at least on this side of the Pacific—is the meaning of that bombardment to the Japanese navy officers and sailors on the scene, or, for that matter, its role in Japanese strategy. Studies of American activities during the Solomons campaign are legion. The actions of probably every U.S. admiral in the South Pacific have been probed in some depth. When it comes to the adversary, however, only Japan's top leader, combined Fleet commander-in-chief Admiral Isoroku Yamamoto, and to a lesser degree his aircraft-carrier-force commander, Vice Admiral Chuichi Nagumo, have been given equivalent attention. The net result is that even today the story remains incomplete. This article is a first cut at replacing some missing pieces in the Solomons story. Instead of focusing on the "usual suspects" we will study Japan's sea lords at Guadalcanal.
Consider the Night. Just two days earlier, another Japanese bombardment unit coming down "the Slot," as the waters between the Solomon Islands were called, had been ambushed by an American cruiser-destroyer force lying in wait. That action, the battle of cape Esperance, had featured the first death in action of an Imperial Japanese Navy flag officer in World War II (an imperial navy admiral had perished at Midway, but from his choice to go down with his flagship rather than from direct combat action). Vice Admiral Aritomo Goto had been a real seagoing sailor and a hard-bitten cruiser-division commander. The Japanese navy task force on the Night was bent on avenging his death.
Its leader, Vice Admiral Takeo Kurita, had been a classmate of Goto's at the Imperial Japanese Naval Academy at Eta Jima, and had graduated just two places ahead of him academically. Kurita's escort commander, Rear Admiral Raizo Tanaka, had been a good friend of Goto's, while the task-force commander's senior staff officer, commander Kikunori Kijima, had had the same assignment under the deceased admiral. He felt responsible for Goto's death. And the battleship Kongo, commanded by captain Tomiji Koyanagi, had been Goto's first billet as an ensign fresh from training. Goto had once skippered the heavy cruiser Atago, and Koyanagi had followed him by several years in that command.
What applied at the top level was true down the line in Kurita's force. Admiral Tanaka led an escort of the light cruiser Isuzu and nine destroyers. No fewer than five of the destroyer skippers were naval academy classmates of the mortified commander Kijima, who had considered suicide to atone for his supposed failure at cape Esperance. Two of Tanaka's skippers were classmates of the captains of the carriers Kaga and Hiryu, which had been lost at Midway. A pair of the destroyer captains had been classmates of captain Ishinosuke Izawa, who went down with his carrier, the Shoho, at the battle of the coral Sea. Two senior officers (the captain of the Haruna and one of the destroyer-division commanders) had been at Eta Jima with the skipper of light carrier Ryujo, sunk at the battle of the Eastern Solomons. Another of Tanaka's division leaders had actually been escorting the Ryujo at the time.
And if that were not enough, many of the senior planners on the combined Fleet staff—men anxious to regain Japanese ascendancy over the Allies—were products of the Eta Jima class of 1923, which had also graduated several of Tanaka's destroyer captains. Two more were classmates of captain Shigenori Kami, the hyper-aggressive senior staff officer to the Japanese fleet commander at Rabaul. What these men heard from their comrades when anchored in port had to have influenced them. Without a doubt, Admiral Kurita's subordinates were equally determined to achieve a measure of vengeance.
So Japanese sailors on the Night were driven by avenging angels. But fast-forward two years—to the Leyte Gulf battles—and the Imperial Japanese Navy's desperation played out with opposite consequences among some of the same men. On the Night, Takeo Kurita led the Japanese force. At the famous battle off Samar on 25 October 1944, Kurita again led the attacking force—with former Kongo captain Koyanagi now staff chief. Vice Admiral Kazutaka Shiraishi, leading a heavy cruiser division, had been chief of staff to Kurita's superior at the time of the earlier action. It is fascinating to speculate on the impact of one set of events on the other. The lesson of the Night was that determination could be driven to success; Samar taught that determination pressed to the point of pursuit but then abandoned could lead to the destruction of the fleet.
