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The Bighorn Sheep of the Santa Catalina Mountains
by Gregory McNamee
The Tohono O'odham who are native to southern Arizona looked at the mountain chain lying to the north of what is now Tucson and thought that it resembled one of the green toads that shared the Sonoran Desert with them.
They called the sierra Babad Do'ag ("Frog Mountain"), and if you look at the mass of volcanic rock that rises 9,157 feet (2,791 meters) above sea level like a huge island out of the desert, you might detect some resemblance, if in nothing else than the mountains' rumpled skin.
The Jesuit explorer Eusebio Francisco Kino is believed to have bestowed the name Sierra Santa Catarina in April 1697, and by the 1880s, the people of Tucson were calling the range the Santa Catalina Mountains. All the while, O'odham, Spanish, Mexican, and Anglo people entered the jagged sierra, whose ancient, much-metamorphosed volcanic core is laced with streamlined canyons that nourish animal and plant life.
Pusch Ridge, on the western edge of the range, rises above one such canyon. Historically, it was long home to a population of bighorn sheep, as well as numerous deer. For that reason, and by virtue of its comparative ease of access, hunters often climbed the ridge to bag game, whose population remained relatively steady until the 1970s.
It was during that decade, a time of double-digit growth, that things began to change for the worse, at least from a bighorn's point of view. Housing developments began to climb the ridge, busy roads girded the mountains on all sides, and metropolitan Tucson's population began its rise from the 250,000 of 1975 to the million-plus of today. …


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MAJOR FASHION CRISIS: this year's Conservative Political Action Conference (CPAC) starts tomorrow, and I still have no clue what to wear to meet my idols Donald Trump (who still hasn't responded to our Miss USA expose, btw), Marco Rubio, Mitt Romney, Jeb Bush and Sarah Palin! Whatever shall I do?!
Luckily, one Pinterest user put together a handy wardrobe guide for CPAC, which sounds a lot like sorority rush sans halter tops.
Four questions to ask while packing include: "Would I wear it to a bar?" (if so, save it for creepy congressmen at the after party) "Can I walk 1 mile in it?" (be comfortable, but don't wear "athletic shoes, Uggs, TOMS, Crocs, bedroom slippers & flip flops — cute how this has to be spelled out for America's right-wing future) "Would I wear it to Walmart?" (Cringey) and "Leggings or Pants?" ("If struggling with this decision, don't pack the items in question." Jeggings, however, are not covered.)
There are lots of Pinterest paper-doll cutout examples of what you should wear: — '90s conservative casual, essentially — and then there's what not to wear: "Dressy" shorts, halter tops, TOMS, rompers, jeans, strapless necklines, low-cut tops, athletic shoes, mini-skirts, leggings, T=shirts (even if it's vintage Bush) and Uggs.
I'm still unclear on whether I can bring my Paul Ryan trucker hat and cherry-red slanket, so please advise down below.

