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Most of my picture taking is hand held. These are at places with a lot of light. Mostly outside. Fast moving people on the street. I don't often have the luxury of using a tripod. And I don't really like the overhead of carrying one around, although I do have a little tiny mini one that I occasionally don't use either.
But, I had an assignment to photograph the inside of a fabulous old church. I don't usually care much for churches, but this one was kind of special. It was built in 1914 and was just incredibly interesting with its stain glasses and multiple balconies. I had the place completely to myself.
I was left to my own devices pretty much for lighting and had to hunt down where the switches were. I finally found an electric panel in a back room. But, they control only a little bit of light. This meant, that I would need the tripod that I had brought along with me to take time exposures of the interior. This would be the first time I used it in years.
Even though it was very dark inside, taking these long shots made it look fully lit. Each shot would take 20 or 30 seconds in addition to the time to setup. But, it helped challenge me to think about the pictures differently. (I'm not usually that patient when I shoot).
Because it was pouring rain outside, I will need to take exteriors on a different trip. I won't need a tripod (but just may bring one anyway).
Sunday, October 25, 2009
Tripod Work
Posted by John Fraissinet at 7:58 PM
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Get ready to run for your life! Dodge our flesh eating, flag grabbing zombies as you conquer a crazy obstacle course! (more on that later!)
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subset: commoncrawl


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What is Plagramme?
Plagramme is probably the best free plagiarism checking tool. This advanced plagiarism checker tool is powered by a set of unique features and algorithms. In this article, we will review Plagramme plagiarism checking tool. To get a better understanding of Plagramme plagiarism checking software, we will first start with plagiarism.
What is Plagiarism?
Content marketing is one of the most important elements of the online marketing industry. When you are into content marketing, you have to upload quality as well as unique contents in massive amounts. Now, when we have to create a large number of articles it is meaningful that we have to learn about the topic from the internet. This means that the small source of information available on the internet will be edited and it will spin again and again through innumerable posts. This leads to plagiarism. In simple words, direct copy-paste or edits with minimum modification leads to plagiarism.
Why Plagramme?
To be practical, you will find plenty free plagiarism checking tools in the internet and some of them are really great. Plagramme comes with some extra benefits which act like x-factors. Due to those, we can simply make a conclusion that Plagramme is really one of the best free plagiarism checking tools ever. Some of the core us abilities of this plagiarism checker is mentioned below:
- Unlike most other plagiarism checking free tools, there are no limits of plagiarism checking. One can simply upload as many documents as required to check plagiarism. Further, they can modify the write-up after every plagiarism check-up and then recheck plagiarism. Plagramme will be most convenient with the students and evaluators. One can even rectify the mistakes by doing necessary edits and share documents with teachers by entering teachers email addresses on the checked document. Teachers will be also able to give a feedback.
- Only a few of additional services are charged, else this tools checks plagiarism of unlimited number of documents for free. Further, a user also gets free credits for sharing an opinion on social media. They can simply collect credits and use it on purchasing a paid service offered by Plagramme.
- The plagiarism test reports can be downloaded. Improperly marked citations, paraphrases will be highlighted and the original will be suggested to the right side of the document.
5 Reasons Why you should choose Plagramme Plagiarism Checking Software:
Up next, we will describe some of its key features for which you should choose Plagramme as your plagiarism checking tool.
1. Ease to use Interface –
Plagramme Plagiarism Checking Tool comes with a very uncomplicated and easy to use user interface. The navigation system is so simple that even not so tech-savvy peoples can use this tool easily and efficiently. If the content gets passed with Plagramme, one can be sure that it will pass any other plagiarism tests. Both .doc as well as .docx extensions are supported. These two are the most widely used document files so you won't face trouble uploading your document file.