The Night formed only part of a much larger strategic scheme with which Admiral Yamamoto intended to reverse the trending course of the war in the South Pacific. Henderson Field had to be neutralized so the Japanese could move a large troop convoy to Guadalcanal and mount a land offensive there. The combined Fleet cruised to the east of the Solomons intending to pounce once the Japanese army had advanced. Of course the plans had been brainstormed by Yamamoto; Rear Admiral Matome Ugaki, his chief of staff; plus the specialist planners at headquarters. Their scheme would be carried out by the admirals afloat, Chuichi Nagumo and Vice Admiral Nobutake Kondo, whose maneuvers led to the battle of the Santa cruz Islands on 26 October 1942. Here the success of Japan's sea lords in the South Pacific was crucially influenced by the actions of subordinates whom history has often ignored.
Japanese navy doctrine at that time continued to accord primacy to the battleship, with the practical result that when carrier task forces and surface action groups operated together, tactical command went to the surface leader. Thus Kondo of the Second Fleet had overall control of the combined Fleet units heading into battle. In the new aero-naval environment of the Solomons campaign, and given that Kondo had no experience at all with carrier operations, this posed a potentially significant problem.
Admiral Ugaki of the Combined Fleet, who was also educating himself in aerial warfare, understood the dilemma. The same conditions had applied during the battle of the coral Sea, the first carrier battle. During the planning phase before Santa cruz, Ugaki called in the officer who had led the Japanese carriers at coral Sea, Rear Admiral Chuichi Hara; he had also had to deal with a surface officer in overall command at the battle. Hara and Ugaki had several long conversations about carrier operations and coordinating task forces with surface units.
Admiral Ugaki realized that surface warrior Nobutake Kondo needed an education in these matters as well. Chuichi Nagumo, though a friend and Eta Jima classmate of Kondo's, was not a carrier specialist and not the man to teach air fundamentals. Instead, Ugaki gave that job to Nagumo's staff chief, Rear Admiral Ryunosuke Kusaka. He was a true aerial-warfare specialist and, equally important, had known Kondo since middle school. They shared birthdays and had been in the same school in Osaka, where Kondo had taken Kusaka under his wing as a sort of younger brother. Now Kusaka could return the favor. He gave Kondo the aerial basics and obtained a concession that once the Japanese initiated carrier operations Nagumo could act independently.
But it was within Nagumo's force itself that Admiral Kusaka's actions would be decisive. Having also been Nagumo's chief of staff during the Midway debacle, Kusaka was determined to avoid the errors that had led to disastrous losses there. The sinking of the carrier Akagi especially pained him. Not only had she been the fleet flagship, Kusaka himself had commanded her in 1940. Within the Third Fleet, now Japan's carrier task force, Kusaka implemented measures to drain carriers' aircraft fuel lines when combat was imminent, improving ship survivability. He also regularized the practice of launching a two-wave dawn search pattern—a critical failure at Midway. And Kusaka provided that a strike group should be spotted on flight decks when searches went out in order to make instant use of any sightings. These innovations were Kusaka's, not Nagumo's.
In the days before Santa cruz, another Kusaka concern—that the American carriers would be poised to attack from the Japanese flank—also led to special search operations by a detached cruiser group. And in the immediate prelude to the battle, Kusaka would be instrumental in adding to Nagumo's usual caution—to a fault, in the opinion of the combined Fleet, which ordered the force to seek battle in the face of Kusaka's advice to delay. In any case Kusaka's careful preparations would afford some advantage to the Japanese at the battle of the Santa cruz Islands.
As valuable as Kusaka's advice on aerial warfare was to Admiral Kondo, it proved critical to Japanese land-based air commanders in the Solomons. The Eleventh Air Fleet, headquartered at Rabaul, conducted the Solomons air war. Initially Vice Admiral Nizhizo Tsukahara led the air fleet, as he had since before the war. Tsukahara was the imperial navy's most expert aviation commander and the only officer experienced at conducting long-range interdiction operations. But in the fall of 1942, the admiral contracted malaria and had to be sent home. To replace him the Japanese selected Vice Admiral Jinichi Kusaka, Ryunosuke's older cousin.
Kusaka had no air-warfare experience at all. In December 1941 he had been president of the naval academy and looking forward to retirement, but now he was supposed to run an air war. His chief of staff, Rear Admiral Yoshimasa Nakahara, was a Navy Ministry bureaucrat. Fortunately for the Japanese, Kusaka was a quick study and had a flexible mind, but he still operated at a disadvantage. The Japanese high command sent captain Yoshitake Miwa, formerly of the combined Fleet staff, as air officer.