subset: commoncrawl


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Monday, March 05, 2007
Burnout: Fanning the Flames
In trying to understand my own burnout, "control" (or lack thereof) is a dominant theme. This is nothing new. In fact, I doubt I'm unearthing bones not already thoroughly analyzed. But I can give instructive personal examples.
For a while I was on the board of directors of my clinic, which was then and is even more so now one of the most successful doctor-owned and -managed in the US. During my tenure, we were deeply in the thrall of the managed care model as the guarantor of our future. My feelings about it were, diplomatically, mixed. If I may be allowed to say it for the ten thousandth time, providing cost-effective care has always been as much a part of me as the Krebs Cycle. I've never needed anyone to remind me of it. Nor -- take my word for it -- have I ever been a trigger-happy surgeon: many is the patient sent to me for an operation, returned to his/her referring doc with a note pinned to the shirt saying "Please excuse Johhny from surgery today. He doesn't need it." So the idea of being required to seek approval from a peach-fuzzed (or even a grey-muzzled) primary care doc (need I repeat myself?) sat, diplomatically, unsteadily in my saddle. (In fairness, some of the internists who knew me over several years filled out all the authorizations the minute they sent the patient to me. Not, however, the family docs. But I've been over that. In one sense of "over" anyway.) Frosting a burnt cake, we even agreed to pay primary care docs a "gatekeeper" fee. Perfect.
I never objected to scrutiny; in fact, I welcomed any legitimate comparisons of my work to that of others. But it was always my contention that being in a clinic was the ideal situation in which paperwork could be minimized. After all, we had a medical director whose job included oversight; we knew each other well; we worked in a closed shop. Hell, we'd even cashiered a couple of losers. Ought there not be a presumption of quality? So when one of my fellow board members -- a young family doc whom I actually admired for his practicality -- announced at one of our meetings that he'd come up with his own form (in addition to the required ones!) he was going to send to specialists along with his patients, and showed it to us (couple of pages, lots of blanks to fill in) I hit the roof. Sailed right through it. Covered the man, the board room, and myself with plaster. Lots of it. Then, still rising, I resigned from the board. The form was never distributed, but it took enough days for my pulse to return to its usual 1.5X that I figured who needs the extra aggravation.
Every few weeks the medical staff at the hospital came up with a new committee, for which it obtained members by also coming up with regulations requiring and penalties for failing to sign on. Among the three or four on which I sat was the "Blood Utilization Committee." People from the blood bank (really good people, I might add) presented quarterly data on the use of blood and blood products and we looked into any deviations from accepted indications. Without fail, the data showed near perfect compliance, with the only outliers being nephrologists buffing up their dialysis patients -- outside of "standard" indications, but within "special" protocols. If ever there were proof that doctors knew what they were doing in an area, this was it. Yet, after a couple of years on the committee we were presented, for our approval, with a blood products ordering form. What's the patient's blood count, list this lab or that, provide seven indications for the use of the product you are ordering and click your heels three times. And yeah, another roof repair job was needed. I'm happy to say the form didn't appear in charts until a year or two after I was off the committee. But appear it did.
Small potatoes, I suppose. But multiply those incidents by a number that increased every year, and pretty soon there's salmonella in the salad. It'd be easy to quantify the amount of paperwork, if I had the desire and the money to hire a hundred people to work on it. What's hard is to measure the additive effect on the psyche; especially a steadily smoldering one. If it were one or two things, I might not have ex/imploded. Had I been getting more sleep, spending more time away from the hospital, maybe some of it would have rolled off. But at every turn, literally almost weekly by the latter years of my career, I'd find myself staring numbly at another missive announcing another rule, another form, another penalty, from the clinic board, the hospital administration, from medicare, blue cross et al, the malpractice insurer. Not so numbly; more accurately, with cold and trembling hands. Seriously. If adrenaline were water, I think my adrenals could have pumped out New Orleans.
I'm a lot of bad things, but stupid isn't one of them. And I'm enough of a realist to recognize it ain't Camelot and doctors -- myself included -- aren't perfect. (Some much less so than others.) So yes I accept that scrutiny is necessary, regulations are unavoidable. "The best of all possible worlds" is as illusory an idea as is that of a functioning Congress. But somewhere along the line -- and it happened in my practice lifetime -- the assumption changed from "doctors generally know what they're doing" to "doctors are incompetent, uncaring, unethical, and untrustworthy." Officially, anyway. Paperwork-wise. I may be more paranoid than most: I guess I took every form as a personal accusation, and it grated more deeply in me than in some of my peers. But I know it affects everyone.
I don't think it's just ego, or some inflated sense of myself. To a degree it's the opposite: I beat myself bloody over the slightest deviation from what I considered perfection, and generally knocked myself out to make amends and to prevent the next blemish. Yet I foolishly imagined that I had more control over my world than was true: why, I thought, can't problems just get ironed out? Do we really need all these committees breathing down out necks, these forms, these threats? Can't we just talk when someone thinks there's a problem? (Answer: of course not!)
Here's another example of how it works: a lot of surgeons use fluoroscopy during surgery. We don't operate the machines, but we are quite capable of interpreting what we're seeing, because, among other things, we know exactly what we're looking for when we're doing it. [Disclosure: there may be some politics at work here. Before useful intra-operative fluoro, the patient would be on a special table under which an Xray plate was slud, a hard film taken, and the radiologist would read it -- with or without the film getting returned to the OR for viewing by the surgeon. I always insisted on getting the film brought back before the radiologist saw it and generally we were sewing up by the time I got the call. With fluoro, I rarely had a hard copy made, so the radiologist never saw a film and, therefore, never got to bill for (irrelevant) reading. So the advent of surgeons reading their own fluoros was not well-received in all quarters.] Nonetheless, once upon a time I and many other surgeons were using it with no problems. Then one day a new cardiologist came to town, and used fluoro in the Xray department for some procedure or another, and someone turned him in for exposing the patient to too much radiation. OK, fair enough. But what was the response? Talk to him? Maybe even send around a little memo with information about proper use? Hell no. With no input from any non-radiologist doc who used fluoroscopy, the medical staff officers got together and made some rules. Mind you, the incident occurred not in the OR, but in the radiology suite; but suddenly everyone who used fluoro was required to take a course, get certified, fill out paperwork for each case, or have a radiologist present. For one friggin' incident, by a non-surgeon, after a gazillion proper uses!!! Here, in exact real-time replication, is how much time my Xrays took (for any radiologists out there, the image was saved until I sauntered over for a closer look): "OK, ready? Shoot. Thank you."
8 comments:
- Lynn Price said...
Sid, once again, you've given me more ripe material for my third book. I've long felt that practicing medicine had evolved into a game where the fools are threatening to take over. This is a literary enema just itching to get between my pages.
Sid, what we're seeing is a massive "regression to the mean" in medicine. The process you're describing gets rid of a few dangerous docs but on the other side many of the excellent docs burn out and quit over the bureaucratic overreaction. What we're left with is safe mediocraty.
- SeaSpray said...
There should always be a striving for quality and excellence in patient care. It is just a shame when superfluous, bureaucratic policies hinder the process. Why don't these decision makers actually call a meeting with the people that do the work,gather info and THEN create new policy if necessary? How it looks on paper often plays out differently in real life experience. Being in the trench is a totally different experience than walking above and around it. I have seen this and heard the complaints and experienced it myself while working in the hospital. It happens at all levels.
Again, always good to make improvements - just need to meet with the people that will be affected by the changes. If they did this in the 1st place they might save time, money and energy down the road.
Better communication is key! Then sometimes - decisions just have to be made, but if wrong then there needs to be flexibility for improvement.
Sorry if off track a bit.
- Eric, AKA The Pragmatic Caregiver said...
Data collection as a discrete task rather than as a natural part of the workflow - the bane of my existence.
It's not just medicine - everybody has gotten form-happy, since it's become so easy to generate and distribute paper forms, and the prevailing wisdom is to collect the data whether it's immediately useful or not. Worse yet, people are computerizing bad process left, right and sideways, which leads them to expensive, poorly-conceived electronic processes.
Given that I love an engineering solution to a societal problem, I look at the fluoroscopy incident as a failure of technology to inform smart users (always assume users are smart when building sophisticated equipment intended for use by people who do complicated things for a living) that they are about to do a dumb thing. It seems possible to engineer the device in such a way that if a user is getting close to a safety threshold, a subtle yet firm reminder is offered. Smart person clues in, adjusts things, tragedy is averted.
Note that my assumption is that these users are *smart* - not *infallible*; people make mistakes, get focussed on the one thing (performing the procedure) to the neglect of the other (monitoring total exposure). Pilots have done the same things (dealt with the oil indicator lamp while the plane flies into the Everglades), accountants count the paper clips while the exposures via derivatives skyrocket....need I go on?)
The problem is, less-smart people are assigned to fix these problems, and they inevitably do it by inserting steps in the smart-people work process that, on the surface, seek to prevent future incidents, but is seen as intrusive to the work of smart people by the smart people. Smart people being smart people either call on their power and position in the organization to block the actions of non-smart people, or sit there and take it with varying degrees of resentment and attempts to engineer past the blockades.
The solution is to have smart people helping smart people, who are sensitive to the delicate, individualized nature of smart-people work. The blood services piece is a good example. All the data to support or deny the blood work was probably already extant - I'm assuming nobody had to order more lab work or examine the patient more extensively or do anything more than fill out the form to have all the data points, and it's lame to make smart people do that when there could be any number of other ways to deduce or infer the same.
When the data collection or safety verification or UR or whatever else doesn't insult the intelligence or waste the time of smart people, it's generally acceptable to them - sometimes, it's even welcomed. The problem isn't trying to be systematic about things; it's having ham-handed non-smart people with good intentions implementing half-baked "solutions".
- Sid Schwab said...
eric: it's also about the rapid descent into corporate-think. In the case of the Xray, I'm certain there was a time when the medical staff officers would have, in their own practice, addressed the issue differently. But once on a board, you start to think like communal idiots. Also, the machines generally do start to beep or act in various ways when a level of use is approached. I can't recall the specifics: I'm sure there were warnings, both from the machine and the tech. And it's (most likely) not as if the doc just bulled ahead: if he had a certain thing that needed to be accomplished, and if there were difficulties making it take longer than expected, he likely had no choice (needing to use Xray to get the job done) but to push past the warning dose. Which, by the way, is probably well below an actual danger point. Also, note that the issue, if any, would be the doc's competence in the procedure, not in the use of Xray. So the issued rules were at least doubly stupid, making the practice environment even more depressing.
- dr. nic said...
People sometimes get too fixated on the paperwork/proper procedure. Last month I was in the OR with a ruptured AAA that was brought into the OR with a 3rd year med student straddling the bed doing chest compressions. We got him back in time to start the surgery, but for the better part of the first hour I had a hell of a time keeping his pressure up. We were transfusing like mad (23 units in all by the time we were done) and the blood bank kept calling up asking for a sample. The pt went down in the ED before his workup was finished, so we had been giving uncrossmatched. Once he had somewhat stablilized, I started an art line and drew off the sample for the type and cross. I almost died when the circulator told the blood bank (when they called asking what took so long to get the sample) "It's hard to get a blood sample when there's no blood pressure" and hung up the phone.
I thought I'd suggest an alternate explanation to what you're describing, which I have in my own practice referred to as the "stupefication of medicine.". I, too, have sat on the very same Blood Utilization Committee, listening to suggestions on writing decision trees for transfusion. You and I, who transfuse blood to replace what we can see spilling out over the sides of an open abdomen, don't need a form with an algorithm to help understand when to transfuse. Sadly, the vast majority of our successors do. Trained in an eighty hour world, they are, I believe, accustomed to always having guidelines, preprinted order sets, and online med searches for standard of care. Every aspect of patient care is spelled out, and every possibility has it's own special cubicle, it's own code. The average Joe doesn't have independent thought - it's just too hard.
The reason the system discourages independent thought and builds methods to support the cattle that stay between the lines is, simply, money. It takes oh, so long, to train a person to understand how something works, it's vagaries and limitations. Take for example a sphygmomanometer. Once upon a time nurses took blood pressures. That is a trained individual who has many responsibilities in patient care, and taking vitals takes up time. But lo, a hospital can hire someone with a third grade education for much, much less to use an automated BP machine and record the numbers, freeing up trained professionals for other work. Or sometimes, I suspect, it evolved the other way around. Perhaps there were not enough trained professionals to do the work, or not enough money to pay trained professionals to do the work, and so hospitals resort to alternate, cheaper more readily available solutions.
Of course, it does mean that when a crazy number comes out of the vitals machine, the aide with the third grade education dutifully writes down that the patient has a temperature of 43, for example. Or worse, the patient on observation for a small pneumothorax has a sat of 80... Dutifully recorded at tremendous cost savings. See? All about money.
- kg said...
And in the case of getting an inexpensive tech to do vitals, I wonder how much of a savings it is. So much physical assessment and teaching and caring can go on during routine vitals. And problems can be caught by someone who knows what those numbers and the rest of what's going on means!


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Effect of the Innovated Seifi's Functional Appliance on Skeletal and Dentoalveolar Changes of Class II/ 1, Deep Bite (Seifi-Fx)
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT00688233
Recruitment Status : Unknown
Verified May 2008 by Shahid Beheshti University of Medical Sciences.
Recruitment status was: Recruiting
First Posted : June 2, 2008
Last Update Posted : June 2, 2008
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
|Condition or disease
|Orthodontic Appliance Design Retrognathism Malocclusion, Angle Class II Deepbite
|Device: Seifi's Functional
|Phase 1
Records will be obtained for each patient by the same operator before treatment and at the end of treatment. The appliance in this study is designed by Prof. Seifi and will be constructed by a well trained technician in the orthodontic laboratory of shahid Beheshti School of dentistry under the supervision of the operator. The appliance consists of a jack screw in the midpalatal region plus two Adams' clasps on the upper 1st molars and four Kimia clasps on the buccal embrasure of the upper deciduous molars or premolars. For the mandibular portion there is an incisal clasp and incisors are capped by acrylic.
The participants will be advised to use the appliance 24 hours per day except for meal times and when brushing the teeth or reading Farsi or English in class room.
Each patient will pay his/her first recall visit to the orthodontic department one week after the appliance delivery and will be instructed to turn the maxillary expansion jack screw 1:4 turn twice a week to achieve coordination of the upper and lower arches in the transverse dimension. The patients will be evaluated over one month intervals and necessary adjustments were made.
All cephalometric records, before and after treatment, will be coded and analyzed by a second party and the ultimate results and evaluations will be made.
|Study Type :
|Interventional (Clinical Trial)
|Estimated Enrollment :
|20 participants
|Intervention Model:
|Single Group Assignment
|None (Open Label)
|Primary Purpose:
|Official Title:
|Phase 1 Effect of the Innovated Seifi's Functional Appliance on the Skeletal and Dentoalveolar Changes of Class II/Division 1, Deep Bite Cases
|Study Start Date :
|December 2007
|Estimated Primary Completion Date :
|October 2008
|Estimated Study Completion Date :
|May 2009
|Experimental: F-seifi
Device: Seifi's Functional
Patient with Class II Division 1 and Deepbite malocclusion will wear the Seifi's Functional to get the benefit of skeletal and dentoalveolar correction.
Other Names:
- Overjet and Overbite [ Time Frame: 2-6 month depending on the amount of OJ and OB and the patient compliances ]
- sagittal and vertical cephalometric measurements [ Time Frame: before-after ]
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|8 Years to 12 Years (Child)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- Age between 8 - 12 years old
- Class Π division 1 malocclusion (ANB>4)
- Increased over jet (>4mm)
- Increased overbite (>4mm)
Exclusion Criteria:
- History of previous orthodontic treatment
- Evidence of craniofacial syndromes
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT00688233
|Contact: Massoud Seifi, DDS,MSD
|Iran, Islamic Republic of
|Dental School, Shahid Beheshti Medical Sciences University
|Tehran, Iran, Islamic Republic of
|Contact: Nafiseh Memar Kermani, DDS 98-21-2240-3010
|Principal Investigator: Massoud Seifi, DDS, MSD
|Principal Investigator: Majid Bargrizan, DDS, MSD
|Principal Investigator: Nafiseh Memar Kermani, DDS
|Study Chair:
|Massoud Seifi, DDS, MSD
|Shahid Beheshti Medical Sciences University
|Responsible Party:
|Professor Massoud Seifi, Shahid Beheshti Medical University
|ClinicalTrials.gov Identifier:
|Other Study ID Numbers:
|First Posted:
|June 2, 2008 Key Record Dates
|Last Update Posted:
|June 2, 2008
|Last Verified:
|May 2008
Seifi's Functional, Class II/1, Mandibular Retrognathism
Malocclusion, Angle Class II
Tooth Diseases
Stomatognathic Diseases
Jaw Abnormalities
Jaw Diseases
Musculoskeletal Diseases
Maxillofacial Abnormalities
Craniofacial Abnormalities
Musculoskeletal Abnormalities
Mandibular Diseases
Stomatognathic System Abnormalities
Congenital Abnormalities