2. Advanced Scoring –
Almost all the existing free plagiarism checkers simply check plagiarism and scores on a basis of percentage and nothing else. The Plagramme plagiarism checker comes with a handful of enhancements in its scoring technique. Initially, just like another Plagiarism checking tool, Plagramme dictates the plagiarized components found in the content with its algorithm. The tool then suggests whether the created content contains too much paraphrasing, the risk of plagiarism, and abnormalities in terms of bad citations. This part is total innovation as no other plagiarism checking tools offer the upcoming suggestions. This feature will help to check academic writing more than blog write-ups. In the recent years, excessive use of citations in academic papers has led to a difficult situation for the evaluators. With this tool, wrong and indiscriminating citations will be highlighted with a few seconds. When you check a write-up with Plagiarism, it highlights plagiarized parts with red, god quotes with green, bad citations with purple and paraphrases with orange. Plagramme plagiarism checker scores your document twice. One is Similarity Score and the other is Plagiarism Risk Score. Plagiarism Risk Score indicates the concentration of those similarities. Altogether, you will either get a positive or a negative result. A positive result dictates that your paper is original enough to be submitted and a negative result dictates that you have to make some changes.
3. Multilingual –
Probably, this is the one and only free plagiarism checking tool with this feature. In some cases, people simply use high-rated digital translators to translate an existing topic from foreign language to the language necessary and copy-pastes the translated content. The existing plagiarism checkers fail to address this kind of plagiarism. With Plagramme plagiarism checker, such translated contents can be identified and flagged easily.
4. Unusually Strict Detection Algorithm –
Among crime branch officers, there is a proclamation that one should think like a criminal and then trace for the solution if one has to solve a crime. More or less, the job of al plagiarism checking also has the same rule, only the algorithm differs from software to software. Practically, no one will directly copy paste articles because those will be caught by any plagiarism checkers. What writers do is camouflage an existing article with the introduction of new words. Moreover, plagiarism checkers will also pass them off as being different from original and mark them genuine. However, this kind of camouflaging technique is caught by Plagramme's algorithm. This feature will not only come handy for strict evaluators but also for writers to check the originality of contents.
5. White – Color Character Detection –
In order to pass plagiarism tests, several writers copy-paste an article from the internet and then adds several alphabets and words throughout the write-up and color them white. This cannot be caught with bare eyes and plagiarism checkers also gives a green signal of passing to these as it differs from the original. This happens because sentences are changed at the structural level and further, the white color of alphabets and words cannot be visible since the color of the background is also white.
Some Other Features –
There are many other features as well such as it allows online edits, use of cloud storage to store your document and many more. Some of these are discussed below:
- Plagramme checks plagiarism against a much larger basket of online content than most other tools.
- It uses SSL security technology to connect you to a server through an encrypted link. No one may break in users account and upload documents instead of him/her. User have full control of their own uploaded documents (delete them or leave it on the dashboard).
- On successful completion of the requirements of the declaration of Intellectual Property, Plagramme will process that information and protects your work.
- Other than the free option there is paid version of the tool, where you can make payment via credit cards, online banking, and Paypal.
Conclusion –
We recommend you to use this wonderful Plagiarism checking tool at least once, in order to derive all these benefits. This tool will not only help the evaluators or bloggers but writers as well. From now on, you won't have to worry about plagiarism anymore. With Plagramme Plagiarism checker, your problem of plagiarism is solved!


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Auto-switching is the easiest way to save money on your gas and electricity bills. We have stacks of experience switching people's energy and we make sure our members never pay over the odds for their energy. How does Look After My Bills work? Here's everything you need to know at each stage of the process, from signing up to what happens after you switch supplier.
Sign up once in two minutes with just a tiny bit of information. No more form filling ever again!
We put our advanced algorithms to work and find you a great deal, you do nothing.
We let you know that we've found a deal and switch you, taking care of everything.
When that deal ends we'll switch you again, you don't need to do anything!
We're on a mission to reach out to everyone getting ripped off on their energy bills and to stop the supplier loyalty tax. We even pitched our service on BBC Dragons' Den and all five Dragons made us an offer. We walked away with two Dragons and the best deal in the history of the den! In the words of one of our very own Dragons, Jenny Campbell, signing up is 'simple'!