But the skill set remained thin. In the fall of 1943, when the Japanese tried a major air offensive from Rabaul, the combined Fleet tried to make up for Kusaka's inexperience by assigning him its air operations mastermind, captain Sadamu Sanagi, as air staff officer and by bringing Ryunosuke Kusaka down from Japan as chief of staff. By then, however, Rabaul was under siege and its value as a center for aerial operations rapidly diminishing. Japanese air units were withdrawn from Rabaul in February 1944. Two months later, Ryunosuke Kusaka followed them. Promoted to vice admiral, he would take up the reins as chief of staff of the Combined Fleet.
By far the best-known Japanese surface commanders in the Solomons were Vice Admiral Gunichi Mikawa, victor at the battle of Savo Island, and Raizo Tanaka. Both played key roles in Japanese surface operations, especially during the Guadalcanal phase of the Solomons campaign. Mikawa, at number 41 on the navy's seniority list, ranked only a half dozen spaces behind Jinichi Kusaka, who would become his direct superior in December 1942. That was when the Japanese created a Southeast Area Fleet at Rabaul to control all naval and air forces in the Solomons. Mikawa was a warrior of the Satsuma clan and an intellectual. Third in his class at Eta Jima and a graduate of the staff college, he returned to the naval academy as an instructor and later was chief of the instructional staff.
Interviewed by historian John Toland in the 1960s, Mikawa volunteered that he had read Alfred Thayer Mahan's The Influence of Seapower upon History four times. As a junior officer he had been among the Japanese delegation to the Paris Peace conference in 1919 and later served as assistant attaché in Paris and with negotiators at the 1930 London Naval conference, for which he had been rewarded with promotion to captain.
But Mikawa was a seaman too, known as a torpedoman and navigator. In succession he had skippered the heavy cruisers Aoba and Chokai, then the battleship Kirishima. It was he who had led the battleships that protected Nagumo's Kido Butai (Mobile Force) at Pearl Harbor, and he had commanded another unit of that type with the assault force that was to have made the Japanese landing on Midway. Mikawa had given up command of battleships—the very vessels that would shell Guadalcanal on the Night—to establish the Eighth Fleet in the Solomons. After that campaign ended in defeat, he would go on to bigger things, leading the theater command (area fleet) that defended the Philippines in 1944. His value recognized, Mikawa was accorded the extraordinary distinction of a personal audience with Emperor Hirohito.
But for all his skills and experience, Mikawa remained capable of error. Americans are most familiar with his decision at the battle of Savo Island to give up any pursuit once he had crippled the Allied cruiser force. That had squandered the opportunity to smash the amphibious ships still landing supplies at Guadalcanal and Tulagi. There were reasons for Mikawa's command decision, of course, and one can argue them. Less defensible is his behavior a few weeks later at the battle of the Eastern Solomons, when on three separate occasions Mikawa countermanded orders from Admiral Tsukahara to the transport force. Raizo Tanaka described tremendous confusion resulting from the conflicting commands, which left his troopships and escorts vulnerable to Allied airstrikes that inflicted critical damage.
Then there are the events of 13–14 November 1942, when a Japanese cruiser unit under Rear Admiral Shoji Nishimura carried out another of those Guadalcanal bombardment missions. Mikawa led an Eighth Fleet cover force, which, had it helped shell Henderson Field, might actually have put the place out of action. Instead he held back beyond Savo Island, and the next morning the cactus Air Force plastered the Japanese, causing as much damage as the imperial navy's cruisers had suffered in any of the Guadalcanal surface battles. Mikawa's vision failed him that night.
Americans appreciate Rear Admiral Tanaka as an excellent fighting sailor. Japanese are more divided. Take, for example, captain Toshikazu Ohmae, who served on Gunichi Mikawa's staff and had reason to defend the Eighth Fleet commander. Ohmae was an exceptional officer who after the war became a factotum for foreigners seeking to research the Japanese side of the conflict. When shown the draft of Volume 5 of Samuel Eliot Morison's History of United States Naval Operations in World War II, which covered the Guadalcanal campaign, Ohmae observed that Tanaka had been fond of radioing requests for air cover when there was little hope of any, and on reaching port complaining of poor naval air force cooperation. Ohmae characterized Tanaka as small-minded. While he conceded that Tanaka had been a skilled squadron leader, he opined that the admiral's methods discouraged initiative among his captains.