text:
Genki Tenugui: A Message from Tokyo
May 27, 2011
Even though news reports of the Fukushima nuclear power plant are not on the front page days, the problems for the Japanese people have not abated, and the overall mood in Japan is tense. Still. Amy Katoh, the author of many fine books on Japan and Japanese culture, has transformed the window of her famous Tokyo shop, Blue & White: Amy has posted messages of fortitude in her window, and has created a tenugui bearing the same words, shown here.Here's what Blue & White has to say about this tenugui:
On March 11, when the Great East Japan Earthquake devastated Tohoku, Sayoko Hayasawa started brushing words of encouragement and hung them in the window of Blue & White to comfort passersby and give them courage. People smiled and even cried when they saw the messages and drew so much strength from them that we decided to dye our Genki tenugui to help people get through the shock of the multiple disasters.
Itsumo Isshouni: Always Together
Kibou: Hope
Te wo tsunagou: Let's Join Hands
Yuuki: Courage
Makeruna: Don't Give Up
Minna no chikara: The Power of Everyone
Genki: Energy
Gambarou: Let's Go Forward
Daijobu: It is alright
Japan still needs help. Please consider giving a small amount to the Japanese Red Cross Society.
In: - Comments closed


text:
The Big Bad Wolf Costume
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The Big Bad Wolf Costume
|Costume type:
|Costumes for Pets
This homemade costume for pets entered our 2012 Halloween Costume Contest,
A word from Jessica, the 'The Big Bad Wolf' costume creator:
Ares, my siberian husky malamute mix kinda has the appearance of a wolf but obviously is not. We are always getting comments and questions about it wherever we take him. So it has turned into a bit of a joke.
He always sits in the front yard on Halloween dressed up and the little kids like to come pet him and think its so funny to see a dog in a costume, and he loves all the attention.
I had seen a picture of a dog dressed in a wolf costume online and that got me thinking that i could totally do something much better! So Ares was the big bad wolf, disguised as grandma, and i was little red riding hood. everyone loved it!
Similar costumes:


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Setting Links
Setting Object Links[edit]
We go into the lot, and I zone of the whole bloody lot as a basement. Overkill? You bet… but we can trim sections later. We have no budget limits here, so we may as well go somewhat big.
Okay, remember the "buyDebug" cheat? What this does is it unlocks a new option in Buy Mode, allowing us to buy objects that are previously locked out. Go into Buy Mode, then click to sort the list by function first. You'll see a grid of options; the bottom-right corner with a question mark. That category gives you access to all the special tools and objects you can use for your tomb.
Now, we should make a nice easy "puzzle" for our first room, sort of an introduction to how the tools work. First, I zone off a small room, and place a door at the end of it. Then, I go into the Debug sort of Buy Mode, I select the Tomb Objects tab, and select a floor switch, then place it in front of the door.
Sorry about it being so dark down there; I'm going to worry about lights last. Okay, now for the fun stuff… We need to talk about the operational concept of triggers and behaviors. Setting the way things work in a tomb is comprised of setting an action of a given object as a "trigger," then setting the action of a different object as a "behavior." When your Sim does the trigger action, the behavior action is then immediately activated. Any trigger and behavior set is called a "link."
Sounds pretty simple, right? The only tricky part here is that you must set up triggers and behaviors in the exact order you want for each link. For example, with our switch and door, I need to set this link before setting any other link. For example, if I set a trigger for this switch, then set a trigger for a different switch, a bunch of things can go wrong. This is why it's best to work room-by-room… and we'll show you how.
Now, the "testingCheatsEnabled" cheat gave us access to a special command list for objects while in Build or Buy Mode. (It does other things too, but it's irrelevant to tombs.) The first thing we need to do is default our door to lock, else what's the point of having it?
To bring up the special list of commands, I need to hold CTRL + Shift and click the door. That brings this up…
Our first step is to select the "Add the ability to add triggers and behaviors" command. If we don't do this, the door is "normal" and can't be used in conjunction with triggers and so on. Sometimes, you may want to leave a normal door for a normal room, but we'll get to that in a bit. For now, we need to add the ability so we can link it to the floor switch. Now when we do a CTRL + Shift + Click on the door, we get this…
Our first step is to select the command at the top: "Lock." This locks the door completely, from everyone, period. The door is ready.
When setting up links, you must set the trigger first. Let me say that again just for emphasis: you must set the trigger before the behavior. So, we go over to our floor switch, and we do a CTRL + Shift +Click. From the pie menu, we choose "Link Triggers…" and then "Step On."
Again, there is no visual indication that anything is going on. We'll be testing all our links later with Agent Jack Cleaner to make sure everything works right, but for now we have to take it on faith that we're doing everything like we should. Now, the very next thing we must do is set this trigger's behavior. If we do anything else right now, it's going to screw things up and we'll have to start the link process over.
So, I go to the door, I do a CTRL + Shift + Click, then I select "Link to Activated Behavior…" from the pie menu followed by "Unlock."
Once again: no immediate visual feedback. However, if we hover the cursor over the floor switch, check out what appears…
That pink line indicates a link between our floor switch and our door. The line doesn't indicate how it's linked, but it shows that a link at least exists. By the way, if you hover over the door instead of the switch, the lines will still be there but they'll be green. This is just for notation's sake, and obviously won't appear when you're playing the game.
Okay, so now we've set up a very basic link: ordering a Sim to "Step On" the floor switch will unlock the door directly in front of him, so he can advance to the next room. Time to step up the complexity a bit.
Oh, before we go on, let's save. We can't save from here, stupidly. You have to click the Edit Town button from the interface; going to Options > Edit Town actually doesn't work at all. The game makes a pop up box that says "This feature is currently disabled," but it will let you go back up if you click the big Edit Town button. Then, you have to click the big button at the top-center of the screen marked "Return to Game" to go back to your active family. Once you're with them, you can go to Options > Save to keep your progress.


text: The public is invited to join National Aquarium's Animal Rescue team for their annual Animal Rescue Fundraiser on Thursday, July 11, followed by the annual Maryland Dolphin Count along the Atlantic coast of Maryland on Friday, July 12. National Aquarium will host a fun-filled afternoon at Seacrets: Jamaica USA in support of the organization's Animal Rescue program on Thursday, July 11 from 3:30-9:00 p.m. Attendees can enjoy family-friendly activities including crafts and games from 3:30-5:00 p.m., and from 5:00-9:00 p.m., adults, age 21 and up, can enjoy games and a special raffle to win a behind-the-scenes experience at National Aquarium, Baltimore. One hundred percent of the evening's five-dollar cover will be donated directly to the Animal Rescue program. On Friday, July 12, from 8:00-11:00 a.m., staff and volunteers of all ages will help record dolphin sightings at four established beach locations to help determine the state's dolphin population. Participation and attendance to the dolphin count event is free and open to the public. The four locations are as follows: Assateague State Park Day Use Area (6915 Stephen Decatur Highway, Berlin, MD 21811), 40th Street at the Beach; Ocean City, MD, 81st Street at the Beach; Ocean City, MD and 130th Street at the Beach; Ocean City, MD. Annual dolphin counts help marine mammal specialists capture a snapshot look at dolphin populations, reproduction rates and ocean health. Looking at the population numbers over the years can help to determine the health of the coastal ecosystem as well as the abundance of prey. Last year, more than $2,000 was raised for the Animal Rescue program at the fundraiser and participants of the dolphin count helped record 31 sightings. Since 1991, National Aquarium's Animal Rescue program has been responsible for responding to stranded marine mammals and sea turtles along the Delmarva (Delaware, Maryland, and Virginia) Peninsula, primarily along the nearly 4,360 miles of Maryland coast. The team has successfully rescued, treated, and returned nearly 100 animals to their natural habitats. National Aquarium's Animal Rescue program is a member of the Northeast Stranding Network (NERS) through the National Oceanic and Atmospheric Administration (NOAA). National Aquarium is one facility among a network of nationally recognized facilities that work cooperatively to respond to stranded marine mammals and sea turtles. Categories: Conservation, Rescues