Don't worry, we won't ever charge you! We secure these details and pass them on to your new supplier so that they can set up your new direct debit! If you're signing up with a prepayment meter you won't have to provide direct debit details.
Yes! Just tick the Prepayment meter box in the how you pay section of the sign up.
Yes and yes! If you want to sign up and you're currently in debt, you'll need to first negotiate a repayment plan with your current supplier.
Within 6 weeks of the switch you will receive a final bill and any credit will be refunded back to you.
Yes! Just tick the economy 7 box in the sign up.
You certainly can if you're the owner of multiple properties. Just let us know once you've signed up with your first property and we'll help you register any additional properties.
Unfortunately not, but we do have a partner company The Big Deal who can help you. Find out more information here.
We put our advanced algorithms to work and find you a great deal, you do nothing.
How does the switch process work?
Once we find you a great deal, we'll start the switch process straight away so the deal doesn't vanish.
We'll then email you with all the switch details and you'll have 14 days to review the deal. If we don't hear from you we'll assume you want to go ahead, why wouldn't you!
Within 6 weeks you'll get a final bill from your old supplier. During this period you will also receive your first bill from your new supplier but don't worry this is normal. Both suppliers use the same meter reading to open/close your account so you can't ever be charged twice for the same energy!
Your current supplier will be notified you're leaving. They will then prepare your final bill, close down your account and cancel your direct debit.
No! Once we start switching you, it's all taken care of for you, you don't have to lift a finger! Your old supplier will know you're switching away and get ready to close down your account.
On average it takes 21 days to switch supplier. This can vary from supplier to supplier. Some suppliers switch in a shorter timeframe and others may take longer.
We have meticulously reviewed all of the suppliers that we work with and we continually monitor our customer satisfaction levels. We're sure you'll like them!
Once the switch is complete your new supplier will set up an account for you.
You'll need to give your new supplier a meter reading, they'll let you know when's the perfect time to do this!
The time to set up a new account can vary from supplier to supplier, but on average it takes around 7-10 days.
We've written a handy guide for every type of meter. For instructions read our blog on how to give meter readings.
Meter readings are important because they enable suppliers to accurately charge for your energy usage. Without meter readings suppliers will estimate your usage, this could mean you end up in credit (great!) or debt (not so great), so we say don't risk it!
Unfortunately not, you have to submit readings directly to the supplier. We can't contact suppliers on behalf of customers. Suppliers, like us, have privacy policies in place to prevent anyone other than the account holder accessing the account.
If you have a second generation smart meter, it will continue to work with your new supplier. If you have a first generation smart meter, it will lose its smart functionality once you switch over meaning you will have to manually provide readings to your new supplier. Second generations smart meters are being rolled out across Great Britain between 2019 and 2020, so it's worth contacting your supplier about getting one installed.
What next?
You can start planning how you're going to spend your savings!
The best part of our service is that when your deal ends we'll switch you again, you don't need to do anything! We'll email you when you are coming to the end of your contract then we'll repeat the switch process.
Usually we find one year fixed tariff deals, we can also find deals that are slightly longer than this too.
For variable tariffs we search for new deals every month after the first 3 months unless you have a prepayment meter in which will search on an annual basis.
We email you when we're looking for a new deal and then we email you with the details of the great deal we find, following the same process as your first switch.


