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The many faces of 'Jekyll & Hyde'
Robert Louis Stevenson popularized the notion of a split personality through his 1886 fictional novella "Strange Case of Dr. Jekyll and Mr. Hyde." Hence the respectable Dr. Jekyll has a lascivious and murderous side in the form of Mr. Hyde.
Now if only the many guises of the much-revised Frank Wildhorn/Leslie Bricusse musical based upon that novella could be so simply explained. Or how the musical's fanatical fan base, known as "Jekkies," have latched so passionately to "Jekyll & Hyde" even though it has historically received very little love from mainstream theater critics.
"The 'Jekkies' are everywhere," said director/choreographer Jeff Calhoun, giving one reason why lead producer Nick Scandalios, the executive vice president of the Nederlander Organization, decided to tour the show so extensively before New York.
"Jekyll & Hyde" first burst onto the scene in 1990 as a concept highlights album featuring original "Les Miserables" star Colm Wilkinson and the former Mrs. Wildhorn, Linda Eder. Though set in Victorian London, Wildhorn and Bricusse wrote a contemporary pop and rock score for "Jekyll & Hyde" with songs like "This is the Moment," "No One Knows Who I Am" and "Once Upon a Dream."
That same year, "Jekyll & Hyde" was staged at Houston's Alley Theatre and again in 1995 prior to its first national tour. A more complete recording came out around 1994 (subtitled "The Gothic Musical Thriller"), and a Broadway cast recording became available after the show opened in New York in 1997.
Since then, there have been numerous foreign language recordings. But for English-speaking markets, there was a 2000 video taping of the Broadway production starring David Hasselhoff, a 2006 audio recording called "Jekyll & Hyde: RESURRECTION" and a new 2012 concept recording featuring Constantine Maroulis and Deborah Cox of the current tour.
With so many songs and scenes being added or dropped through various audio and stage versions, fanatical Jekkies are bound to be upset at certain omissions.
"There are a lot of Jekkies who are really very, very passionate and close to the show. But we love them because they let their opinions be known and without them, there would be no 'Jekyll & Hyde,'" said Cox, who adds that it's bittersweet sometimes when fans ask her why their favorites were left out. "You have to tell the story through songs, but you can't have 50 songs in the show, so it's a bit of a compromise."
Calhoun noted that he has shaved about 25 minutes off the running time and that the show's authors have used this tour to "synthesize the best of all the incarnations."
"My goal was to please the Jekkies, but also to maybe create a whole new generation of Jekkies," he said.
For Maroulis, who has built a career straddling the worlds of rock bands, "American Idol" and musical theater with critically acclaimed turns in "Rent" and "Rock of Ages," "Jekyll & Hyde" has been a great experience so far because of the style and challenging nature of the score.
"I'm very connected to the material and I think that helps," Maroulis said. "Clearly, it's one of the most challenging musical theater roles, but I love it."


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"Lovely Molly," the horrific tale of a woman either demonically possessed or tragically insane, may be the film that makes Eduardo Sanchez someone other than one of the guys responsible for 1999's "The Blair Witch Project."
Which would be fine with the Maryland-raised filmmaker, whose movie gets its local premiere tonight to cap the first day of the 14th Maryland Film Festival.
"I love being one of the guys that did 'Blair Witch,' but I'm really proud of 'Lovely Molly,'" Sanchez, 44, said about the film he shot last fall in and around Hagerstown. "Regardless of how it does in the theaters, I think it's going to get a huge following on video. There are going to be a lot of people who really love it."
Sanchez — whose last film, "Seventh Moon," was shown at the festival in 2009 — spoke over the phone this week from Austin, Texas, where's he's finishing work on another movie. That commitment will keep him from being in Baltimore for tonight's screening; actors Gretchen Lodge, who plays Molly, and Alexandra Holden, who plays her sister, Hannah, will host in his stead. Though he'll be 1,600 miles away, Sanchez made it clear his heart will be in Baltimore.
There's an awful lot of you in "Molly," since you directed, edited and co-wrote it. Is there more of you in this film than in any of your others?
"Molly" just completely killed me, emotionally. Looking back on it, I did enjoy some of it. But it's just a lot of pressure. Filmmaking is so collaborative; it's very rare that you have such a singular vision, as I had with "Molly." But this movie was just kind of a weird thing. When me and [writing partner Jamie Nash] came up with it, it was basically, "What if somebody videotaped themselves going through a possession?" I just took that idea and kinda went crazy.
I just wanted to not pull any punches, you know? I've been wanting to make kind of an "Exorcist"-type film for a long time, since I saw "The Exorcist" when I was a kid. I always imagined that it was going to be more "Exorcist" — possession, you know, priests and stuff like that. This movie was supposed to head that way. But it kinda took a different road in my head.
What is it about the horror genre that keeps you coming back?
If you had asked me in film school if I was going to be making horror films, I would have said, "No, absolutely not, I'm not going to be making horror films." Then "Blair Witch" made some money, it got me where I'm at. I wouldn't say I'm stuck, but I'm in this genre. And I think I'm getting better each film.
What is clear to me about horror is it's the most flexible genre there is. There's everything from action to psychological to bloody, violent movies. There's comedy, every kind of subgenre imaginable, in horror. And it kind of lets me play with other things that I've been messing with, lets me flex my filmmaking muscles in other ways. I really enjoy that.
Tell us a little about this next film you're working on.
It's called "Exists." It's a Bigfoot movie. I've been trying to make a Bigfoot movie since I was 16 years old, and I finally got a chance to do it. It tries to bring Bigfoot back into the scary realm … and I think we're doing it. It's coming out nice. I'm very excited about it. It's a really creepy film.
Any news on a possible "Blair Witch" sequel?
We are talking to Lionsgate, which owns "Blair Witch." All I've been able to say for the last two or three years is that we've been talking to them. Things are progressing. But at the same time, I have no idea what's going to happen with it. [Co-writer and co-director Daniel Myrick] and I … are very anxious to do another "Blair Witch" movie, but it's completely out of our hands. We just try to cooperate as best we can and hope that Lionsgate comes to us with a greenlit script soon.
How was it, shooting in Hagerstown?
It was great, man. Right now, I'm shooting near Austin, Texas. I like Austin, it's a great town. But I miss Maryland, I miss my family. It was just a great experience to be able to shoot in the area that I grew up in and come home every night to my family, even if it was just for a few hours.
It's just the Maryland vibe, man. Everybody from the film commission, the Maryland Film Festival — I just feel so at home there. I'm happy to see that things are happening there. The Maryland Film Festival gets bigger every year and better every year. I wish I could shoot all my films in Maryland.

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|Home >> Course Descriptions >> College of Arts and Sciences
|Mathematics Seminar.
|One semester hour.
A seminar presents diverse topics from pure and applied mathematics. Students are encouraged to present a series of articles, journals and portions of monograms during the class meetings. May be repeated once when topics vary. Prerequisites: Graduate standing and permission of instructor. (Formerly MATH 5190)
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The Tim Russert Department of Communication and Theatre Arts is proud to announce the spring theatre production of Tennessee Williams' "The Glass Menagerie," directed by Karen Gygli, with set and lighting designed by Keith Nagy, and starring some very talented JCU students! Performances are March 21, 22, 28, and 29 at 7:30 p.m., and March 30 at 2 p.m. All performances are in Kulas Auditorium.
The Friday night performances and Sunday closing matinee will star Luke Hearty as Tom Wingfield, Veronica Zielinski as Amanda Wingfield, Abbey Vogel as Laura Wingfield, and Joe Bellian as Jim O'Connor.
The Saturday night performances, along with a special Morning Preview performance open to area high schools, JCU faculty, and students at 10 a.m. on Thursday, March 20, will star Chris Kent as Tom Wingfield, Veronica Zielinski as Amanda Wingfield, Julia Blanchard as Laura Wingfield, and Derek Sullivan as Jim O'Connor.
Come support your friends, colleagues and students in this transcendent and beautiful American drama! Tickets are $10 at the door, $7 by making a reservation by calling 216.397.4428. For more information, call Karen Gygli at 216.397.4191 or email her at firstname.lastname@example.com.