This view contrasts with Admiral Tanaka's record, though not with the imperial navy's treatment of its supposedly errant Hotspur. Tanaka was wounded twice in running the vaunted "Tokyo Express" to Guadalcanal. His Destroyer Squadron 2, considered the elite night-fighting unit of the Japanese navy, achieved signal success in the 29–30 November battle of Tassafaronga. His ten destroyers—only two of them stripped for battle—overcame an Allied cruiser force with every advantage, including greatly superior strength, radar, and intelligence of the destination and timing of Tanaka's supply run.
Though lacking the intellectual stature of Mikawa, Tanaka had nonetheless graduated in the upper third of his naval academy class and been alert to possibilities for tactical and material innovation. Even before the war he had listened to his destroyer captains' arguments for changes in torpedo-attack tactics, and it was Tanaka who had perfected the Japanese method of heading Tokyo Express units with guard ships. His destroyermen also conducted the experiments that enabled the Japanese to drop "strings" of supply drums offshore, permitting them to offload quickly and minimizing exposure in the target zone.
Admiral Tanaka himself recognized his error on the night of Tassafaronga of not pressing ahead to actually unload the supplies on his destroyers. Given Japanese concern at that point about their soldiers starving on Guadalcanal, that failure probably accounts for what hap-pened to him. Tanaka was reassigned to a shore billet and led base forces through the rest of the war. Replacing him in command of Destroyer Squadron 2 was none other than the battleship Kongo's former commander, Tomiji Koyanagi, newly elevated to rear admiral.
Koyanagi's destroyers would be instrumental in the final episode of the Guadalcanal campaign. In the first days of February 1943, the Tokyo Express came to rescue the surviving Japanese on the island. The mission was not actually Koyanagi's. He was slated for a supporting role as Rear Admiral Susumu Kimura led the operation. But Kimura never made it to the 'canal. Instead he was injured when the American submarine Nautilus (SS-168) torpedoed his ship a few days before the evacuation.
The Japanese command next gave the assignment to Shintaro Hashimoto, the flag officer leading Destroyer Squadron 3. The change was more than a little ironic, because Rear Admiral Hashimoto had been a friend and competitor of Raizo Tanaka's since naval academy days. When they graduated together in 1913, Hashimoto had been just nine places behind Tanaka in the standings, and it had been that way ever since. In 1940, when Hashimoto skippered the heavy cruiser Chikuma, Tanaka was captain of the Kongo, but only four spaces ahead of his comrade on the seniority list. At Guadalcanal their destroyer squadrons had played tag-team for the Tokyo Express. Tanaka had had the duty in August, Hashimoto in September-October, then Tanaka came back for November. Also like Tanaka, Hashimoto had lost a ship in battle, in his case the destroyer Ayanami, which succumbed to American shells in the Naval battle of Guadalcanal's battleship action.
One more way Hashimoto and Tanaka were alike: both were aggressive officers. On 14–15 November, the night he lost the Ayanami, Hashimoto had been the first to sight Rear Admiral Willis A. Lee's battleships. Though he turned away initially, Hashimoto later reversed course and carried out the scout mission off Lunga Point that he had been assigned—despite the battlewagons thundering around him.
Still, Hashimoto had a bit of the hard-luck sailor in him. That night of the big ships, the Ayanami had been the only Japanese destroyer lost. The Guadalcanal evacuation drove home the point. On the first rescue run, Hashimoto's flagship, the destroyer Makinami, was damaged by the cactus Air Force during the approach. The admiral was left to transfer his flag and rush to catch up with the speeding Tokyo Express. For his second rescue run, on 4 February, Hashimoto sailed in the destroyer Shirayuki. This time the ship's engines gave out and Hashimoto was obliged to transfer again. Only his third transport mission went smoothly, despite damage inflicted by Allied aircraft. Hashimoto's operation evacuated more than 10,000 Japanese soldiers and sailors from Guadalcanal.