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Found 9 results
Filters: Author is Kamtekar, Satwik [Clear All Filters]
Journal Article
Crystal structure of an intermediate of rotating dimers within the synaptic tetramer of the G-segment invertase. Nucleic Acids Res. 41, 2673-82(2013)
Crystallization and preliminary X-ray diffraction analysis of rat autotaxin. Acta Crystallogr Sect F Struct Biol Cryst Commun. 66, 1127-9(2010)
Implications of structures of synaptic tetramers of gamma delta resolvase for the mechanism of recombination. Proc Natl Acad Sci U S A. 103, 10642-7(2006)
Insights into strand displacement and processivity from the crystal structure of the protein-primed DNA polymerase of bacteriophage phi29. Mol Cell. 16, 609-18(2004)
The phi29 DNA polymerase:protein-primer structure suggests a model for the initiation to elongation transition. EMBO J. 25, 1335-43(2006)
Structural basis of substrate discrimination and integrin binding by autotaxin. Nat Struct Mol Biol. 18, 198-204(2011)
Structure of the RAG1 nonamer binding domain with DNA reveals a dimer that mediates DNA synapsis. Nat Struct Mol Biol. 16, 499-508(2009)
Structures of phi29 DNA polymerase complexed with substrate: the mechanism of translocation in B-family polymerases. EMBO J. 26, 3494-505(2007)
Toward understanding phosphoseryl-tRNACys formation: the crystal structure of Methanococcus maripaludis phosphoseryl-tRNA synthetase. Proc Natl Acad Sci U S A. 104, 2620-5(2007)


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[This post is a bit text-heavy. If you don't like reading, scroll down to see a few photos.]
On March 16th, I finished packing my bags at my friend Aidan's house in London with the plan of taking a taxi to the tube station and catching the tube out to Heathrow Airport in good time for my flight to Africa on Kenya Airways. The very short taxi ride (it's a 15 minute walk) was to prevent all the sweating from walking with my bags, and to avoid overworking my bad knee. Unfortunately, it turns out that phoning for a taxi in London is not a good idea. The first company took a while to take down the address etc, then put me on hold to wait for an automated message that would give me an estimate of the arrival time of the taxi. After 10 minutes on hold, the machine told me there were no taxis available and promptly hung up.
We called another company and they said the taxi was on its way and wouldn't be long. After some time I called them and they said it would be about 15 minutes. By this point I was starting to run short of time to take the tube, and had begun entertaining the thought of paying an exorbitant sum for the taxi to drive me the whole way to the airport. Eventually the taxi company called to tell me the taxi was at my address, but there was no taxi in sight. It turns out he went to a completely different address despite the fact that I had gone to the trouble of spelling the name of the street for the operator.
He called me back 5 minutes later to tell me that the taxi was so far away he could not be rerouted to my location and I would have to begin the entire process over again, and it would take 15 minutes for a new cab to arrive. Half an hour later, the taxi arrived. He looked like one of the goons out of the movie Lock, Stock, and Three Smoking Barrels and honked at a lot of people as we sped toward the airport. I ran in and found the check-in counters were already closed, but an airport staff member suggested I go to the customer service desk.
I asked the the lady at the Kenya Airways customer service desk if there was any chance of boarding the flight and she said no, absolutely not. I asked again, trying my hardest to imitate the puppy dog eyes I'd seen in some movies, and she took me over to the First Class check-in desk, where I was allowed to check in. She then took me to the Special Baggage bag drop so I could drop my backpacks without any delay and told me to sprint all the way to the gate, which I did.
I ran all the way onto the plane, sat down sweating more than if I were still back in Burma in the hot season, and tried to breathe. This was the closest I had ever been to missing a flight (out of 138 flights I've taken in my lifetime, the only one I ever missed a connecting flight missed because the first flight was massively delayed, so I had to wait in Frankfurt for a few hours until the next one). The second closest I've ever been to missing a flight was avoided because of a broken toilet in San Francisco (click here for that story).
And now for some photos!
My flight from London landed in Nairobi on the morning of March 17th, after which I caught my connecting flight to Kigali (Rwanda) via Bujumbura (Burundi). At the airport in Bujumbura, there was an ICRC (International Committee of the Red Cross) plane:
In the early afternoon the plane landed in Kigali, capital of Rwanda. After clearing customs and grabbing my bags, I found a taxi driver waiting with my name on a piece of paper. We drove three and a half hours northwest through the beautiful green mountains of Rwanda to the border crossing at Gisenyi. This waterfall is typical of the scenery along the road from Kigali to Gisenyi:
At Gisenyi, the taxi driver explained to me what to do on the Rwandan side of the border, then met me again after I had walked across the border to the Democratic Republic of Congo and its customs office. There, when the customs officers took my passport and didn't return it, he assured me that the Merlin HR staff would get it back for me the following day, which turned out to mean the next week.