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12:30pm - 8:30pm Monday - SundayDue to COVID-19 the chalet is only open by reservation. Staff will be responding to email at email@example.com and voicemail.
Raspberry Road Gates: Mon-Sun 10a-10p
Raspberry Summer hours June 1 to August 31, 10a-11p
Jodhpur Gate: Mon-Sun 10a-9p
Motorcross: Wed-Su 10a-8:30p
Kincaid Park is situated among 1,400 acres of rolling, forested hills and beautiful scenery…a spectacular view of Mt. Susitna across Cook Inlet; Fire Island to the Southwest; both Mt. Denali and Mt. Foraker to the North; and arguably, the best sunsets in Anchorage! Many species of wildlife roam free within the park.
Parks & Recreation offers two facilities to rent for indoor functions surrounded by spacious parks and trails, Kincaid Outdoor Center and Lidia Selkregg Chalet. Year-round activities could include meetings, parties, weddings, receptions, seminars and special events.
Over 25 major events have been held in the park, including: national level competitions for the selection of the U.S. Olympic Teams for X-C skiing and for Special Olympics; Alaska Ski for Women, the largest women-only ski race in the country; the National Masters X-C Skiing Championships; and the NCAA National X-C Skiing Championships. The 60km of interwoven trails, of which nearly 20km are lighted, play host to four seasons of biking, hiking, biathlon, triathlon, walking, running, and skiing activities and competitions. Access to the Coastal Trail is within yards of the Outdoor Center.
Ski programs for adults and children are available December to March. Contact Kincaid staff at 343-6397 for more information.
Looking for that unique place to have your company picnic or activity? Consider renting the Kincaid Outdoor Center and the adjacent grounds for picnics, parties, weddings, receptions, barbecues, meetings and sporting events. The Outdoor Center offers comfortable and spacious rooms inside; while outside you find expansive green lawns, a picnic pavilion, and breathtaking flower garden and picturesque lake side sites, to accommodate your special plans.
Through this website, or one of our facilities, you can obtain and complete a Room Rental Request form that you turn in to Kincaid or fax in. A staff member will review your request and check for availability at the location that you have requested, to be sure that space is available on the date and time that you have chosen to hold your event. Should the rental location, date, or time already be reserved by another party, a staff member can suggest some alternative dates for your consideration. We will issue a permit to you at the time of your visit to one of our facilities, or a day or two later – we will then contact you to let you know that your permit is ready to pick up. Also, we will let you know the total amount of your payment that is due at the time of your permit pickup. It's that easy!
For more information on booking you event contact Kincaid staff at 907-343-6397 or e-mail at firstname.lastname@example.com.
The Motorcross area within Kincaid Park, is open from 10am – 8:30pm Wednesday through Sunday from April 1 to November 1, based on the management agreement between Anchorage Parks & Recreation and the Anchorage Racing Lions. The motorcross area is closed to all use on Mondays and Tuesdays. Other days will be closed for special events/competitions. Access the park / motorcross area from Jodhpur Street, off of Kincaid Road. Kincaid Motorcross area will close for the season Nov 1.
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The webcam has become a bit neglected in recent years. With most notebooks and many monitors coming with inbuilt webcams, the need for one of these gadgets has reduced significantly. Nonetheless, if you require a standalone model for blogging or suchlike, here are a few of our favourite models.
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Brandywine River Museum of Art
March 19 through June 12
A stunning array of over 40 paintings from the New-York Historical Society's collection by renowned Hudson River School artists, including Thomas Cole, Asher Durand, Albert Bierstadt, Jasper Cropsey, John F. Kensett, and William T. Richards, will be on view for the first time at the Brandywine River Museum of Art from March 19 through June 12. Painted between 1818 and 1886, the works illustrate America's scenic splendor as seen through the eyes of some of the country's most important painters.
"The Hudson River School created some of the most beautiful paintings in American art. Their works forged a new vision for landscape painting and embodied the expansive and optimistic spirit of 19th- century America," noted Thomas Padon, Director of the Brandywine River Museum of Art.
In the first decade of the 19th century, the expansive landscapes of the Hudson River Valley and adjacent areas, such as the Catskills and the Adirondack Mountains, inspired an elite group of American artists known as the Hudson River School. Coming together under the influence of British émigré painter Thomas Cole (1801–1848), they shared a philosophy and appreciation for the natural landscape. Today their collective works are considered the first uniquely American art movement. In their idyllic depictions of the landscape, these artists conveyed not only the majesty of America, but an image of man living in harmonious balance with nature.
The Poetry of Nature: A Golden Age of American Landscape Painting opens with seminal works by Thomas Cole and Asher B. Durand (1796–1886). The former artist first traveled up the Hudson in 1825. His tableaux capture the wildness of the American landscape. The latter frequently worked alongside Cole and was instrumental in leading the group after Cole's untimely death in 1848. Cole's romantic interpretations of the American landscape—represented in the exhibition by two paintings, one of a tranquil sunset view on the Catskill Creek and another of a sublime mountain landscape with jagged peaks piercing the clouds—demonstrate his mastery of perspective; he is able to convey vast open spaces and create rich atmospheric effects.
Durand favored tighter views and closely observed details of nature. Paintings in the exhibition will present his vivid compositions, from majestic mountain ranges to tranquil woodland interiors and studies of trees. Durand's influential Letters on Landscape Painting (1855–1856), promoted the movement for plein air painting, calling such excursions, "hard-work-play." As president of the National Academy of Design, he advocated for the landscape paintings by his Hudson River School colleagues at that institution and facilitated the patronage and rise of the Hudson River School.
Coinciding with an increase in leisure travel, the Hudson River painters also journeyed to regions noted for their beauty outside of New York State; New Hampshire, coastal New England, and even the Brandywine Valley were among the areas featured in their works.
The exhibition has been organized by the New-York Historical Society, which features one of the most renowned collections of Hudson River School paintings. Dr. Linda S. Ferber, the director emerita of The New-York Historical Museum and a leading authority on Hudson River School artists, is the curator for this extraordinary exhibition.
Excellent review (Some images added) - please read:
..."Woodland Brook" (1859), by Cole's close associate Asher Durand, has a grand scale and immersive quality, but is actually constructed of various elements to heighten the depth and drama of the scene.
The extremely detailed depictions of bark, leaves and dappled sunlight in "June Woods (Germantown)" by W.T. Richards adhere strictly to reality and serve to put you right on the shady path.
Speaking of drawing you in, the monumental "Autumn Woods" by Albert Bierstadt has such a razor-sharp glow in its depiction of fall foliage and a leaf-strewn stream that you can almost feel the autumn breeze.
Times of day were meticulously rendered as well,
shown in the glowing sky in "Seashore (Sunset on the Coast)" by John Kensett,
and the magnificent "Morning in the Blue Ridge Mtns., Virginia" by William Sonntag.
The clouds spread out for miles in "Sunset in the Berkshire Hills" by Frederic Edwin Church...
People do actually play a large role in the foreground composition of "Hudson River Valley From Fort Putnam, West Point" by George Henry Boughton. They are shown, in their 1800s finery, as they take in the view from a footpath over the ruins of the fort from the Revolutionary War...Another fine review


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By Joel Winston, Wired UK
Deploying giant space mirrors and spraying particles from stadium-sized balloons may sound like an engineer's wild fantasy, but climate models suggest that the potential of geoengineering to offset rising atmospheric carbon dioxide may be significantly overstated.
[partner id="wireduk"]Through a variety of computer simulations used for reporting to the Intergovernmental Panel on Climate Change (IPCC), the team investigated a scenario where an increase in the world's atmospheric carbon dioxide levels was balanced by a "dimming" of the sun.
Across all four models tested, the team showed that geoengineering could lead to adverse effects on the Earth's climate, including a reduction in global rainfall. They therefore concluded that geoengineering could not be a substitute for the reduction of greenhouse gas emissions.
Read More:
6 Ways We're Already Geoengineering Earth
Geoengineering Is 'A Bad Idea Whose Time Has Come'However, in a field with divided opinion on geoengineering's potential role in addressing climate change, some doubt the significance of this conclusion. "From a policy standpoint, this doesn't provide very helpful guidance to decision-makers," said Steve Rayner of the Oxford Geoengineering Program. "No serious player in this field suggests that [geoengineering] could ever be a substitute for mitigation and adaptation."
The leader of the research, Hauke Schmidt of the Max Planck Institute, Germany, believes their experiment still contributes important details on how the Earth's systems might respond to geoengineering. "The first thing we realized was that we had to 'dim' the sun 25 percent more than expected, in order for the Earth's systems to show a response, which translates to needing more geoengineering than previously thought," says Schmidt.
A reduction in global rainfall is not necessarily an equal one. "It becomes interesting when you look into the regional responses," continues Schmidt. "If you have just a carbon dioxide increase, most models predict a global rainfall increase, but a strong decrease in the Mediterranean and subtropics. But if you try to balance this with geoengineering, these zones shift to Northern Europe, Northern Asia and North America."
There's also the question of how effective these simulations are in recreating real-world deployment of geoengineering. One particular concern is the study's assumption of a quadrupling of carbon dioxide levels. "If it ever gets to that stage, then we have probably passed the point where geoengineering can be useful anyway," says Rayner.
The researchers recognize this level is at the upper end. "But one of the simulations we're running for the next IPCC has more than a quadrupling of CO2," explains Schmidt. "That's called the 'business as usual' scenario, and it's not completely outside what's conceivable."
The team have also run simulations with smaller (and perhaps more realistic) CO2 increases and will publish results in the upcoming months. But they say the extreme CO2 increase in this first scenario helps to identify signals and understand how the system responds. "From the point of view of a climate researcher it is the most interesting scenario," continues Schmidt. "While those who are interested in geoengineering applications may find it unrealistic."
One scientist particularly interested in geoengineering applications is Matthew Watson, leader of the volcano-inspired Stratospheric Particle Injection for Climate Engineering (Spice) project. The government-funded project was investigating the potential effects of spraying solar-reflective sulphates into the stratosphere from a 20 kilometer-high, stadium-sized balloon. However, a scaled-down field test of a smaller balloon spraying water droplets was cancelled due to governance and patent issues.
Now Watson is concerned by the report's conclusions, which he says could be used to suggest that geoengineering research is a waste of time. "Only through combined modelling and field research can we generate the evidence-base for a salient answer on whether climate engineering is a good or bad idea," says Watson. "It's vitally important that scientists are given the space within which to ask and try to answer difficult questions."
To understand different components of the Earth's systems, Schmidt agrees that a few experiments are necessary. "I'm not generally against small-scale field experiments if they help us understand processes in nature," says Schmidt. "But they should obviously be benign, and we should be very careful." However, small-scale field tests are also limited, Schmidt believes, with climate simulations possibly being the only way to fully grasp the long-term and large-scale climate effects of geoengineering.
Both options may have their individual limitations, according to Watson. "That small-scale experiments are, by their nature, incomplete is often used as an argument against climate engineering, but that can also be said of models, which are, by definition, imperfect." In addition to large-scale simulations, Watson accepts the need for small, benign and well-governed field experiments in the interim.
Despite the controversy on the best course of action to take, there is agreement between all parties on the need to determine the effects of geoengineering with confidence. But this confidence may perhaps only be found by both peering through simulations to see long-term global effects, and engaging in detailed examination of field tests to assess the practical potential of specific interventions.
Watson says time is short: "Unfortunately, we don't have hundreds of years before climate change really takes hold. So researching climate engineering now is much better than undertaking that effort only when it becomes clear it is necessary."
Source: Wired.co.uk
Image: jared/Flickr