Both times Shintaro Hashimoto was left behind, the destroyer leader who took charge was Rear Admiral Tomiji Koyanagi. A year behind both of the other destroyermen at Eta Jima, Koyanagi never caught up. He had been number 300 on the seniority list in 1940, almost 60 places behind Hashimoto, and only made rear admiral in November 1942. On the other hand, Koyanagi had had a well-rounded naval career. A staff-college graduate, unlike his peers, he had served in cruisers and destroyers and on the staffs of a battleship division, the combined Fleet, and on the Naval General Staff. As mentioned previously he had commanded the battleship Kongo on the Night. It was Koyanagi, with Tanaka's old squadron, who had ranged the Slot during December 1942. He was resting at Truk a few weeks later when Admiral Kimura suddenly had to be replaced. Rear Admiral Koyanagi fluidly assumed command of Destroyer Squadron 10 and then, with equal presence, pursued the Guadalcanal evacuation missions when his colleague Hashimoto was unavoidably detained.
Koyanagi led units of transport destroyers and got the troops off the shore with great rapidity. When he returned to Truk after the withdrawal from Guadalcanal, Admiral Yamamoto called him in and made a point of expressing his great relief that the younger officer had been on the scene. Guadalcanal marked Koyanagi for bigger things. A few months later he would be appointed to the staff of the Second Fleet. That was why he would be on the scene again at Leyte Gulf.
Japan's sea lords conducted the Guadalcanal fight with skill and determination. But it was their lot to be on deck when the war was changing, when the formulas so successful during the months after Pearl Harbor stopped working, and when the Imperial Japanese Navy was increasingly matched—then overmatched—by American and other Allied forces that were equal in skill and benefited from technological prowess and intelligence superiority. Looking at the sailors on the other side of the sea adds a new dimension to our understanding of the Solomons campaign.
David c. Evans, ed., The Japanese Navy in World War II, second edition (Annapolis, MD: Naval Institute Press, 1986).
Richard B. Frank, Guadalcanal: The Definitive Account of the Landmark Battle (New York: Penguin Books, 1992).
Donald M. Goldstein and Kathrine V. Dillon, eds. Fading Victory: The Diary of Admiral Matome Ugaki, 1941–1945, Chihaya Masataka, trans. (Pittsburgh: University of Pittsburgh Press, 1991).
Hara Tameichi, with Fred Saito and Roger Pineau, Japanese Destroyer Captain (Annapolis, MD: Naval Institute Press, 2011).
Herbert C. Merrillat, Guadalcanal Remembered (New York: Avon Books, 1990).
Thomas C. Miller Jr.. The Cactus Air Force (New York: Bantam Books, 1981).
Samuel Eliot Morison, United States Naval Operations in World War II, vol. 5: The Struggle for Guadalcanal (Boston: Little, Brown, 1954).
Samuel Eliot Morison Papers, Naval Historical center, Washington Navy Yard, Washington, DC.
John Prados, Combined Fleet Decoded: The Secret History of American Intelligence and the Japanese Navy in World War II (Annapolis, MD: Naval Institute Press, 2003).
John Prados, Islands of Destiny: The Solomons Campaign and the Eclipse of the Rising Sun (New York: NAL/Castle, 2012).
John Toland, The Rising Sun: The Decline and Fall of the Japanese Empire (New York: Random House, 1970).
John Toland Papers, Franklin D. Roosevelt Presidential Library, National Archives and Records Administration, College Park, MD.