I spent 6 days in Goma, doing a small amount of work and getting a very basic introduction to the DRC (Democratic Republic of Congo). This is one of our vehicles, being loaded up to transport stuff to field offices in North Kivu. The flags were added for extra visibility as the roads in the area are not always safe; making it clear that the truck belongs to a medical charity hopefully decreases the likelihood of running into trouble.
My clippers decided not to work once I arrived in DRC, so I borrowed Gareth's clippers. Turns out the battery was not fully charged, resulting in this new hairstyle until it was charged enough to finish the job:
Even in Goma you get a few creepy crawlies in the house, like this millipede:
Gareth found this tiny skink on his shorts, and it seemed quite happy to hang out on his finger and pose for a photo:
Although I can't say I like Goma very much, it is pretty cool to see the nearby volcano on a clear day from the centre of town:
On March 23rd I left Goma for Kindu, the pleasant little town ('Kindu Paradise' as some of us like to call it) where I would be based for nearly half a year.


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The story of the Samsung Galaxy Note 8.0 really starts with a different device — the Galaxy Note 10.1. Samsung advertised a power-user's dream device: letting you edit documents or draw with a pen, do more than one thing at a time, and even take handwritten notes like it's 1746 or something. Oh, and be a tablet and do all the things a tablet should. The Galaxy Note 10.1 did all of those things, but didn't do a single one well, which left a previously very excited Nilay Patel very sad indeed.
A few months and a lot of angry feedback go a long way, and Samsung's had a chance to right its wrongs. The Galaxy Note 8.0, which will be available April 11th for $399, is the result of those efforts: an 8-inch tablet that offers all the features of the Note 10.1 and ostensibly none of its issues. It has a faster processor, a newer version of Android, and hopefully the results of six months of tweaking from Samsung's engineers.
So I broke out my reading glasses and my red pen, readied some documents (it's always good to have documents sitting around for such occasions), and set out to see if Samsung's created a tablet for more than just watching Netflix and reading Pocket. Here's how it went.
The plastic problem
Samsung is nothing if not consistent. Like the Galaxy S III, the S4, the Note, the Note II, the Note 10.1, the Tab 2 10.1, and an enormous list of other devices, the Note 8.0 doesn't feel at all like a premium device. The plastic body feels even worse here than it does on Samsung's phones, because instead of wrapping your hand around its entire body you'll spend most of your time with your fingers pressed against its slick, glossy back. Not only does the white body pick up fingerprints and dust at a remarkable rate, it just feels gross, like your hand is constantly sweating as you hold the device. Even the slightest bit of texture would have helped — a fact Samsung figured out with the Galaxy S4 — but as it stands the Note 8.0 is far less comfortable or pleasant to hold and use than the soft-touch Nexus 7 or the smooth, metallic iPad mini. To its credit, though, it's still a well-constructed, solid device, and gave me no pause as I tossed it into my crowded bag. But for $399, I expect a premium device like the Galaxy Tab 7.7, not a toyish slate like the Note 8.0.
If I learned one thing from Josh's iPad mini review, it was that our venerable Editor-in-chief has absolutely gigantic hands. I can hold my mini by the back, sure, but my fingers barely extend around its three sides and I can't grip it like that for very long. The Note 8.0 is exactly the same way: the 5.4-inch-wide tablet is much more suited to being held by a corner, or in two hands, rather than gripped from the back like you hold your phone. (Unless you have insanely giant hands like Josh, anyway.) At 12 ounces and just shy of 8mm thick, it's thin and light enough to be easily held in one hand, and thanks to the slightly wider bezels around the screen I actually found it easier to wield one-handed than my iPad mini, which is almost exactly as wide but slightly thinner.