text:
Vancouver, WA 98662
ph: 360-607-1620
Come Ballroom Dancing with us! Dance is one of the most natural things we do. Dance is about stepping.. putting one foot down and picking the other one up! We will teach you how to step with the tempo of your life!
CHECK OUT up-to-date class schedules, events, and student comments at :
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We'll be there with ideas to help YOU dance at your upcoming Wedding or Quinceanera!!!
Vancouver, WA 98662
ph: 360-607-1620


text:
I'm surprised nobody commented on this one yet. So in addition to being a juggler and being excellent at balancing things (Particularily on her head) Bippy's also got the ability to respawn right behind you in the time it takes to blink.
Surprised Gin's at the BK though..this is the first time I think we've seen her there alone. She's always been with Ada there before, or playing at Jackie's or Melissa's. Though it's true we don't get to see what happens when everyone's at work..
I suppose going to the BK every day (more or less) is a lot better than her being home alone the whole time...Gin strikes me as the type who is quite happy just drawing or coloring if she doesn't have anybody else to play with. I suppose she wouldn't have lasted too long if she was otherwise. Overactive kids home alone, contrary to a certain movie series, typically aren't able to survive without breaking things..lamps, dishes, their own skulls...
In a slightly non-sequitorish manner, does anybody but me hear Bippy's voice as being high pitched, overly chipper, and very childlike? If Bip and Gin swapped bodies, I don't think anybody would notice for a while.
hehehe...I was reading the archives earlier and remembered anew the beach strip...'She wore out the four year old. Pay up.' Caryn's neat.
You know, we should seriously start a collection or something..or at least get BJ a nice paypal account we can make people shove money into. A whole bunch of webcomic artists not even half as good as BJ are get at least enough money every month that they can take days off from their regular jobs. Maybe if we can get him enough of a nestegg we can get him able to keep a regular schedule on the strips...which could then lead to him being able to *quit* his regular job and do the strip full time. Others can make a living from it, why can't he? That Superosity strip is pretty popular and probably gets a good amount of dough, and I really don't think that strip is very good at all. I know I'd toss a couple of bucks into that if it'd get me more Jackie's Fridge on a passingly-regular basis. I really miss the strip...it's been a month now. I know this is kinda his hobby, but...damn, there's nothing I can say that won't sound like a guilt trip or a demand for more of his time.
BJ, for the record, I don't mind if the backlogged strips aren't colored...that's a luxury for me. Black and white is just fine with me. Heck, I don't even mind the pencil versions. Speaking for myself...maybe others will agree...I think I'd prefer new strips to redone old ones, if given the choice.
Anyhow, BJ, if yer readin' this...you gonna try an' get one of those Hi-MD players? Like four times the runtime on existing MDs and ten times on the Hi-MD ones! They look so *yummy!* If I can find one that doesn't cost as much as a decent laptop that can do a hell of a lot more, I'm gonna try and get it. Hell, for audiobooks *alone* it'll be a godsend. Then there's those radio dramas like the Shadow, Sherlock Holmes, etc...and of course the many, many albums, of which only (Only? Heh) four or five can fit on a regular MD now, depending on disc length...I wanna be able to put my whole music collection on two or three MDs. Not quite as cheap as an ipod, but easier on the batteries (Battery dead? Just pop in a fresh double-A, you're gold for another day), and you won't be as worried about knocking it about as I know I'd be with an ipod. My current MD player is like a little brick of musical goodness, and a Hi-MD wouldn't be much different. With a hard drive and a relatively large LCD screen? MAJOR worries about cracking the screen, or damaging the hard drive for me.
This has been kind of a stream of conciousness thing, hasn't it? Well, I think I'm done now...for now...


text:
This week, my husband and I went to a car seat inspection at Packard Children's Hospital. If you live near Stanford University and use a child car seat, it's definitely worth making an appointment. At first I thought that it would be a quick appointment where they would show us how to install the car seat in the "best way." It turned out that we learned different ways to install the seat, depending on circumstances, such as with or without LATCH or base. We also learned how to adjust and buckle the harness. Also, we learned how to put the car seat in and out the base without hurting our backs.
The amazing thing was that it was a free service. Appointment slots go pretty quickly so be sure to sign up a month before you need the appointment. If you are expecting, make the appointment for a month before the due date.


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This is an awesome little swim school. My youngest daughter improved very quickly. The classes are... Read moreabout this listing
Absolutely stunning! The best playground in Perth to my opinion! Worth driving wherever you're loc... Read moreabout this listing
Awesome place to not only keep the kids busy, but the adults will have a blast too :-) Top spot.
We started at PVS at the beginning of the year in 2019. I pulled my daughter out, two weeks prior to... Read moreabout this listing
Absolutely amazing! Well worth the trip.
© Copyright 2011-2019 Buggybuddys Pty Ltd. All rights reserved


text:
(one had) better get moving(redirected from I'd better get moving)
(one had) better get moving
1. Said when one is about to or needs to leave. Well, we'd better be going. It was lovely to see you, as always. Better get moving before I miss my train!
2. Said as an imperative to make (more rapid) progress on something, such as a project. You had better get moving if you're going to finish all of these cupcakes before the party. I better get moving on wrapping these presents. There are dozens of them!
(I'd) better get moving.
Inf. an expression announcing the need to depart. Jane: It's nearly dark. Better get moving. Mary: Okay. See you later. Bob: I'm off. Good night. Bill: Look at the time! I'd better get moving too.
(You'd) better get moving.
an expression encouraging someone to leave. Jane: It's nearly dark. Better get moving. Mary: Okay. I'm leaving right now. Bob: I'm off. Good night. Bill: Yes, it's late. You'd better get moving.


text:
June is Post-Traumatic Stress Disorder (PTSD) Awareness Month, and cities, hospitals and organizations across the country are holding events to raise awareness of PTSD symptoms and treatments.
Although PTSD can affect many people, it is especially prevalent among veterans. More than 20 percent of veterans who served in Iraq and Afghanistan have PTSD, according to the National Center for PTSD.
Fortunately, there are ways that the fitness industry can help. Research has shown that exercise can be used to treat PTSD, and facilities ranging from Veterans Administration hospitals to university recreation centers to health clubs now offer fitness programs to meet veterans' needs.
Travis Cox, director of the Heroes Project, a Carrollton, TX-based nonprofit organization that provides fitness equipment and health club memberships to veterans, knows from personal experience that fitness can be life-changing for veterans.
Cox, who served as a U.S. Marine Corps scout sniper and a special operations assistant team leader in Iraq, says he faced his own struggles after returning from combat but living a healthy lifestyle helped him adjust. He now works to bring healing to other veterans through exercise.
"It gives you a healthy outlet," Cox says. "It gives you something to do that's productive. It forces the veteran to own their issues and work through them with action. These are veterans that have put their lives on the line and been very proactive in the betterment of this world, and it just makes sense that they can be proactive with improving their lives."
The Heroes Project provides free in-home fitness equipment, health club memberships, individualized fitness programs, personal training and life coaching to veterans with disabilities or PTSD, as well as families that have lost a loved one in combat.
Veterans may struggle to get access to fitness equipment once they return home, Cox says, since many live in small towns or rural areas that do not have fitness facilities. Others might feel self-conscious exercising in front of people because of scars or injuries they received during deployment.
For veterans who need or prefer to exercise at home, the Heroes Project supplies equipment for in-home gyms. The gyms are customized to meet the veterans' fitness needs and fit the space available, but they often include a piece of commercial cardio equipment, free weights and accessories.
Since the equipment donation effort began a year ago, Cox estimates 30 people and families have been helped. Many veterans in the Dallas area also benefit from weekly support groups the Heroes Project offers.
Now the organization is expanding its mission by raising money to open its first fitness facility in partnership with the Roever Foundation, a Fort Worth, TX-based charity that assists veterans. The gym, which will be added to the Roever Foundation's existing building, will serve 1,200 veterans annually. It will be named the Chris Kyle Gym in honor of Chris Kyle, former U.S. Navy SEAL Team 3 chief, best-selling author and co-founder of the Heroes Project, who died in February.
For more information about how your facility can help people coping with PTSD, read the National Center on Heath, Physical Activity and Disability's guidelines or visit the National Center for PTSD's website.