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Hello, local readers! Hot off the press is this week's edition of our weekend guide, filled with the best things to do in and around Atlanta this Thursday through Sunday ls17 youngtimer dlc kostenlos downloaden. As always, be sure to add anything we missed in the comments section. Enjoy your weekend!!
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Tru Life's Brother at Center of Shooting/Stabbing
AllHipHop Staff
New York police are alleging that a dispute between Tru Lifes brother and several other individuals may have killed a teen and left another man seriously injured.
According to investigators, early yesterday morning (June 16), five gang members ambushed two men at a Manhattan apartment complex, to retaliate against the earlier shooting of a man named Michael Slater.
The man authorities say is a suspected drug dealer was shot in the abdomen outside nightclub Pacha, and is listed in critical condition.
The gang-inspired apartment ambush resulted in the two individuals being stabbed repeatedly in the chest and face.
One man, 30 year old Jason Black, survived the assault and is listed in critical condition.
The other, an 18-year old teen whose name has not been released, died on the operating table.
While details are still being revealed police believe the shooting and fatal stabbing are the result of an ongoing feud between Jason Black and Tru Lifes brother.
The brother, whose name has also not been disclosed, was first introduced to Hip-Hop fans in 2007 courtesy of the punching incident between then rivals Tru Life and CamRon.
According to various reports, the brother joined Tru Life in confronting CamRon outside of Club Stereo.
After an escalation of words and some reports alleging the brother even threatened to shoot up the venue, Tru Life assaulted the Dip Set founder with a single punch to the face.
At press time, Tru Life could not be reached for comment.


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Rumor: Hawks to trade Josh Smith?
The Hawks have begun exploring a trade involving Josh Smith, according to sources. Smith, meanwhile, has privately told friends that the Celtics, Nets, Rockets and Magic are his preferred teams should Atlanta ultimately decide to trade him. Smith has not requested a trade.
HoopsVibe's Very Quick Call: Do the Atlanta Hawks and Josh Smith move forward together. Or, do they part ways?
The Hawks would keep Smith if it was solely about talent. The 6-9 Atlanta native is the rare player who can score, rebound, pass, and provide some national spotlight with rim-rattling jams and deft-defying rejections.
However, the Hawks' personnel decisions are influenced by money. For years, ownership has been bleeding cash because they owned the city's NHL property, the Thrashers.
Ownership may have sold the Thrashers to a group in Winnipeg, but they're still cutting costs on the basketball side. So Smith, and the remaining $37 million on his contract, is available.
Takers must have deep enough pockets to assume the remaining years on his big-ticket. And takers must also be willing to put up with Smith, who has repeatedly clashed with teammates and coaches.
Finding a taker for Smith might not be so easy for the Hawks, after all.
–Oly Sandor.
Got thoughts? Well, get at HoopsVibe News in the comment box below.


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POSTPONED - Due to inclement weather, the Elisabet Ney Museum has postponed The Polkapocalypse to a later date. The festival was scheduled for Saturday, Nov. 23 from noon to 5 p.m.
Despite the warm hearts and bright smiles that an outdoor Polka festival would create, Saturday's forecasted high of 45 with a 40% chance of rain simply was too daunting to overcome.
A new date will be announced soon, and it will be promoted widely. Keep your ears open and your toes tapping.
Elisabet Ney Museum and Texas Folklife present POLKAPOCALYPSE!
• A family friendly POLKA EXTRAVAGANZA, from noon to 5PM, Saturday November 23, 2013
• Featuring live music from Brian Marshall, Polkasonics, Los Pinkys, Mark Halata, and The Flying Balalaika Brothers!
• 304 E 44th Street
• Free admission
• Bring a blanket and picnic gear, listen to great polka music and dance!
• Polkapocalypse is produced by The Elisabet Ney Museum and Texas Folklife, and Funded in part by the Texas Commission on the Arts
• Food trucks include The Best Wurst and Jim Jim's Ice
• The First Annual Polkapocalypse Pan-Ethnic Polka festival will showcase a Texas cultural tradition in Austin – Polka music—drawing on the diverse ethnic cultures that helped build the current Texas cultural landscape. Tap your feet to Czech, Polish, Slavic, Mexican-American and Ukranian Polka beat!
• In 1892, Elisabet Ney, a German classically-trained sculptor, moved to Austin and built "Formosa," a remarkable Neoclassical and Gothic Revival studio. Two famous pieces—statues of Sam Houston and Stephen F. Austin, now in the entry hall of the Texas State Capitol—were created in this massive castle-like structure. Much of her German-era oeuvre, including portraits of great philosophers, composers, and royalty, is also housed here. A designated historic landmark, the museum is dedicated to her art and legacy, and contains the largest collection of her works in the world.
• Phone: 512-458-2255


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Sandra Saint: My Laughter story started with a telephone conversation from an ex work colleague; Hi San, Ive found a course and thought you might like to do it as well. Its called Laughter Yoga - have a look on the internet and let me know what you think. So, thats what I did and my journey began. I have to admit that I was somewhat unsure, sceptical even, when I first started to investigate Laughter Yoga but after giving it some thought I decided that it was something I could use with my work in schools as I felt it complimented both the emotional and physical health training I delivered; and what better way to start a school day than with 10 minutes of laughter reverberating around the school. Without further ado I set the wheels in motion and booked the training.
By the time I came to attend the training I was in the midst of redundancy procedures and as a result, the CLYL course was one of the hardest things Id done as well as challenging my comfort zone my head wasnt really with me so to speak! That said, I could still see the potential and worth of laughter and completed the two days.
After a very difficult and emotional 6 months of turmoil; my post was made redundant so I took the difficult challenge of becoming the owner of my own business. I believe that regularly practicing Laughter Yoga has definitely influenced my life as, along with the support of friends, it has helped me to cope through a very trying time in my life whilst improving my self-confidence; in turn helping me meet the many and varied problems Ive faced with positivity which has allowed solutions to present themselves, not magically, but with hard work, a drive and belief in my own ability. Laughter has helped chase away demons that may have hampered my journey.
Since completing the Certified Laughter Yoga Leader training I have delivered a wide range of Laughter Yoga sessions, but perhaps the sessions that are most special to me are the ones I run for Eleanor; a client with complex special needs. I was approached by her mother to run a Laughter Yoga session with her, her daughter, other family members and the personal care team supporting her daughter. I believe in the therapeutic use of laughter, but would it work with a severely disabled person with complex needs?
I needed more information; what was this young womans level of functioning; what could she do? (Not what couldnt she do). I knew her life was limited and restricted in a number of ways but the first thing I needed to know was could she laugh? Oh yes, she can laugh her mother told me, the range of emotional responses present are; happiness, sadness, anger, joy, surprise coupled with a mischievous side that is very often present! She has a love of music and singing and is part of a choir; however, she needs a greater variety of activities and stimuli to support living a fulfilling and rewarding life. So far so normal but having complex needs means that normal has a different meaning.
The idea of autonomy for this young lady is quite different; she was born without a corpus collosum, the largest of the commissures, the fibres that connect the brains two hemispheres together. She also has a rare chromosome disorder giving rise to further problems. She requires full physical care and assistance with all daily living tasks and assistance to travel anywhere; she is unable to operate an electric wheelchair and needs assistance to transfer from chair to car seat or from chair to bed. Communication is restricted as her speech and vocabulary are limited. Cognitions it would seem are difficult to assess, however her emotions are not. This young lady is able to quite clearly let you know when she is enjoying an activity or not, her facial expression and vocal pronouncements are clear in their meaning. She possesses a sense of humour and is able to share in jokes and follow conversations (especially if she is the focus of that conversation).
Could I run a session then? Of course I could try it and so a date was set; our client, her parents and personal care assistants would attend my office on Sunday and if I didnt mind could they continue to use our space to carry out their regular team meeting with an input from the Speech Therapy team involved in her care? I didnt at all, it would be my pleasure.
The group arrived and this was actually the first time that Id met my new client, Im conscious that at times people can have a sense of anxiety about meeting someone with such profound difficulties, it is outside their normal experience. But acknowledgement that an issue exists is essential and then talking about it is vital. Talking about things begins to dissolve all fears and prejudices.
I met my clients with warmth, care and as always works in England, a cup of tea! The session went really well, it was met with some scepticism from some within the room, but with full engagement from everyone. As laughter started to flow the Speech Therapists came to the office, unsure and unclear what was happening they were swept along by the laughter; engaging fully even though they really didnt understand the concept of Laughter Yoga, they clearly got the idea of laughter. As for the main focus of our Laughter Yoga session, it is unclear as to what she (our client) thought of it. It would seem that she met the session with an open curiosity. It certainly wasnt met with any distress and the activities were specifically designed to reduce the idea of laughing at and increase the idea of laughing with the other participants. The feedback after the session was positive; the surprised Speech Therapists were intrigued and wondered about the possibilities for Laughter Yoga being used with clients with a range of speech problems, as the focus on the breath and ways of breathing are used in a number of speech and language conditions.
My new clients family recognised that it takes time for these things to work and that the nature of her condition means that it takes her a lot longer to process and act on new experiences. The personal assistants, in the main enjoyed it and it must be acknowledged that on first meeting Laughter Yoga it can feel a little strange and somewhat bizarre but they all highlighted the potential benefits.
The sessions continue on a weekly basis and follow a regular pattern. Eleanor has opened up more and more. She has begun to speak, describing herself as happy. She laughs out loud in the sessions and joins in with the rhythmical clapping and the chanting of Ho Ho, Ha Ha Ha that occurs at the end of each of the exercises. There has also been an increased level of eye contact between myself and Eleanor as well as an increase in her participation with the actions associated with the Laughter Yoga exercises. Now also working 1:1 with Eleanor, I use very small progressive steps to develop her Laughter Yoga experiences. She is now able to recognise a prompt to initiate laughter and has even developed her own Laugh at Self exercise through the use of her own name .she continues to astound and amaze me.
It is somewhat difficult for me as transient player in her life to truly know what she is making of Laughter Yoga and if it is making a discernible difference in her life, for that I rely on the feedback from her parents and carers. They tell me that Laughter Yoga does indeed help, (however difficult it may be to quantify those benefits), it has become another strategy that can be used when facing difficult times and adversity and to address the absurdity of some of the situations that they find themselves in.
Her team of personal assistants regularly report that the repetitious elements of Laughter Yoga are being recalled and displayed more and more frequently within daily life outside of the specific sessions with me. The Laughter Yoga exercises themselves are being used with Eleanor more frequently in everyday life and in doing so her carers suggest that the level of agitation that Eleanor experiences when engaging in activities that she doesnt really like to do have been reduced! Laughter Yoga, by no means the only thing she and her family so has added another level of engagement with others and her laughter brings joy to more people. Most of all Eleanor whose abilities to laugh, make eye contact and participate have enriched my life and I need to say thank you to her for allowing me to continue to be part of her life.