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Rule #1 - Be Patient - Rule #2 - Don't ask when, if you don't contribute - Rule #3 - You have coding skills - LinuxMCE's small brother is available: http://www.agocontrol.com
Agggghhh!Just as I think I'm settling on the kit to buy, someone throws a curve-ball and I have to start again. This time, I've just seen a posting that says 7.10 and SATA don't play nicely. Given that all the big drives are SATA....So, can anyone point me at a resource that tells me what currently works in 8.10? I've noticed various people seem to be running it, but I don't know how successful they are! If I go for 8.10, will I experience a level of hassle that I haven't seen since my divorce, or is it now down to a few odd things not quite there yet?I REALLY want to get my system built, but it seems that 7.10 requires older hardware and the new stuff is only being developed in 8.10 (I appreciate why this is, I'm not asking for you guys to keep developing for 7.10).Which way to go?7.10 and try to find old hardware?8.10 and hope it stays stable until the release version comes along?8.10 and regular updates hoping that things are getting better and not being broken?I'm not a hardware guru and struggle with all the chipset / mobo / GPU / graphics card jargon. I also am on a tight budget and don't want to waste any cash, but I'm absolutely desperate to get it running before my wife gives in to the kids and gets Sky+ and has a TV guy in to wire up the house with coax so she can watch TV in bed.I have (or thought I had) worked out that the chipset / MOBO nightmare wasn't an issue for a dedicated core, so that's where I'm starting (I intend to begin by replacing my aging linux fileserver with MCE). I have a vision of touch-screen MD's in the kitchen and kids rooms. Orbiters on the walls making the house look like the USS enterprise. Complete freedom to collect my favourite shows as they air and then watch them at my convenience. Is this asking too much?Sorry, went off on one there, but having read a lot of postings, I guess my frustration is shared by many. So some simple (regularly updated) sources of information as to the current state of play would be helpful. As well as knowing what doesn't work (yet) in 8.10, it'd be handy to know what features there are kicking around that won't work in 7.10 (like SATA, for example). The worst possible scenario for me is to end up with a collection of bits that don't work completely with either!Thanks
Well, im kind of in our boat. My system for 710 failed and its not worththe effort to get it functional again.I figure, I have 3 choices, buy 710 stuff (hard to find, not really worth it with 810 in the future), wait for 810, or try 810 alpha.I have a fairly new machine that will not work with 710 at all and figured why not roll with the 810 alpha. I was planning to use it as a 810 core anyways come release so...I've also been learning Linux for the last few months and even have work offering to pay for some upcoming classes im taking. Im about ready to completely drop Windows at home too. I honestly have no idea why I never looked at Linux sooner. I figure doing this well present issues that could further my knowledge while im at it too.
Thanks, Pnuts I've seen various postings from you and see your status as "veteran" so don't do yourself down Have you got 810 Alpha working yet? Is it painless or a nightmare?I think part of my problem is the need for strong WAF (and CAF). My existing linux box has had some problems and this is frustrating the boss no end. If I go ahead with something which makes the kids' TV in any way unreliable, she'll kill me It's partly for this reason that I'm planning on leaving my STB connected directly to the main TV and to a capture card in the MD.Anyone else comment on how well their 810 setups work?
Sata works fine under 0710... we use it for all of our drives (sometimes even the optical).
You seem to keep asking the same questions...and going around in circles. Get yourself some cheap old'ish hardware and have a play with 0710 or try the 0810 alpha...then suddenly some of this stuff will be tangible to you and you can start to lear and understand how the actual system works. Get your self any old i945 motherboard and put a cheap 9400GT card in it for your displa...find an old ide/sata drive or buy a cheap new one and get started :-)
Well look...0810 is an Alpha...Alpha builds are never going to be reliably WAF or CAF ready...thats why they are Alpha's!
Get yourself some old cheap hardware and build yourself a system you can play & learn with and then this will better equip you to choose the components and features that you truly need...don't sit this system in the middle of your lounge...it will not endear you on the WAF front. Use and train yourself on it away from too many critical eyes ;-)
He's already suggested the Asus Eee Box. Another is the newly released Acer Aspire Revo. And the Zotac board is also very good according to Andrew's team... but note the latter two will only be pnp with 0810... they need slight intervention to work with 0710. Could you elaborate on "slight intervention"?
BTW, I have moderated the thread you pointed to. He has been corrected.
Hmmm...again dont be so blinded by the need to have this or that on the Core's motherboard. We are still building systems with i945 motherbaords...they work fine with a reasonable nVidia card installed. I am writing this on this on a ASUS Eee Box...you can even build a Core around that (we have done so). It works and is cheap.Less talk...more do! ;-)Andrew
Thanks, Pnuts I've seen various postings from you and see your status as "veteran" so don't do yourself down Have you got 810 Alpha working yet? Is it painless or a nightmare?
...one was rescued from the scrap heap at work...
Quote from: totallymaxed on May 29, 2009, 01:37:13 amHmmm...again dont be so blinded by the need to have this or that on the Core's motherboard. We are still building systems with i945 motherbaords...they work fine with a reasonable nVidia card installed. I am writing this on this on a ASUS Eee Box...you can even build a Core around that (we have done so). It works and is cheap.Less talk...more do! ;-)AndrewIts more so, everything has a cost. I can spend money and do as you suggest, or do what im doing, using what I have at no cost to me. Whats cheap to one person could be a months savings to another.Basically I have a Dell Optiplex 760 and a MSI Wind Nettop at my disposal aside from a 2xlaptops and a Windows XP Media center I dare not touch in fear of the wife.