text:
It's commencement time -- a time evoking hot, sunny afternoons, long, shapeless robes, and even longer, often boring speeches. Nostalgic and hopeful parents. Confused and hopeful kids. A major hurdle over; "real life" about to start.
Teenagers frequently find adolescence as painful and tortured as do their parents. They can't wait to escape. But as escape leads to even greater and more complicated challenges, high school becomes a fond memory, a memory of a simpler time where all their needs were taken care of. Our children chafe against such dependence and crave it when finally pushed out the door.
We both resent and enjoy our dependence.
This late spring mood coincides with the experience of the holiday of Shavuot. The Jewish people in the desert were like dependent teenagers. The manna fell from the sky every day to nourish them, requiring the most minimal effort on their parts. (Reminds me of watching my children standing in front of an open refrigerator!) They lived with constant awareness of their complete dependence on the Almighty. And just as constantly, they rebelled against it. Again like teenagers, as described in a great parenting book "GET OUT OF MY LIFE but first could you drive me and Cheryl to the Mall?" Like our growing children, we, the Jewish people, are conflicted. We both resent and enjoy our dependence.
And we're equally ambivalent when it comes to "commencement," when it comes to receiving the Torah and accepting responsibilities. We wanted that adult life of privilege so badly and now that we got it... Now it's up to us. Now our daily choices really count. Now our lives are what we make of them and there's no one else to blame. Mom and dad (read "God") sure sound good right now.
If you watch the faces of the graduates, a myriad of emotions flickers across them -- pride and joy, fear and anxiety. Will I be able to make it on my own? If you watch the faces of the Jewish people on Shavuot, you can see the same reactions.
Do we really want the privilege of freedom and independence? Do we really want the liberty of choosing on our own? Do we really want to be responsibility for our choices? Do we want our choices to count?
Our souls sure do. That's what meaningful growth and real life is all about. Embracing that responsibility is the opportunity Shavuot affords. It's commencement -- time to begin.


text:
Welcome to Dove House & Swallows
Two Award Winning self-catering houses nestling in 1000 acres of Dorset farmland. Just 5 miles from Dorchester and 10 from Weymouth; a perfect location for a family holiday, quiet break or special celebration.
These beautiful old barns were restored in 2000 to the highest standards which have been maintained ever since. Both Dove House and Swallows are located at the end of a mile long, private, tree-lined drive.
Dove House sleeps 13 in 7 en-suite bedrooms. There is a large, enclosed south-facing garden with patio and barbecue area. A covered portico with seating attaches the house to the fabulous indoor heated swimming pool exclusively for Dove House guests. The house is spacious, peaceful and luxurious making it perfect for larger groups and ideal for a family holiday or small company training retreat. (VisitEngland 5*Gold)
Swallows is designed for 4 people to share in comfort and is furnished to the same high standard as Dove House. It is on one level, with easy access for those with more limited mobility and a beautiful peaceful enclosed garden. Swallows is totally separate and private from Dove House, but it is just a short walk when they are taken together. Swallows has one double and one twin/double bedroom, both are en-suite. (one small dog allowed!). NB: Swallows does not have access to the indoor pool or games room unless taken with Dove House. (VisitEngland 4* Gold)
Together: The two houses can be taken together to accommodate a total of 17 guests and 3 babies. Dove House is fully equipped for this number to eat and socialise together.
There is also a hard tennis court that can be used by prior arrangement available to both properties.
Due to the coronavirus we have weeks now available in both properties in the immediate future. This is changing daily as you can imagine so please email or call if you are looking for anything as our availability chart may not be fully up to date. We do have the dates below:
Dove House and Swallows: EASTER WEEK: Available April 10th-17th. Call for prices.
Dove House : March 27th-30th week-end.


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Why doesn't anyone make big, loud rock music anymore? You'll get a lot of different answers to that question, depending on who you ask, but it's probably got something to do with Kid A being great, Be Here Now being terrible, the last ten years of the Foo Fighters' career being fairly uninteresting, Mona and Brother being totally embarrassing, Klaxons and The xx winning the Mercury Music Prize, Lady Gaga winning several Grammys, SBTRKT and Tim Hecker making into DiS's top five albums of 2011 and, generally, dubstep. Oh, and the fact that we don't read Kerrang! anymore.
Still, no matter who you blame for the lack of loud riffs and wanky guitar solos in recent years, 2012 doesn't look like it'll be the year that saved rock (again), irrespective of him from The Enemy's claims to the contrary. For proof, you only need to look at the sort of quiet and conscientious guitar bands who we're told will soundtrack the year ahead: Zulu Winter, Alt-J, Mozart Parties, and now, Trailer Trash Tracys. Despite having one of the most hackneyed, leather-clad, rock band names since Twisted Sister, on 'You Wish You Were Red', Trailer Trash Tracys have all the hazy detachment of The Jesus And Mary Chain, dusted with the faded glamour and demi-goth coolness of Dum Dum Girls or Warpaint. With its glugging bass and distant C86 jangle, the song is both the highlight and the blueprint of this downbeat London quartet's debut album, Ester.
With the exception of the Flaming Lips-style instrumental space rock prelude of 'Rolling – Kiss The Universe', Ester is set within strict parameters. It has a shoegazing, bass-driven, post-punk attitude that moves hesitantly towards the fringes of pop. 'Los Angered', for example, builds an emotionally intense authenticity around the whisper of a Bobby Gillespie-patented drumbeat and Susanne Aztoria's half-interested vocals. Strangely though, this assertive approach is undermined by a chorus of simplistic Sixties girl group chord changes. 'Candy Girl', is better, with its damp, curvy melody that sinks you into a wonderful lucid dream. It's almost Corganesque in the way it's simultaneously elegant and angst-ridden.
The crass shredded riff of 'Engelhardt's Arizona' on the other hand, is Eddie Van Halen in extremis, but it's a sound that's cleverly softened by an increasingly sleek bassline. It sneaks up on you in the same way as 'Dies In 55', where the bass comes in syncopated around fairy light synths and tatty electronic drums. On both of these tracks, Trailer Trash Tracys copy Animal Collective's great trick of spending two or three minutes running in circles around a beat, failing to find a groove until suddenly it's there and you're rocking back and forth rhythmically, spellbound by countless kaleidoscopic melodies.
The fact that it's possible to compare the same Trailer Trash Tracys song to both Animal Collective and Van Halen says a lot about the amount of ground the band cover on Ester, in spite of the sonic limits they've set. Indeed, elsewhere they share a likeness with Summer Camp's Young EP ('Starlatine') and Joy Division's Closer ('Turkish Heights'). As a result, Ester doesn't quite have a narrow enough scope for us to be able to say that Trailer Trash Tracys have a sound that's all their own, but they're close to finding their voice, and with a little more refinement it will come out, not loudly, but clearly.
7Robert Cooke's Score


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090) Enter The Dojo & Check Your Ego In At The Door: March 2012
I am both proud and impressed with the level of budo being practiced at our dojo. Senior students are making significant progress in developing Aiki/internal power skills and incorporating it into the execution of waza and kata. Senior students are really displaying good teaching skills in helping beginning students to focus on these aspects of our practice. That being said, there are real areas of concern that I have that need to be openly discussed. The areas of concern related directly to your role and nage and uke. I want you to read/reread the following blogs:
1) Blog 003. http://aasbk.com/blog/the-role-of-nage-week-of-september-8-2008/
2) Blog 004. http://aasbk.com/blog/week-of-september-15-2008-the-role-of-the-uke/
Now that the overall level of training has improved, the risk of injury has risen as well. It is my job as a teacher to protect the dojo. In order to fulfill this obligation, I need to address this increased risk of injury directly. People are developing better integrated bodies. That means that as uke, you are better able to ground out the actions of the nage. That means that as nage, you are better able to deliver a greater degree of force to the uke. These two factors alone, increase the risk of injury. If you add to this mix any issues related to your sense of self and accomplishment, this risk can increase to what I consider to be unacceptable levels.
The uke is the teacher. Regardless of the rank of your uke, at that moment, the uke is YOUR teacher. That means that as an uke, you have a great responsibility to be a good teacher. That means that you attack sensibly and totally in control. Your attack needs to be accurately gauged to the level of the nage. Overwhelming the nage with an attack that is beyond the nage's ability is a useless act as an educator. On the other side of the coin, providing an attack that a slight breeze of air could halt is also a useless act as an educator. The role of the uke does not stop when the attack ends. The uke has a responsibility to guide the nage to the point where a technique can be performed (hopefully at a high level for that nage) to a successful completion. If you simply ground the nage's actions out, what exactly have you accomplished as the teacher? You are still responsible for your own learning, which can be accomplished by working on your ukemi skills. That does not mean acting like a circus acrobat. That means that you can learn how to keep your structure intact while allowing the nage to create kazushi. That means that you can learn how to change levels, while keeping an intact structure, while maintaining a connection to the nage. It may look and feel like a seamless, silent roll to the nage, while you are creating the conditions that enable you to remain safe, and if need be, attack in another manner, from another level. This is too much to ask for a beginning student. The beginning student is simply learning how to attack effectively and receive the technique in a manner that allows the student receive the technique safely. That might mean, improving your rolls and it can also mean learning how not to get your joints hurt when a joint lock is being applied.
The nage is the student, regardless of the rank. The nage's role is to be in a safe state of readiness. The nage's role is to safely address the attack in a manner that allows the student to work on executing a technique in response to the attack. The nage's responsibility is to execute a technique in a controlled and safe manner. If you are having trouble executing a technique, greater speed and force is not an acceptable answer. You can ask the uke what is being experienced. You can ask yourself what are you experiencing. You can relax and slow down to the point to which can you be cognizant of what is going on. You need to maintain an integrated structure. You need to be connected to the uke. You need to keep the uke from connecting to your center. You need to move in a manner that maintains all of these points mentioned. You need to be aware of what you are doing to the uke so that the execution of the technique is done as safely as possible.
I am asking a lot of the uke and nage. In order for you to continue your training as both uke and nage, you need to be fully aware of what "space" you are in when you walk through the dojo door. If you have had a bad day, you are the one who is responsible for not taking that bad day and introducing that "bad space" into your training with your partner. Taking out your frustrations and anger of the day onto the mat, simply places people (including yourself) at risk of being injured. Executing a technique roughly is just as bad as grounding out the nage so that the nage is left frustrated and upset. None of us are perfect and all of us have a shared responsibility to see to it that our egos are checked in at the door when we enter the dojo. We need to be able to effectively communicate with one another about our experiences in this dojo so they do not get acted out in our practice. It is okay to tell the other person that you are getting frustrated and upset. It is okay to say that you are having trouble working with a particular person in that class. This type of communication needs to be conveyed to the teacher as well. It is our shared responsibility to walk the fine line of increasing the level of our training, while maintaining a safe training atmosphere. I cannot do this alone and need everybody's active participation in this endeavor.
I take my responsibilities as head of this dojo very, very seriously. I expect you to take your training seriously as well. I expect you to be responsible for your actions in this dojo. That means that you must be fully cognizant of the mental "space" that you bring with you into the dojo, so that you can learn to manage this "space" to sustain a successful training experience for you and your partner. This is an important part of your training. When bad things happen, your training in managing your psychological space can help to determine a successful outcome to the bad situation. We can all benefit from this area of training being openly discussed and worked on within our training paradigms.
I am fully engaged in the process of having every student raise their martial arts ability to the highest level possible. That will mean that you will become better communicators. That will mean that you will become more humble in practice. That will mean that you will be open to experience the most positive potential for personal transformation that this nature of practice opens up to you. I will continue to address issues that arise both personally and as a group, when they threaten the well-being of this dojo. Martial arts practice is inherently dangerous and injuries and accidents can occur. The important thing is that we are all involved in creating the highest level of practice in the safest manner possible.
Train Hard, Train Safe!
Marc Abrams Sensei