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When Northwestern (2-1) plays at No. 24 Illinois (4-0) in the Big Ten Conference opener for both teams Saturday (11 a.m., ESPN2), Northwestern quarterback Dan Persa is expected to play for the first time this season but might protect his body more.
CHAMPAIGN -- Rewind to a first down at the Iowa 20-yard line late last season as Northwestern threatened against the Hawkeyes.
Quarterback Dan Persa got the call from the sideline after completing a 21-yard pass to Mike Trumpy.
"They brought a blitz I hadn't seen,'' Persa said. "I slid away from it, jumped and threw it.''
Vintage Persa. Make something happen, even if it's not textbook drop-back style. He completed the game-winning touchdown to Demetrius Fields with 1 minute 22 seconds left, but Persa crumpled to the ground, grabbing his right Achilles tendon.
"After I threw it, I landed, jumped up again, bouncing to see if he caught it,'' Persa said. When he landed that second time, the Achilles snapped. He said it felt like somebody kicked him in the leg.
"I looked around to see if anybody was close to me,'' Persa said. "I knew it was something bad. I couldn't feel the bottom of my leg. I couldn't move my leg.''
Northwestern won that game against Iowa but lost the final three of last season with Persa on the sidelines, including a 48-27 loss to Illinois at Wrigley Field in November. When Northwestern (2-1) plays at No. 24 Illinois (4-0) in the Big Ten Conference opener for both teams Saturday (11 a.m., ESPN2), Persa is expected to play for the first time this season but might protect his body more.
"I fully anticipate that Dan will play,'' said Northwestern coach Pat Fitzgerald. "How much and all those things are to be determined in how the week goes. He was close against Army (on Sept. 17), and we decided not to play him. That was our decision as coaches. He practiced well last week.''
Whether Persa faces an adjustment to live game speed, Fitzgerald wasn't going to overanalyze it.
"I think the guy is pretty good,'' Fitzgerald said. "I put his picture on a billboard. It's pretty cool to get that kind of guy back.''
Northwestern dubbed Persa as "Chicago's Heisman candidate'' on billboards on the Kennedy Expressway in the city at just outside ESPN studios in Connecticut. The school also sent purple dumbbells to 80 college football reporters this summer to promote Persa's work ethic in the weight room.
The billboard in Chicago changed in mid-September with Persa still on the sideline.
"I focused on coming back at the right time and not trying to rush back into it, not put myself in more danger and put my team in a compromised spot,'' Persa said. "I feel pretty good. I feel like I can play the whole game.''
Illini coach Ron Zook expected Persa to be like the Persa everyone saw last season -- throwing for 2,581 yards and 15 touchdowns with four interceptions while also running 519 yards and nine touchdowns as a first-team all-Big Ten pick by the coaches.
"We've got to assume he's going to run the same way,'' Zook said.
But Persa would play smart and protect his body more, he said, even if his injury was a freak accident.
"You're going to take a lot of hits in the pocket when you don't have the ball, so when you do have the ball, you want to get as many yards as you can and obviously get down,'' Persa said. "Especially with a fast team like Illinois, you never know where they're coming from. I will get what I can get and get down.''
Illinois ranked fifth in the country while allowing 56.5 yards rushing after four games, but none of them came against run-oriented teams. Or even balanced offenses.
"We played a bunch of teams that wanted to throw the ball,'' Illini defensive coordinator Vic Koenning said.
There's a big difference between Northwestern with Persa and without him, said Koenning.
"In 2-minute situations last year, (Persa) was very dynamic,'' Koenning said. "He kept himself alive against teams that had a lot of NFL players. He's one of the best players in the conference before he got hurt.''
John Supinie can be reached at email@example.com. Follow him on Twitter at @JohnSupinie.
A look at Northwestern
Record: 2-1
So far: Defeated Boston College 24-17, def. Eastern Illinois 42-21, lost to Army 21-14.
Coach: Pat Fitzgerald, 36-30 in 6th year at Northwestern and overall.
Players to watch: QB Dan Persa, WR Jeremy Ebert (10 catches, 162 yards, 2 TDs), LB Bryce McNaul (28 tackles, 1 INT).
Did you know? Northwestern was 2-4 in its last six games without Persa.
Quote: "He's not only mentally ready, he's chomping at the bit to play.'' -- Northwestern coach Pat Fitzgerald, on Dan Persa.


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This one day event features eight different tracks being presented by over 50 well known speakers in the Microsoft Cloud and Datacenter space.
I'll be presenting one session as part of the Operations Management Suite (OMS) track titled 'Monitoring.....the Next Generation'. In the session, attendees will learn about the latest developments and features coming in SCOM 2016 and I'll dive into the new OMS platform to show some handy use-case scenarios too.
If you're attending, bring the coffee and stroopwafels and I'll see you there!


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A human rights group has said that Nintendo, HTC and Sharp are among companies that don't do enough to ensure conflict minerals do not end up in their products.
The Enough Project, a part of the Centre for American Progress, put Nintendo at the bottom of its conflict minerals ranking in a report on sourcing minerals that are mined in war conditions amid human rights abuses.
"Nintendo has made no known effort to trace or audit its supply chain," the report stated baldly.
The Project also singled out Sharp, HTC, Nikon and Canon, saying that although they had started to look at conflict minerals, their progress was "far behind industry leaders".
The report scores firms on their efforts to figure out where the minerals and metals they use in their tech comes from and their attempts to get a conflict-free certification, as well as environmental rankings and support for legislation against conflict minerals.
Intel, Motorola, HP and Apple were all at the top of the list, having "moved forward to develop solutions despite delays in the legislative rule-making process by the US Securities and Exchange Commission - an excuse that many other companies have used to explain their lack of significant action", the Project said.
The report refers to the US 2010 Dodd-Frank financial reform law, which would require companies to disclose whether they use tantalum, tin, gold or tungsten from the Democratic Republic of Congo. The SEC is due to vote on 22 August on the guidelines needed to enforce the law.
Conflict diamonds from the DRC are a well-known commodity, but the large reserves of the minerals used in electronics that are in the country haven't had as much press.
With the new rules, firms will have to identify if there are any of conflict minerals in their products and if they are, the company will have to do a due diligence check to track them back to their origins. ®


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DSLR Video Editing for Photographers - Pt. 4
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[♪mellow guitar music♪] [DSLR video editing in Adobe Premiere Pro CS5] [Text & Titling with PSDs and Beyond - with Jason Levine] Hello, everyone. My name is Jason Levine. Welcome to Part 4 of DSLR video editing for the Pro photographer. In this section we're going to basically cover working with Photoshop files natively inside Premiere Pro to allow you to do things like Lower Thirds or add branding logos or what have you over top of your video. The key is you can do all of the work that you've always done in Photoshop, and you can bring those PSD files in natively and you can even choose which layers are visible and how you handle them inside Premiere. You can even animate them in Premiere, or you can leverage animations that you've already done in Photoshop and play those back in Premiere Pro CS5. So an incredible level of flexibility. The key is it's a workflow that you're already doing. You already know how to do this. I'm just going to show you how to bring it into the Timeline and drop it over top of your images and video that you've been building up all along. So let's go ahead and bounce over to Photoshop where I've got a Lower Third that I designed. Again, nothing terribly fancy. I've got a couple different layers here. You can see that we've got some movement going on underneath. By the way, you can see that I'm scrubbing the Timeline here in the animation timeline. If you've never used the animation timeline in Photoshop, as I mentioned in the previous episode, the great thing is it's all based around keyframing, and the keyframing works exactly the same as it does in Premiere Pro and in After Effects as well. So if you can do it here, you can do it there. You already know what to do. Now, by looking at this, the first thing that I really wanted to do is I wanted to actually fly my text in from the side and then kind of fly off the screen. There's a number of different ways that you can do this, and in a later episode I'll actually show you how you can finesse this Photoshop file in After Effects to do some really cool text animations. But for just basic fly in from the left and then fly out again, you can do all of it here, and Premiere Pro will be able to read that information and display it. So let's do that. Remember, the basic process is you just need to set that first keyframe. It'll do all the work for you. So the finished position, I want the ending position of my text to be here, and let's say right around 20 frames. That's just under a second. So if I come over to my position down here in the animation timeline, notice that familiar Stopwatch icon. If I click on that, it's going to set the keyframe for me. So I'll reposition my playback cursor and grab my text, holding down the Shift key, and just drag it off screen. And now I'm going to slide that keyframe over because we know we want it to be right at the start. Notice there's some opacity on there. Now if I hit the space bar, it's going to cache those frames and play back for me. Now you can get an idea of what that looks like. Really simple, really easy. And remember, we only had to create that first keyframe. After we moved the text layer, it generated that second keyframe at the beginning for us automatically, just as it did in Premiere Pro in the last episode. So now that we've got this, if we like the way it looks again, we can make any changes to this at any point in time that we want. I'm going to go ahead and save this. And let's go ahead and close it while we're at it as well. Let's close that. Let's bounce over to Premiere, and let's go ahead and import that file. Now remember, we can File Import or I think I've got it here in the Media Browser. There it is. Lower Third. Double click on Lower Third PSD, and you'll see that you're greeted with this very cool dialogue, which basically asks you, "How do you want to handle the import of this Photoshop file?" "There's lots of layers here. Do you want to bring everything as merged, so merging all the layers together?" If you turn on Merged Layers, this is going to allow you to first select the layers you want and then merge them together. You can bring them in as individual layers or as a sequence, which would basically allow you to animate each individual layer independently. But we've already got animation on there. I don't need to see all the individual layers, I just want the Photoshop file. So I'm going to choose Merge All. Remember, if you choose Merged, now we can turn on or off the ones we want, but it's going to bring it in as effectively what appears as a flattened Photoshop file. But it's never actually flattened. Stay tuned. You'll see why. Okay. So Merge All Layers, click OK. I've already got the layers on that I need, right? So now it's actually in the Source Monitor. Remember, we haven't brought it into the project yet. So if I click Play, you'll see that it'll start playing this back. And lo and behold, there is our Photoshop animation. Sometimes this can be a little sluggish. You can see that as you start to scrub it around it's going to cache those frames. It's going to be a lot smoother. So now again we can hit Play, wind back, there we go. Now it's real time. Okay. So if we like it, we can take this, click it, drag it down into our Project panel, there it is, and now we can decide where do we want to place this inside our sequence. So let's say we want it right at the top. I can scroll up here, take my Lower Third Photoshop animation, place it where we want it to go--maybe right about there-- wind back, and you can see it's the wrong size because it was actually designed for a 1920x1080 video. So once again I can right click Scale to Frame Size. Boom! Now it automatically fits the right frame size. Wind it back, let's play this a little bit, fades up, and there's our Photoshop file. Okay? Now, looks pretty good. The opacity is at 100 percent. I don't quite like that so much, so I can choose my Photoshop file, I can come into Effects Controls, and I can say, "Let's drop the opacity down to around 87 so that you see the background bleeding through." It just looks a little bit better. We can kind of scrub through this because this is animating so it might look a little bit different. Let's change our viewable percentage here. Let's go to 50 percent so we can really see. Yeah. I think that looks pretty good. What if we want to make a change to this? The cool thing is, even though you're looking at this and you're probably thinking, "Well, that's a flattened PSD. You basically just flattened it." "You merged it all together, right?" Well, no, because remember, Premiere Pro works natively with PSD files, so even if you bring it in as merged with all the layers merged together, if I simply right click on this PSD and choose Edit Original, it will launch Photoshop if it's not already running, it will bring us into Photoshop, and now--I can move this over here-- we can see, oh, here we are. Here's everything. Let's say I wasn't crazy about the overall color scheme on this. I think on this Layer 5 if I double click this, I think I've got some gradient overlay. And I do. So if I go ahead and uncheck this, now I'll actually see the original color that this was. Go ahead and click OK, and let's say that I just want to make that one particular change. All right. Let's close it, save the change, click back to Premiere Pro. [makes buzzing sound] The change is applied. It's that simple. So you have this incredible round-trip capability between Premiere and Photoshop, and the file is always live, even though it appears flattened. Obviously, there's a bit of a difference when you bring it in as a sequence and you have all the layers broken out onto their own video tracks. Remember, video tracks are basically just like layers in the Photoshop file, right? So they're not all necessarily tied together in a single Photoshop file, but Video Track 1, 2, 3, 4 will house different videos, different images, different text layers, different Photoshop files, whatever it is. The key is that at any point in time we can always go back to Photoshop and make changes, which means that for you as the photographer, as the designer, you can create your Lower Thirds, your text, your basic animations, your logo, watermark, branding, all of that stuff. You can build it where you feel most comfortable in Photoshop and then just integrate it brilliantly, directly, natively, without having to flatten inside Premiere Pro, which is really, really nice. Actually, I'm not so crazy about this. I kind of liked that gradient overlay, so once again I'm going to go back, Edit Original, double click on this, place that back on there, click OK, close this, save it, let it save, back over to Premiere Pro, and the change is already applied. Now, there's one more method that you can use for creating text, and you can of course use the native Premiere Pro Titler. Oftentimes I wouldn't show that to the faint at heart because it is a little bit daunting, but I want to point it out here. If you go up to File, New, Title, once again it's going to choose the attributes of your title document based on the size and attributes of your sequence, so that's already done for you. And you can give it a name, and we can just call this one "India." We'll just make a title that is going to list the names of the locales. Maybe we'll just pop up a little title every time I change destinations. So click OK on there. This window is not exactly sized appropriately for the screen resolution that I'm in, so I can shrink this down a bit. And we can wind back here. The other thing is that this is totally live, so if you want to see what this is going to look like over a series of different images, you can do that like so. So maybe this is a good one because it's a bit brighter. All right, so we'll leave that there, leave this here. Okay. And now, basically, it works pretty much like the way you'd assume. You can click on the Text tool. You can either draw a text box or you can simply click, and then once you've done that, you can choose your font. You'll see you could have a nice little preview right there. So I could do something like Century Gothic and maybe make this around 55 font size. Let's have it center justified here. And again, because we're on a white background or a light background, we probably want to add a drop shadow. I know some of you are afraid right now. That's okay. I'll try and make it as tasteful as I can. And again, we can just click here. We'll actually want it down here. That's fine. We'll move it later. We'll just call this "New Delhi, India." Okay? Now that I've typed that, I can click my Selection tool again and I can move this down. That's obviously pretty hard to see, so we probably want to-- Well, first of all, we can readjust the opacity there of the drop shadow. Hmm. That doesn't look so much better really. So we could also add in Photoshop just a little gradient or just a little sort of color bar, a little black color bar with opacity of 50 percent just so that that text pops out real nicely. But once we've done that, just to kind of show you, I can close this. You'll see that it appears as a little title document here inside the Project panel. I can click and drag that down onto my image like this, and now you can see it appears. Also, if we wanted to place it, let's say, over here, let's click and drag it over top of the motorcycle here. There it is right there. Remember, all of your standard effects and filters apply, so if I wanted to say, "Fade that up as we did before"-- let's move my interface here again--let's go ahead and cross dissolve it at the top and the tail, wind back, play, and now you'll see it fades up nicely, fades back down, motion continues. Okay? So two different ways to use titles and text in Premiere Pro CS5 for your video and images. You can create it all in Photoshop and bring it in. Even if you've got animation, remember that you can still animate the Photoshop files in Premiere Pro as well, or you can use the Premiere Pro Titler to do it-- however you feel most comfortable. The key is you've got options. You always have options in CS5. That's really what it's all about. All right, my friends. That's it for this episode. Stay tuned for the next one where we're actually going to show you how to get all of this stuff out. Now that we've finished, now that we're pretty much done, how do we export? That's Episode 5. We'll see you next time. [♪mellow guitar music♪] [Want to learn more?] [http://www.adobe.com/premiere] [http://bit.ly/TryCS5_Ev] [♪♪]
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Duration: 12 minutes and 21 seconds
Language: English
License: All rights reserved
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Views: 76
Posted by: adobetv on Oct 12, 2010
In Part 4 of this multi-part training series, Adobe Worldwide Evangelist Jason Levine discusses working with layered Photoshop (PSD) files for lower thirds, stylized text and simple animations, as well as using Premiere Pro's own Titler from within the application.
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Saturday Night Fever
Stefan aka "TheOnlyJaluo" So who am I? I know for a fact that am fun, creative, super sexy, and a very proud Luo. Born and raised in Nairobi, Kenya. I pursued college at MUBS, Kampala. I am the guy behind the sexy throbbing bass on the late night show: "The Love Zone".
I'm quite blunt and very opinionated with my views on relationships and practically everything. I stand at 6'3". (I really find it weird that people still think that I am growing taller. :)) Whether I am on "The Grill", "Thirsty Thursday", "African Express", or even "Saturday Night fever," I have the right vibe for you: From no-punches-pulled interviews to interactive mix shows, to the wackiest topics, I've got you.
And with my team's help, I've got what it takes to get you through what you're craving from radio and keep you wanting more.