text:
Three years ago David Lamb sent me these scans of what turned out to be the first, and as yet only, daguerreotype portrait from a Derby photographer that I have seen. It also happens to be one of the nicest early portraits of a couple that I've come across. The manner in which the daguerreotypist has seated and captured his subjects not just touching, but with their shoulders overlapping, the subtle tinting with which he has embellished the delicate surface of the copper plate, and despite their direct gaze into the cameras lens, give a warmth and intimacy that you don't often see in early portraits. To see what I mean, head over to the Library of Congress's large collection of daguerreotypes: of the 767 displayed online, only about twenty feature couples, including family groups, and I could only find one or two which even approach the feeling of familiarity of David's family portrait.
That the photographic medium is a thin copper sheet (measuring 65 x 80 mm or 2½" x 3¼" which is a 1/6th-plate) becomes evident when one turns it over, also revealing what are presumably fingerprints, possibly of the person who prepared and processed the photographic plate.
The copper photographic plate is housed behind a brass matte or finisher and a sheet of glass, all within a wooden case which has a patterned embossed leatherette-style finish. The presence of a catch on the right hand side indicates that, in spite of it not appearing to be damaged, only half of the case survives. The cover would have been of similar shape, probably lined internally with silk or velvet, and possibly with a maker's mark.
The main reason that the images have been laguishing in my email inbox for so long is that I was really in need of some extra clues to help me proceed with its evaluation. My knowledge of clothing styles, particularly in the 1840s and 1850s, when the daguerreotype was at its most popular in the United Kingdom, is meagre. From what I can tell, the narrow lapels on the man's coat, together with her lace collar, neck brooch and wide sleeves, suggest that it was taken in the 1840s rather than the 1850s, but I can't be any more precise than that. If any readers can tell me more about the clothing, I'd be most grateful.
There is a mark stamped into the front of the plate, in the top right hand corner: "NP: 40" appears from the list of daguerreotype plate marks on the Historic Camera web site, to refer to a French form operating "c.1840," but I've been able to find out nothing further about the company, how long it was operating, etc. Many of the English daguerreotypists imported their plates from France, so this does not preclude the plate from having been exposed in England. I understand that the number "40" referred to the purity of the plate, i.e. 1 part silver to 40 parts copper.
Timeline of Early Derby Photographers 1843-1863
(click image for a more detailed version)
© 2011 Brett Payne
As described in David Simkin's piece on early Derby photographers on my web site, and shown in the diagrammatic timeline (above), initial attempts by John Johnson and Thomas Roberts to operate daguerreotype studios in Derby between July 1843 and September 1845 were hampered by Richard Beard's financially restrictive and rigidly enforced patent agreements. No records of any further daguerreotypes taken in Derby have been found, until Marcus Guttenberg paid a brief visit in September 1852.
The expiry of Beard's country-wide patent in August 1853, and the almost coincident invention of the collodion positive process by Frederick Scott Archer, resulted in an explosion in photographer numbers in Derby from 1854 onwards. From a total of two practitioners at the end of that year, the number had ballooned to nine by the end of the decade, but there is no indication that any of them used the daguerreotype process. From advertisements in newspapers and trade directories of the time, the evidence points rather to calotypes, albumen prints and collodion positives being the media of choice in the 1850s and, after the popularisation of cartes de visite in the early 1860s, a rapid conversion to that format by about 1863.
However, it would be dangerous to assume from this data that Derby residents were unable to have their portraits captured by daguerreotype between late 1845 and mid-1852. As shown by an 1843 advertisement in The Derby Mercury, the successive occupants of the Bromley House portrait studio in nearby Nottingham, which operated almost continuously from late 1841 through the 1840s and 1850s, were not slow to look for potential customers in neighbouring towns. Nottingham was only a short train trip, or coach ride, away.
It's always important to record and investigate the provenance of a photograph. David wrote:
This photo was in a box that my father shoved at me, to see if I was interested. Since most of the photos were of my mother's family - and since this couple bears no resemblance to any of the photos of have for my father's (Scottish) side - it would seem most likely that this couple are connected to my mother. Many of the photos were of the Holmes family, so I suspect this one is too.
Ancestors of Reuben Holmes (1855-1929) & Ellen Alton (1856-1937)
Click image for a readable version
David has written about his Holmes family from Derby on his web page, from which - together with a little research of my own - I was able to extract sufficent details to draw up a chart showing the first two generations of ancestors of Reuben Holmes (1855-1929) and his wife Ellen Alton (1856-1937). I should point out that my deductions differ slightly from David's, in that I have a different set of maternal grandparents for Reuben.
There are seven different couples who could conceivably be the subjects of the portrait, as follows:
(A) John HOLMES (1826-1895) + Elizabeth HAWORTH (1829-1890)
(B) William ALTON (1826-1897) + Grace SHAW (1816-1897)
(C) Grace SHAW (1816-1897) + George GREAVES (d.1849)
(D) William HOLMES (c1807-1885) + Sarah TWIGG (1803-1856)
(E) James HAWORTH (d. bef 1841) + Mary SLATER (c1788-1841)
(F) Thomas ALTON (1790-1872) + Hannah TIMPERLEY (c1791-1875)
(G) John SHAW (1773-c1850s) + Sarah (c1771-c1850s)
The couple look to me to be in their late 30s or early to mid-40s. If one assumes the broadest possible date for the daguerreotype, i.e. that it was taken some time in the 1840s or 1850s, then the parents of both Reuben and Ellen (A & B) can be ruled out as being too young. Ellen's mother and her first husband (C) could have visited a studio prior to 1849, but she would have been in her late 20s or early 30s, again too young. Both of Reuben's maternal grandparents (E) died before the photographic studios were first established. Ellen's paternal grandparents (F), although still alive till the 1870s, would already have been in their 50s by the time daguerreotypes were available. Her maternal grandparents (G), who died in the 1850s, would have been even older.
The only candidates remaining are Reuben's paternal grandparents William HOLMES and Sarah TWIGG. Born in 1803, she was slightly older than her husband, and would have been in her early 40s when John Johnson and Thomas Roberts operated Derby's first photographic studio in Victoria Street. William Holmes was a coachman for much of his life, settling in Derby in the late 1830s. The fact that he is also described as a gardener in some census records suggests to me that he may have worked for a member of the landed gentry, rather than on a coach which ferried paying passengers between towns. It is quite conceivable that his employer paid for this portrait, as even a 1/6th-plate daguerreotype in the 1840s was an expensive item. Thomas Roberts advertises his "small size, two sitters on same plate" with "case, glass and mat inclusive" for £1 6s. in 1844. Using average earnings, the following estimator gives an equivalent value of over £1000 today. Looking at it from slightly different point of view, a coachman might expect to earn between 1 and 2 pounds a week in the 1840s.
However, as I've pointed out previously, they could alternatively have visited a studio further afield, perhaps in Nottingham. It is also woth reiterating that David has not completely ruled out the portrait being from another branch of his family, just suggested that it is unlikely. The possibilities are of course endless, the probabilities much less so.
Alan Burnett's prompt for this week's Sepia Saturday, for which this article is a submission, features an aged couple holding hands, photographed in Sweden in 1932. I hunted through my own collection for a similar shot that I felt would be appropriate, but the only image I could find was an ambrotype that I presented in a previous article (here). Searching further afield yielded similarly few early images of couples holding hands, which I suppose is understandable considering it was not generally considered an appropriate pose amongst most Victorian photographers. Would Mr and Mrs Samuelsson, of Stigåsa, Småland, Sweden have been bold enough to hold hands (and what enormous hands they are!) when they visited the photographer's studio at the time of their presumed wedding around 1890-ish, or did old age bring with it a good deal more daring?
Head off to Sepia Saturday now for a browse, and see how many more daring couples you can find.
Coe, Brian (1976) The Birth of Photography: The story of the formative years, 1800-1900, London: Spring Books, 144p, ISBN 0600562964.
Heathcote, Bernard V. & Heathcote, Pauline F. (2001) Pioneers of Photography in Nottinghamshire 1841-1910, Nottinghamshire County Council, 62p, ISBN 0902751387.
Payne, Brett (2008) Thomas Roberts (1804-1885), one of Derby's first photographers, Photo-Sleuth, 18 May 2008.
Simkin, David (2004) The First Derby Daguerreotypists, 1842-1844, on Derbyshire Photographers & Photographic Studios.
Victorian Society, from Census Helper: Victorian Life.