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Archive for February 2011
IBM Watson: Overprovisioned "Big Iron"?
(This was written after the first, but before viewing the second, match of the Jeopardy IBM Challenge.)
I'm a fan of Jeopardy, a professional software developer, and a strong optimist about the prospects for artificial intelligence – so I'm immensely enjoying the contest between the IBM Watson system and human Jeopardy Champions Ken Jennings and Brad Rutter.
Watson's ability to answer quickly and confidently, even when clues are indirect or euphemistic, has been impressive. It's rightly hailed as one of the most impressive demonstrations yet of information retrieval and even natural-language understanding.
And yet…
When Alex Trebek walked by the 10 racks of 9 servers each, said to include 2880 computing cores and 15 terabytes (15,000 gigabytes) of high-speed RAM main-memory, I couldn't shake the feeling: this seems like too much hardware… at least if any of the software includes new breakthroughs of actual understanding. As parts of the show took on the character of an IBM infomercial, my skepticism only grew.
Let me explain.
While Jeopardy questions are challenging and wide-ranging, in highly idiomatic (even whimsical) English, this trivia game remains a very constrained domain. The clues are short; the answers just a few words, at most, and usually discrete named entities – the kinds of things that have their own titled entries in encyclopedias, dictionaries, and gazetters/almanacs of various sorts.
While the clues often have wordplay, many also have signifiers that clearly indicate exactly what kind of word/phrase completion is expected. (The strongest is perhaps the word 'this', as in "this protein" or "'Storm on the Sea of' this". But categories which promise a certain word or phrase will be in the answer, with that portion in quotes, also help brute-force search plenty.)
I strongly suspect that almost anyone with even a rudimentary understanding of language, and enough time to research clues in an offline static copy of Wikipedia, could get 90%+ of the clues right.
An offline copy of all of Wikipedia's articles, as of the last full data-dump, is about 6.5GB compressed, 30GB uncompressed – that's 1/500th Watson's RAM. Furthermore, chopping this data up for rapid access – such as creating an inverted index, and replacing named/linked entities with ordinal numbers – tends to result in even smaller representations. So with fast lookup and a modicum of understanding, one server, with 64GB of RAM, could be more than enough to contain everything a language-savvy agent would need to dominate at Jeopardy.
But what if you're not language savvy, and only have brute-force text-lookup? We can simulate the kinds of answers even a naive text-search approach against a Wikipedia snapshot might produce, by performing site-specific queries on Google.
For many of the questions Watson got right, a naive Google query of the 'en.wikipedia.org' domain, using the key words in the clue, will return as the first result the exact Wikipedia article whose title is the correct answer. For example:
DON'T WORRY ABOUT IT for $2000:
"It's just acne! You don't have this skin infection also known as Hansen's Disease"
[site:en.wikipedia.org acne skin infection hansen's disease]
1st result: LEPROSY (right answer)
CAMBRIDGE for $1600/Daily Double:
"The chapels at Pembroke & Emmanuel Colleges were designed by this architect "
[site:en.wikipedia.org chapels pembroke emmanuel colleges designed architect]
1st result: CHRISTOPER WREN (right answer)
HEDGEHOG-PODGE for $2000 :
"A recent bestseller by Muriel Barbery is called this 'of the hedgehog'"
[site:en.wikipedia.org bestseller Muriel Barbery "of the Hedgehog"]
1st result: THE ELEGANCE OF THE HEDGEHOG (right answer)
CAMBRIDGE for $2000:
"This 'Narnia' author went from teaching at Magdalen College, Oxford to teaching at Magdalene College, Cambridge"
[site:en.wikipedia.org "Narnia" author teaching Magdalen College Oxford Magdalene College Cambridge]
1st result: C.S. LEWIS (right answer)
Often, the correct answer isn't first, but other trivial heuristics can reveal the answer further down. For example, discard any title that has already appeared in the question, and thus is unlikely to be the answer. Consider:
"CHURCH" and "STATE" for $400:
"A Dana Carvey character on 'Saturday Night Live'; Isn't that special…"
[site:en.wikipedia.org dana carvey character "saturday night live" special]
Dana Carvey (struck as appearing in clue)
2nd: THE CHURCH LADY (right answer)
ETUDE, BRUTE for $2000:
"From 1911 to 1917, this Romantic Russian composed 'Etudes-Tableaux' for piano "
[site:en.wikipedia.org 1911 1917 romantic russian "etudes-tableaux" piano]
Etudes-Tableaux (struck as appearing in clue)
2nd: SERGEI RACHMANINOFF (right answer)
Even when this technique fails, it sometimes fails just like Watson or real contestants:
THE ART OF THE STEAL for $1600:
"In May 2010 5 paintings worth $125 million by Braque, Matisse & 3 others left Paris' Museum of this art period"
[site:en.wikipedia.org may 2010 paintings 125 million braque matisse paris museum art period]
1st: Picasso (Watson's wrong, nonsensical answer)
…iteratively stripping some words trying to find candidates matching 'this art period'…
[site:en.wikipedia.org paintings braque matisse paris museum art period]
Braque (struck as appearing in clue)
2nd: Cubism (Ken Jennings' wrong answer)
Matisse (struck as appearing in clue)
4th: MODERN ART (right answer; Watson's 3rd option)
And even where this this technique doesn't yield the answer in a top page title, the answer is usually close at hand.
HEDGEHOG-PODGE for $400:
"Some hedgehogs enter periods of torpor; the Western European species spends the winter in this dormant condition"
[site:en.wikipedia.org hedgehogs periods of torpor western european species winter dormant condition]
1st: Short-beaked Echidna (HIBERNATION, the correct answer, appears prominently in the snippet a few words from 'torpor')
2nd: Bat (HIBERNATION appears alongside 'winter' in snippet)
There are many, many other possible heuristics for knowing when to accept or reject the naive top-results, and when patterns of words in the source material could yield other answers not in the title, or create confidence in answers stitched together from elsewhere. For example, consider the clue:
HEDGEHOG-PODGE for $1600:
"Hedgehogs are covered with quills or spines, which are hollow hairs made stiff by this protein"
The phrase 'this protein' strongly indicates the answer is a protein; Wikipedia has a 'list of proteins'. Only one protein on that list also appears on each of the 'hedgehog' and 'Spines (zoology)' pages: KERATIN, the correct answer.
With a full, inverse-indexed, cross-linked, de-duplicated version of Wikipedia all in RAM, even a single server, with a few cores, can run hundreds of iteratively-refined probe queries, and scan the full-text of articles for sentences that correlate with the clue, in the seconds it takes Trebek to read the clue.
That makes me think that if you gave a leaner, younger, hungrier team millions of dollars and years to mine the entire history of Jeopardy answers-and-questions for workable heuristics, they could match Watson's performance with a tiny fraction of Watson's hardware.
Unfortunately, Jeopardy didn't open this as a general challenge to all, like the DARPA Grand Challenges, with a large prize to motivate creative entries. Jeopardy seems to have simply followed IBM's lead – and perhaps even received promotional payments from IBM for doing so. (I can't find a definitive statement either way.)
IBM is known, and rightly admired, for many things… but hardware thrift isn't one of them. And the boost to IBM's sales from this whole exercise wouldn't be nearly as large if Watson were a single machine, able to be positioned on the podium next to its human challengers, barely larger than the monitor displaying Final Jeopardy answers. That wouldn't move roomfuls of computers!
Nice job, Jeopardy and IBM, but next time: open it to stingier teams!


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We all know by now that quadcopters can do impressive things, such as be made out of Lego, be controlled with your mind, or be impervious to crashing, but did you know that they can be quite the entertainer, performing juggling stunts in midair? Some of the more impressive feats quadcopters can perform are juggling balls, and balancing an inverted pendulum. Now, Dario Brescianini, a student at ETH Zurich's Institute for Dynamic Systems and Control, and some of his colleagues have developed an algorithm that allows for the adorable little fliers to juggle an inverted pendulum.
An inverted pendulum, as the name suggests, is a pole reminiscent of a standard pendulum that you might find on a clock, but the center of mass is above the pivot point. This makes the inverted pendulum difficult to balance, and thus, even more difficult for a not-entirely-steady, flying robot to accurately throw toward another not-entirely-steady flying robot. In order to achieve that goal, Brescianini turned to a 2D mathematical model.
After the model detailed acceptable behavior for the quadcopters, the team tested it out in the real world, allowing two quadcopters to play catch with an inverted pendulum. Considering the quadcopters would catch and balance the pendulum on one end of the stick, rather than on the curved sides, the team needed to protect the quadcopter from potentially being impaled. So, the ends of the pendulum were wrapped in a balloon, which is filled with flour.
Though the 2D model paved the way for the quadcopter balancing act, it wasn't perfect, as catching the pendulum proved difficult. To correct this issue, the team had to include a learning algorithm so the system could update its catching methods as it found out if they worked or not.
Brescianini and company have taught us an important life lesson today: If two individual tasks are difficult to perform on their own, combining them clearly makes performing them a lot easier.