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Greenhouse emissions from energy-use in Australia's eastern states rose in 2008, according to a Greenhouse Indicator Report released by The Climate Group today. Across Victoria, NSW and Queensland annual emissions were 3.6 million tonnes higher in 2008 than in 2007. This is a rise of 1.3 per cent for the year.
The increase was not uniform across all states. Emissions in Victoria and Queensland rose in 2008, up 2.2 and 2.0 million tonnes respectively, while in NSW emissions fell by 0.5 million tonnes.
The Climate Group's Greenhouse Indicator tracks the main sources of greenhouse emissions (those produced by coal, natural gas and petroleum) in Victoria, New South Wales and Queensland on a weekly basis.
Compared with 2000 levels, emissions from energy-use were significantly higher across all states, collectively up 19 per cent. In 2008 the NSW Indicator was 25 per cent higher than equivalent 2000 emission, the Victorian Indicator was 6 per cent higher and the Queensland Indicator was 34 per cent higher.
The increase above equivalent 1990 levels is even more substantial. In Queensland it has risen 116 per cent, NSW it is up 30 per cent and in Victoria the rise has been 32 per cent.
Rupert Posner, Australia Director of The Climate Group said: "Most of the increase in emissions in 2008 was from coal-fired generators in Queensland and Victoria, which both produced an extra 1.5 million tonnes each. This was 3.6 per cent more emissions from coal than in 2007 in Queensland and a 2.4 per cent increase in Victoria. In NSW, emissions from coal-fired electricity rose by 0.7 per cent or nearly half a million tonnes."
Across the three states the total electricity generated in 2008 was 1.3 per cent higher than 2007. However, the resulting emissions from electricity increased more substantially, (up 2 per cent) as more electricity was produced from coal-fired generators and less from gas and renewable sources than in 2007.
"The Indicator clearly demonstrates that our reliance on coal for electricity is our biggest problem when it comes to cutting our greenhouse gas emissions. We need to change this pretty quickly if we want to cut greenhouse emissions," said Posner.
Posner said the results should be a call to action for everyone: "The Greenhouse Indicator's 2008 results clearly show we all need to start taking action now if we want to reduce our greenhouse pollution. The window of opportunity open to us to prevent dangerous climate change is becoming smaller but there are lots of things that people can do immediately to start making a difference. Those who want to do something can visit Together.com and find out easy ways they can help fight climate change."


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A Viewer Preset is a collection of settings that determine how users view rich-media assets on their computer screens and mobile devices. If you are an administrator, you can create Viewer Presets. Settings are available for an array of viewer configuration options. For example, you can change the viewer display size or zoom behavior.
For instructions on creating and customizing your own HTML5 viewer presets, see the Adobe Scene7 HTML5 Viewer SDK available as a download from Adobe Developer Connection.
See also the Adobe Scene7 Viewers Reference Guide.
This section describes how to create, edit, and manage viewer presets. You can apply a viewer preset to an asset anytime you preview it. See Applying Viewer Presets.
Be aware that editing any predefined, out-of-the-box viewer presets is not a supported scenario. If you attempt to edit an out-of-the-box viewer preset, you are prompted to save the viewer preset using a new name.
All out-of-the-box viewers support keyboard accessibility.
See also Keyboard accessiblity and navigation.
You can add, edit, delete, publish, unpublish, and preview viewer presets in AEM by tapping Tools (hammer icon) > Assets > Viewer Presets.
By default, the system shows 15 viewer presets when you select Viewers in an asset's detail view. You can increase this limit. See Increasing the number of viewer presets that display.
Different web pages have different needs. For example, sometimes you want a web page that provides a link that opens the HTML5 Viewer in a separate browser window. In other cases, it may be necessary to embed the HTML5 Viewer directly on the hosting page. In the latter case, the web page may have a static layout. Or, it may be "responsive" and display differently on different devices or for different browser window sizes. To accommodate these needs, all the pre-defined, out-of-the-box HTML5 Viewers that come with Dynamic Media support both static web pages and responsive designed web pages.
See Responsive Static Image library in the Scene7 Image Serving API Help for more information on how to embed responsive viewers onto your web pages.
Please note that you must publish all out-of-the-box viewers before you first use them.
See Publishing Viewer Presets.
All out-of-the-box Viewer Presets that come with Dynamic Media are fully compatible with the following systems:
- Desktops
- Apple iPhone
- Apple iPad
- Android Smartphone
- Android Tablet
- For video, additional support for MP4 playback is provided for Blackberry and Windows Phone.
Administrators can add and customize the following rich media types when creating new viewer presets.
|Carousel Set
Hotspots, or image maps, or both are added to a series of two or more images. A customer can pan the images left or right and then click a hotspot on an image for additional details or for purchasing directly from a website's category, home, or landing pages.
|Flyout Zoom
Displays a second image of the zoomed area next to the original image. There are no controls to use - users move the selection over the area they want to view.
When determining the complete bandwidth usage for this viewer, consider that both the main image and the flyout image are served in the viewer. The main image size (Stage Width and Height) and the Zoom Factor determine the flyout image size. To keep the flyout file size from becoming too large, balance these two values: if you have a large main image size, lower the Zoom Factor value. (The Flyout Width and Flyout Height determine the size of the flyout window, but not the size of the flyout image that is served into the viewer.)
For example, if your main image size is 350 by 350 pixels, with a Zoom Factor of 3, the resulting flyout image is 1050 by 1050 pixels. If your main image size is 300 by 300 pixels, with a Zoom Factor of 4, the flyout image is 1200 by 1200 pixels. Depending on the JPEG quality setting (recommended settings are between 80-90), you can decrease the file size significantly. Recommended zoom factors are 2.5 to 4, depending on the size of your main image.
|Inline Zoom
|Displays an image of the zoomed area within the original viewer. There are no controls to use. That is, users move the selection over the area they want to view.
|Image Set
|In the Image Set viewer, users can see different views or color variations of an item by clicking a thumbnail image. This viewer also offers zooming tools for examining images closely.
|Interactive Image
|Hotspots are added to portions of an image that a customer can then click for additional details or for purchasing directly from a website's category, home, or landing pages.
|Interactive Video
|Thumbnails are added to timeline segments in a video that a customer can then click for additional details or for purchasing directly from a website's category, home, or landing pages.
|Mixed Media
|Displays different types of media in one viewer. You can include spin sets, images, and videos.
|Panoramic Image
The Panoramic Image and PanoramicVR viewers render spherical panoramic images to immerse users in a 360° viewing experience of a room, property, location, or landscape.
For an uploaded image to qualify as a spherical panorama, it must have either one or both of the following:
Both the aspect ratio and keyword criteria apply to panoramic assets for the asset details page and the "Panoramic Media" WCM component.
|Spin Set
|Provides multiple views of an image so users can turn the object to examine the different sides and angles.
Plays video using adaptive bitrate streaming, which automatically performs device and bandwidth detection to serve the right quality video in the right format.
|Vertical Zoom
The Vertical Zoom viewer lets you maximize a product imagery viewing experience to give your users the best representation of a product. The vertical location of swatches does the following:
|Lets users zoom into the area by clicking it. Users can click controls to zoom in, zoom out, and reset the image to its default size.
The following table identifies all pre-defined, out-of-box Viewer Presets that come with Dynamic Media.
See also Scene7 Viewers Reference Library Examples.
For information about supported web browser and operating system versions for Viewers, you can review the Viewers Release Notes.
All out-of-the-box viewer presets in Dynamic Media come already activated (on), but you must publish them.
See Publishing Viewer Presets.
Any new viewer presets that you create and add must be both activated and published.
See Activating or Deactivating Viewer Presets and Publishing Viewer Presets.
|Viewer preset title
|CSS file name
|Image Set
|Image Set
(Includes support for closed captioning)
(Includes support for closed captioning and social media)
The following table identifies the mobile viewer gestures that are supported on iOS, Android 2.x, and Android 3.x devices.
|Flyout Zoom
Shows flyout window
Shows or hides the user interface
Shows or hides the user interface
Does not apply
Zooms in or resets
Zooms in or resets
Pinch open
Does not apply
Zooms in (iOS and Android 3x only)
Zooms in (iOS and Android 3x only)
Pinch close
Does not apply
Zooms out (iOS and Android 3x only)
Zooms out (iOS and Android 3x only)
Scrolls swatch bar
Scrolls images
Scrolls swatch bar
Scrolls images
By default, AEM shows 15 viewer presets when viewing an assets from Detail View > Viewers. You can increase the limit of viewers that display.
To increase the number of viewer presets displayed:
Creating viewer presets lets you apply various settings to view and interact with assets. However, you do not need to create new viewer presets. If you prefer, you can use the default, out-of-the-box viewer presets that already come with AEM Assets.
If you choose to create a new viewer preset, after you save it, the viewer's state is automatically activated (set to On) in the Viewer Presets page. This state means that it is visible in the Dynamic Media component and the Interactive Media component and whenever you preview an image or video.
Some viewer presets have exclusive settings that can affect the use and overall behavior of the viewer. Depending on the viewer preset you are creating, you may want to be aware of these special considerations.
See Special considerations for creating an Interactive Video Viewer preset.
See Special considerations for creating a Carousel Banner Viewer preset.
On the Rich Media Type drop-down menu, select the type of viewer preset you want to create, then in the upper-right corner of the page, tap Create.
Do one of the following:
- In the Selected Type pull-down menu, select a component whose visual design you want to customize. Alternatively, you can tap or click any visual element in the viewer to select it for configuration.
The visual editor lets you see what effect a certain property has on a style. Just set or adjust any property to instantly see what effect it has on the viewer using the sample to the left of the editor.
The CSS styling properties for each type of viewer preset are described in the "Customizing HTML5..." section of each HTML5 viewer in the Viewers Reference Guide. For example, if you are creating a viewer preset of the type Mixed_Media, see Customizing HTML5 Mixed Media Viewer for a list and description of each property.
- If you have defined style settings in a separate CSS file, you can upload the CSS file to AEM Assets. Tap Import CSS below the Selected Type pull-down menu (you may need to scroll the visual editor up to see it) to find the uploaded CSS file and associate it with the viewer preset.
When you import a CSS file, the visual editor checks to see if the CSS uses the correct viewer markers. For example, if you are creating a Zoom viewer, all the CSS rules you import must be defined using its viewer class name .s7mixedmediaviewer defined on a parent viewer element.
You can import arbitrary, handmade CSS as long as it properly defines the viewer markers described in the Viewers Reference Guide. It is possible, however, that the visual editor may not understand some CSS values. In such cases, the visual editor attempts to override the errors so that the CSS can still work.
If you prefer to edit the CSS directly in its raw form, tap Show/Hide CSS below the Selected Type pull-down menu (you may need to scroll the visual editor up to see it).
Like the visual editor, when you make a change to a property directly in the CSS, you can instantly see what effect it has on the viewer sample. And, that same property is automatically updated at the same time in the visual editor. As such, you can use the raw CSS editor, or the visual editor, or use both interchangeably.
For button artwork, choose the 2x image and upload high resolution art work. When working with interactive images and shoppable banners, you can also select from a variety of out-of-the-box hotspot buttons.
- In the Selected Type pull-down menu, select a component whose visual design you want to customize. Alternatively, you can tap or click any visual element in the viewer to select it for configuration.
From the Selected Type pull-down menu, select a component whose behaviors you want to change.
Many components in the visual editor have a detailed description associated with it. These descriptions appear within blue boxes when you expand a component to reveal its associated parameters.
Some Viewer types have components that let you specify Image Serving commands in an IS Command text field. For a list of commands you can use, see the Image Serving API Reference.
If you are using a touch device, such as a phone or tablet...
After you type a value in the text field, tap elsewhere in the user interface to submit the change and close the virtual keyboard. If you tap Enter, no action occurs.
Publish your new viewer preset. You must publish the preset before you can use it on your website.
About Display Modes for image thumbnails in the panel
When you create or edit an Interactive Video viewer preset, you have the choice of which Display Mode setting to use when you select InteractiveSwatches from the Selected Component pull-down menu under the Behavior tab. The display mode you choose affects how and when thumbnails appear while the video is playing. You can choose either a segment display mode (default) or a continuous display mode.
|Display Mode
Segment is the default display mode for the out-of-box Interactive Video Viewer presets Shoppable_Video_light and Shoppable_Video_dark and any Interactive Video Viewer presets that you create yourself.
In this mode, when there are fewer thumbnails assigned to a video segment than the number of visible spots in the display panel, thumbnails from the next or previous sub-segments are not pulled in to fill any empty spots in the panel. That is, it preserves the display of swatches that were assigned to the particular video segment.
In continuous display mode, if the number of thumbnails in a segment is less than the number that are visible in the panel, the viewer automatically includes the display of thumbnails from the next segment, or the previous segment, in cases where the last thumbnail is displayed.
The video in this topic is an example of the continuous display mode.
About Auto Scrolling Behavior in the Interactive Video Viewer
The auto scroll behavior of thumbnails in the Interactive Video viewer functions independently of the display mode that you chose.
When you create or edit an interactive video viewer preset, you access Auto Scroll from the Behavior tab. In the Behavior tab, from the Selected Components drop-down menu, tap InteractiveSwatches. The Auto Scroll check box is listed below the IS Command text field.
If you disable Auto Scroll (clear the check box) in the viewer preset, during video playback by the user, the panel only displays the first thumbnail image for the entire length of the video. However, a user can manually scroll through the thumbnails using the up and down arrow icons, if desired.
When you enable (select) Auto Scroll in the viewer preset, during video playback, thumbnail images assigned to a video segment scroll into view at the start of a segment. There are instances, however, where certain thumbnails within a segment display twice as long as other thumbnails before or after it. This behavior occurs because the number of thumbnails in a segment is greater than the number that are visible in the panel, and are not evenly divisible.
To illustrate, suppose you have one 30 second video segment. And, there are a total of nine thumbnails to display over the 30 seconds. Your browser is sized in such a way that there are four visible thumbnail positions in the display panel. The 30 second video time segment is divided into three sub-segments. The following table shows the breakdown of which thumbnails are displayed for a given time sub-segment:
|Video sub-segment
|Sub-segment time in seconds
|Thumbnails that are visible in the panel
|1, 2, 3, 4
|4, 5, 6, 7
|6, 7, 8, 9
Video sub-segment 3 does not extend beyond the thumbnails that are assigned to it. Notice also that thumbnails 4, 6, and 7 are visible in the panel twice as long as the other thumbnails.
The logic that the viewer uses for how many thumbnails are displayed in the panel based on the number of available positions is as follows:
- Number of sub-segments = round up to next sub-segment (number of thumbnails / number of visible slots in the thumbnail panel, based on browser window size).
Using the example in the table above, 9 thumbnails / 4 slots = 2.25; the viewer logic rounds it up to 3 sub-segments.
- Number of thumbnails = round up to next thumbnail (number of thumbnails / number of video sub-segments).
Using the example in the table above, 9 thumbnails / 3 video sub-segments = 3 thumbnails.
- Duration of sub-segment = total video duration / number of video sub-segments.
Using the example in the table above, 30 seconds / 3 video sub-segments = 10 second display of each video sub-segment.
When creating Carousel Banner viewer presets, changing the style of hotspots can be accessed as follows:
|Hotspot Icon
|Change the icon used for hotspot
|To change the hotspot icon image, in the Appearance tab, in Selected Component, click or tap ImageMapEffect. Under Icon, select Background and in the Image field navigate to the background image you want.
The Viewer Presets that are available in the user interface depends on which one are active. By default, a viewer preset is "On" after you create it. You may want to deactivate viewer presets if the list becomes too crowded or you do not want a viewer preset made available to use.
Activating (or turning "On") the state of a viewer preset means that it is visible in the Dynamic Media component, the Interactive Media component, and whenever you view an asset.
However, to deliver an asset with a viewer preset, the viewer preset must be published as well. All viewer presets must be activated and published to obtain URL or embed code for an asset. All out-of-the-box viewer presets are auto-activated and auto-published. Custom viewer presets that you create are auto-activated, but must be published.
See Activating or Deactivating Viewer Presets.
See also Previewing Assets.
Be aware that editing any predefined, out-of-the-box viewer presets is not a supported scenario. If you edit an out-of-the-box viewer preset, you are prompted to save it with a new name.
If you have already published both the asset and the selected viewer, the URL and Embed buttons appear after you select a viewer preset.
To apply a Viewer Preset to an asset:
Select a viewer preset from the left pane to apply it to the asset.
You can copy the URL to share with other users.
To get the URLs for Viewer Presets, see Linking URLs to your Web application. See also Embedding the Video Viewer on a Web Page.
If you are using AEM as your WCM, you can add assets using the viewer presets directly on the page. See Adding Dynamic Media Assets to Pages.
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