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Help for Syria From Some Surprising Sources
(via WSJ) U.S. officials have uncovered an effort by Iran to help Syria mask its oil exports and evade an American and European embargo.
U.S. officials and shipping executives said Iran, through a Dubai-based company, Sea Enterprises Ltd., chartered a Greek-owned tanker, the Mire, to ship more than 91,000 metric tons of crude. The Mire loaded the oil from Nov. 19 to 21 at the Syrian port of Baniyas with the intention of delivering it to Iran's Ras Bahregan oil terminal, the officials and executives said.
The Treasury Department was able to get the Mire's insurance and registration pulled after telling company executives that the ship was carrying a product sanctioned by the U.S. and EU.
The Mire, like many international oil tankers, uses American insurance, is registered in Liberia and flies under a Liberian flag. The Liberian International Ship and Corporate Registry ordered the Mire's owners to desist from delivering the oil to Iran, said Scott Bergeron, CEO of the Liberian company. But the owners ignored the order and discharged the shipment in Iran before eventually returning to the United Arab Emirates.
Liberia issued a notice of violation against the Mire's owner, Eurotankers Inc. of Greece, in accordance with Liberian civil-penalty procedures. The company declined to comment.
The bloodshed continues, the Arab League observers are coming to the end of their tour – under the constant barrage of complaints that their observations are not also offering any form of protection. There are reports that the Arab League might consider an extension of the current mission for a further four weeks.[youtube http://www.youtube.com/watch?v=T8RZ6XNzpYI]
Debates on Syria's future continue unabated, but the talk about sending Arab League troops – though they have no operational force, and would need considerably more than the estimated 3,500 troops organized under Syria [oh, the irony] back in 1948 – has quietened down a little. Al Jazeera Arabic's poll that I posted a link to has been removed. Bassam Haddad writing in the opinion section of Al Jazeera English describes how any external military intervention would destabilise Syria, due to both intended and unintended consequences. Last word on this post surely belongs to former Syria political prisoner, released in November 2011 half way through a 12-year sentence under an al-Assad amnesty [more irony] – the dissident doctor Kamal al-Labwani:
"Time is blood now, not money. It means more victims, torture and destruction of our country."
Related articles
- Syrian Expatriates Organization outraged over the reported news that Russian shipment Loaded with ammunition reached Syrian port on Friday 2012-01-13 (prweb.com)
- Syrian tribal leader: I praised Assad at gunpoint (msnbc.msn.com)
- At Least 30 Reported Killed in New Syrian Violence – Voice of America (voanews.com)
- UN to Train Arab League's Monitors in Syria to Do Job Better – BusinessWeek (businessweek.com)
- Syria: Arab League split over sending troops – live updates – The Guardian (guardian.co.uk)


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NEXT EDITION of the show is on
SUNDAY 29th of APRIL, 19:00-20:30cest
interviews with
-Mario DARKSHIRE, presentation of his new FREE album SERENITY
-OuDi of PSYCULTURE FESTIVAL, presenting the FREE compilation PSYCULTURE VOL. 3
- EMMANUHELL NABI + SWAROOP of SAMANA REC., presenting the new DO-CD release FREAKY SHAMANIC RITUALS
(exclusively avaiblable on nabi-records.com)
yo, i hope you enjoyed the show. if you have noticed, it was produced under very special conditions, but it was done
any feedback wanted.
feel free to become a member of the
this funny name means nothing else, that we are just building a kind of triplag ambassadors team to get more interesting infos of our scene worldwide, cool music we might have never known before + your cosmic input
get in touch !
Andre and Vic
[0412] Alpha Source Show: DarkShire - OuDi - Nabi and Samana
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The Hubble Space Telescope has a new starboard solar array after a seven hour-one minute long spacewalk by Columbia astronauts John Grunsfeld and Rick Linnehan.
During the space walk, which began at 12:37 a.m. CST, Grunsfeld and Linnehan removed the old starboard solar array from Hubble and installed in its place a new third-generation solar array and its associated Diode Box Assembly. The old solar array was stored in Columbia's payload bay where it will be returned to Earth to allow engineers to determine how it fared during its nine years in space. The new arrays are two-thirds the size of the current arrays but will provide 20 percent more power to the telescope. Because of their smaller size, the new arrays also will impart less atmospheric drag, slowing the rate at which Hubble's orbit decays.
Throughout the space walk, Mission Specialist Nancy Currie used the shuttle's robotic arm to maneuver the two space walkers around Columbia's payload bay and the Hubble telescope. Linnehan was on the arm for most of the space walk, with Grunsfeld taking his place about five hours and fifteen minutes into the space walk.
From the aft flight deck of Columbia, astronauts Mike Massimino and Jim Newman assisted the two spacewalkers throughout their numerous tasks. Newman and Massimino will be performing their first spacewalk of the mission tomorrow morning, replacing Hubble's port solar array and a Reaction Wheel Assembly, one of four devices that help Hubble maintain a steady position as it photographs distant objects.
During the spacewalk, Grunsfeld's EVA suit did not transmit its normal telemetry signal to the ground, though the Flight Surgeon was able to monitor the astronaut's biomedical data. After resetting power to the suit later following the spacewalk, EVA officers in Mission Control were able to receive data normally. It is believed a relay in the suit's communication system needed to be reset.
The crew is to begin its sleep period at 11:52 a.m. CST. The next STS-109 mission status report will be issued Monday evening or as events warrant.
NASA Johnson Space Center Mission Status Reports and other information are available automatically by sending an Internet electronic mail message to email@example.com. In the body of the message (not the subject line) users should type "subscribe hsfnews" (no quotes). This will add the e-mail address that sent the subscribe message to the news release distribution list. The system will reply with a confirmation via e-mail of each subscription. Once you have subscribed you will receive future news releases via e-mail.


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It's Valentines day tomorrow and I thought it would be nice to make a vegan inspired dessert. I decided to go with chocolate (of course) and put a twist on it...ginger! The both pair very nicely together, so....'vegan ginger chocolate mousse' it was!
I love candied ginger but I have never made it before, I found this recipe and I really like how simple it is. I didn't weigh anything out, just eye balled it. Now that I have done it, and tasted it fresh, I don't think I can go back to store bought. Have you ever candied anything?
I had some friends over with there daughter for lunch this afternoon, they were the taste testers for this...and I think it was a hit! The crust is coconut and dates with a little maple syrup, and the mousse was infused with star anise, peppercorns and ginger! I melted the chocolate and made the chocolate hearts free form with the back of a spoon. It was a fun morning. I hope everyone gets to spend some time with someone special!


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Indianapolis Colts owner Irsay arrested for DWI
INDIANAPOLIS (AP) — Police say they found multiple prescription drugs in Indianapolis Colts owner Jim Irsay's vehicle after he was arrested on suspicion of intoxicated driving.
Police in the Indianapolis suburb of Carmel say Irsay was stopped late Sunday after he was spotted driving slowly, coming to a stop in the roadway and failing to use a turn signal.
Police say the 54-year-old Irsay failed several roadside field sobriety tests before he was arrested. Police didn't release any information about a blood-alcohol test being given to Irsay.
Carmel police said the drugs found in Irsay's vehicle weren't associated with any prescription bottles found inside.
Irsay is being held at the Hamilton County Jail under $22,500 bond. A spokeswoman for Irsay declined immediate comment. An NFL spokesman says he is subject to discipline.
THIS IS A BREAKING NEWS UPDATE. Check back soon for further information. AP's earlier story is below.
Indianapolis Colts owner Jim Irsay has been arrested on suspicion of intoxicated driving, authorities said Monday.
Irsay was arrested Sunday night in the northern Indianapolis suburb of Carmel on preliminary charges of driving while intoxicated and possession of a controlled substance, Hamilton County Sheriff's Department Deputy Bryant Orem said.
Irsay, 54, is being held at the Noblesville jail under $22,500 bond, Orem said.
Myra Borshoff Cook, a spokeswoman for Irsay, declined to comment early Monday on his arrest.
Irsay, who frequently interacts with fans of the NFL team on Twitter, wrote an October 2013 tweet saying "I don't drink...haven't in over 15 years."
Irsay acknowledged in 2002 that he had become dependent on painkillers after several years of orthopedic operations but said he had overcome the problem after undergoing treatment.
Marion County prosecutors said the U.S. Drug Enforcement Administration investigated how Irsay obtained the painkillers. Federal authorities wouldn't confirm any investigation was taking place. Prosecutors at the time said they saw no reason to charge Irsay.
A plastic surgeon who wrote painkiller prescriptions for Irsay later surrendered his federal permit to prescribe narcotic drugs.
Irsay, who lives in Carmel, became the Colts owner in 1997 after the death of his father, Robert Irsay and a lengthy legal battle with his father's second wife. Along the way, Jim Irsay held virtually every job from ball boy to general manager. Forbes magazine estimated Irsay's net worth at $1.6 billion.
Meg Irsay filed in November for divorce from her husband of 33 years, citing an "irretrievable breakdown" of the marriage.
A joint statement issued by the couple said Jim Irsay would retain full ownership of the Colts and his other business interests. The couple, who married in 1980, have been separated for a decade and are the parents of three adult daughters.
Since taking ownership of the team, Jim Irsay has made a reputation for himself by buying the scroll manuscript of Jack Kerouac's beat poem "On the Road" for $2.43 million post comments ranging from the Colts' inner workings, popular music, and idle thoughts on his Twitter account.


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Invited guest: Susanne Otterberg
"I don´t know what I´m doing when I´m making photographs. What I do know is that it makes me feel alive to do so. I would never leave the house without my camera, it´s always there, like a friend trying to make me understand something. I don´t want to escape from life, I want to feel something and to reflect. These photographs kind of symbolize the contrasts in life, as I see them. But I still don´t understand anything..."
Susanne Otterberg was born in 1962 and is an autodidact photographer. She had her first exhibition after participating in a workshop with Anders Petersen in 1998. She has had exhibitions in Sweden and in Lithuania.
To visit her blogspot: www.susanneotterberg.blogspot.com
Invited by: Markus Jenemark


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No More Tax Dollars for Silver Ring Bling
From the AP:
[The Silver Ring Thing] won't be eligible for more unless it changes its program to ensure the money isn't used for religious purposes, according to the agreement reached Wednesday between the American Civil Liberties Union and Department of Health and Human Services.
"Public funds were being used to fund a road show, really, to convert teens to Christianity," said Julie Sternberg, an ACLU attorney.
Sternberg said the ACLU supports the program's right to offer religious content, but not with taxpayer money. She added she hopes the lawsuit is a "wake-up call" to the federal government to more closely monitor the abstinence-only programs it funds.
The Silver Ring Thing looks like it will be OK without federal earmarks from Specter and Santorum; there is plenty of private money behind it. In fact, Former Philly Mayor W. Wilson Goode is now on a crusade to make Philadelphia the new hub for the Silver Ring Thing.
Which is fine with us--go wild. More power to you. Just don't use our tax dollars to do it.


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Heart disease, including stroke, is the leading cause of death for men and women in the United States. Every year, more than one million Americans suffer a heart attack and approximately 600,000 die from heart disease — that's one out of every four deaths. The …Continue Reading American Heart Disease Awareness Month
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NGK have over 80 years of experience in spark plug manufacturing and we are a world leader in spark plug technology. We have an extensive range of spark plugs, each with their own unique characteristics specifically engineered to its vehicle application and they are designed to suit a broad range of vehicles on Australian roads. With our dedication to quality, outstanding reliability and state of the art manufacturing techniques, you can rely on NGK Spark Plugs.
Don't just ask for a spark plug, insist on NGK.
NGK Glow Plugs are at the forefront of technological innovations. Our glow plugs maintain optimum starting capabilities and offer an excellent post-glow function, promoting clean combustion and lower toxic emissions. They are manufactured with state of the art techniques with dedication to quality, which leads to outstanding reliability.
Choose NGK Glow Plugs, and ignite with ease on a frosty start.
NTK is the world's largest manufacturer of oxygen sensors. NTK Oxygen Sensors are designed to maintain optimal fuel efficiency and are supplied with a direct-fit connector similar to those used by the OEM manufacturer for easy installation.
Every NTK Oxygen Sensor undergoes a complex three test process, including long life, high temperature & anti poisoning, to guarantee high quality and durability. As future emissions standards become tougher, NTK is further developing oxygen sensor technologies to help provide cleaner, more efficient engines.
NGK is a world leading spark plug brand that also specialises in ignition leads. NGK Ignition Leads yield an extremely low resistance value (from 1,300 ohms per metre) that allow superior conductivity. They are manufactured with advanced insulating material, and have exceptional long-life durability.
NGK Ignition Leads are packaged in sets, and include the coil-to-distributor when applicable. Each set is tailored to the correct lead length and thickness in 5, 7or 8mm variants, for the exact make and model specified.
From the world leader in Spark Plug and Ignition Lead technology comes a premium range of quality Ignition Coils.
NGK brand has been synonymous with ignition systems for over 80 years, and now we have a new Ignition Coil range to complete our ignition systems product line-up.
NGK Ignition Coils are engineered precisely for correct seating and available for an extensive range of Australian and New Zealand vehicle applications.
Modern exhaust after treatment systems require control in regard to efficiency and component protection. The exhaust temperature sensor serves as a temperature monitor for turbochargers, catalytic converters, diesel particle filters and nitrogen oxide reduction systems. It is used for monitoring the optimal operating point as well as for potential protection of temperature overload of the relevant components, thus making it an important component for the reduction of unnecessary harmful emissions from vehicles.
The NGK range of resistor caps provide the perfect connection between your high tension lead and spark plug. NGK resistor caps are designed to give perfect noise suppression across all frequencies whilst engine performance is not adversely affected whatsoever.


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Microsoft is betting its future on the cloud, we're told, and using Windows Phone 7 to lure customers in for their business, as well as personal, lives.
The focus of the Windows Phone 7 launch has been on consumer use: XBOX Live, integrated Facebook and an address book that considers a contact's last Tweet as important as their phone number. Redmond, though, also went out of its way to remind us that Windows Phone 7 is ideal for small businesses too, or even large ones.
Not that Windows Phone 7 provides any additional control over corporate-issued handsets, but the feature set provided by System Center Mobile for Windows Mobile handsets remains available so Windows Phone 7 handsets can still be wiped remotely even if there's not much in the way of granular control over what employees do with them. So as long as your business is based on Facebook and Twitter then you'll do fine.
That's a requirement because Facebook, Twitter and Windows Live is as social as the in-built applications will go. Yes, you can develop applications for other social networks, even proprietary ones, but you can't integrate them with the applications pre-installed on the phone - the much-hyped contacts list that displays the last social update or uploaded photograph will only work with Facebook, Windows Live and Twitter, anything else is locked out.
We raised this with Microsoft, who said they would consider expanding the supported networks if users demanded it, and pointed out that Windows Live can aggregate identities from services including LinkedIn. But if you're a fan of MySpace, or Orkut, or have your own company system then it won't be part of the "Always Delightful" user experience even if you can get an application installed.
That may prove a challenge as initially all applications will have to be publicly listed in the Marketplace. Next year there'll be a corporate marketplace offering, though the details aren't decided yet. Following that there will be a program for limited distribution of applications, for use within an enterprise, but that's going to take a few years.
But at least Windows Phone 7 comes with SharePoint and a suite of applications for reading and editing Office documents, as long as you don't want to use a Bluetooth keyboard, or check your spelling, as neither of these are supported.
Microsoft contends such things are unnecessary on a device that will be used to comment on the work of other's rather than creating documents of one's own, and that's probably a fair point. Some of the handsets feature qwerty keyboards, and we would have liked to see some sort of dictionary on board but perhaps we're too old fashioned about such things.
Microsoft talks about "three screens and a cloud" referring to the desktop, the mobile phone and the browser, as the three ways in which one can interact with one's content. However, not all clouds are made equal and by elevating Facebook, Windows Live and Twitter to an integrated status Microsoft has effectively downgraded the competition to second-class citizens, and pulled the new platform out of the enterprise no matter how it tries to argue otherwise.
But we'll leave the final words to the Microsoft PR who was demonstrating Excel on a handset and showing a good grasp of the challenges facing Microsoft: "Gone are the days of carrying a big calculator" he proudly declared. Manufacturers of big calculators, beware! ®


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Krissy Clark is an award-winning journalist, documentary-maker, and audio artist with a passion for location-aware technologies and their power as storytelling tools. She is currently the Los Angeles Bureau Chief for KQED public radio, where she uncovers the wide array of people, places and events that make Southern California such a fascinating region or, in the words of Wernor Herzog, "a place of cultural substance."
Clark has spent more than a decade covering public affairs, politics, the economy and the environment for national public radio outlets including APM, NPR, and the BBC. She is a frequent contributor to the business show Marketplace, where she covered the gulf oil spill and its economic implications. She is also a former staff reporter and editor for the weekly syndicated show Weekend America.
In 2009 Clark received a Knight Journalism Fellowship at Stanford to explore the geospatial web and its applications for innovating journalism, working with the Stanford Computer Science Department, the Bill Lane Center for the Study of the American West, and the Hasso Platner Institute of Design, or d.school.
"Foreclosure City," Clark's documentary on the epicenter of the nation's foreclosure crisis, Las Vegas, made her a finalist for the Livingston Award for Journalists under 35, one of journalism's highest honors. Earlier in her career she spent several years in a small town in Colorado where she reported on the rural American West for the environmental newspaper High Country News. There, her documentary on the legacy of nuclear weapons development in western states was awarded Best Documentary by the Public Radio News Directors Inc.
Clark graduated cum laude with honors from Yale University, where she earned a B.A. in The Humanities. She is a frequent speaker on journalism and the geospatial web at institutions including Google, Stanford's Human Computer Interaction Group, and the American Association of University Women.
As a fifth generation Californian, Clark is keenly interested in history and the way people shape places, and places shape people. Her audio installation, Block of Time: O'Farrell Street, was featured alongside MIT's SENSEable Cities project and Stamen Design's TenderVoice/TenderNoise at the City Centered Festival in San Francisco, sponsored by the Gray Area Foundation for the Arts. Block of Time and other experiments in narrative landscapes can be found at her website, storieseverywhere.org.
If you want to know more about Krissy's work, this short article she wrote might help.
Around the world human experiences are shared through dynamic and engaging talks called Ignite. In exactly five minutes using exactly 20 slides Ignite speakers share personal and professional passions though thought-provoking, and lightening-fast, presentations on life, robots, and beyond. Web 2.0 Summit has scoured the globe to find you the best of the best Ignites, hand-selected by Ignite Show host and co-founder Brady Forrest, and conference chair John Battelle. Enjoy!
Reach business leaders and technology influencers at the Web 2.0 Summit. Call Rob Koziura at (415) 947-6111 or email email@example.com
View a complete list of Web 2.0 Summit contacts.