The Note 8.0's design is very much like the Galaxy S4's, from the plasticky body to the layout of the ports and buttons on the device. There's a big Samsung logo above the display, next to a light sensor and the front-facing camera lens — I don't love the asymmetry of the layout, but it's not the end of the world. Below the screen are a physical home button and two capacitive buttons, for Menu and Back; you long-press the Home button to get to the multitasking menu, and double-tap to open S Voice, Samsung's weird Siri knockoff. On the right side as you hold the tablet vertically, a power button and volume rocker are placed altogether too close to each other, next to the device's IR blaster; the left is barren except for a microSD slot. There's a headphone jack on top, and two speakers plus a Micro USB port (mercifully replacing the proprietary connector) and the S Pen slot on the bottom. I wish the headphone jack were on the bottom as well, where it wouldn't dangle annoyingly in front of the screen so often, but in general Samsung laid the device out pretty well.
Samsung keeps building acceptable devices that could be great, if only the company would use slightly better materials – aluminum, maybe, or even the soft-touch rubber on the Nexus 7. The plasticky bodies keep selling, though, so either people don't care or Samsung's other features outweigh that vague feeling of sliminess. The latter may well be the case, too — the Note 8.0's feature list is long.
Samsung can do better than this, but doesn't seem to care
Sound and Vision
Fine for now, but the next generation is almost here
I don't quite know how to feel about the Galaxy Note 8.0's display. On one hand, the 8-inch, 1280 x 800 panel is as good as almost any of its direct competitors, and as is typical with Samsung displays the TFT screen has great viewing angles and very (maybe even overly) vivid, contrasted colors. At the same time, though, most of its similarly-outfitted competitors are many months old now, and nearly every one — from the Kindle Fire to the Nexus 7 to the iPad mini — is likely to be outfitted with a better, higher-res screen in the near future. Given that, and the fact that many high-end phones (including Samsung's) now come with 1080p screens, it's hard to tell you to cast your lot with the Galaxy Note 8.0 and its only-good-enough-for-now display.
I do know how to feel about the Note's speakers, though, as well as its cameras. They're all terrible. The two speakers at the bottom of the tablet are neither very loud nor very good, and since most of the time you'll be in landscape mode while watching movies or playing games, you're not exactly getting stereo sound — just anemic audio times two. Meanwhile, I'm convinced the Galaxy Note 8.0 only has cameras because Samsung had a bunch of leftover 5-megapixel sensors from the original Galaxy S. The camera is pretty bad — it takes soft, noisy pictures even in great lighting — but odds are good there's at least one better camera in arm's reach. On any phone made in the last three years.
Doin' work
Samsung made a big bet that "The Post-PC Era" is a real thing
The Galaxy Note 8.0 is definitely for reading and casually browsing the web. It's also for much more than that — this is a Galaxy Note, after all, not the lowly, lazy Galaxy Tab. It's a tablet for getting things done, made for People Who Get Things Done. It offers tools to that end that none of its rivals match, from an honest-to-goodness multitasking system to the S Pen. I have to say, too, the Note 8.0 is the first tablet I've ever felt almost works as productively as my laptop. Almost.
Every phone and tablet manufacturer talks about multitasking, but what they mean is essentially task-switching. You're not doing more than one thing at a time, you're just moving between things more quickly. On the Note 8.0, you are really truly multi-tasking, using more than one window at once — you can browse the web and take notes at the same time, or look up an address in Maps without having to go through Android's awkward copy-and-paste process. It doesn't work with every app, but it works with Chrome, Gmail, Maps, and a handful of other key ones — that's a big leap beyond what the Galaxy Note 10.1 used to offer, though still not nearly where I'd like it to be. It also, well, works: there's no half-second lag while the system switches between one app and the other, as there was on the Note 10.1, and both apps work fluidly. You're legitimately doing two things at a time, for maybe the first time ever on an Android tablet. (This was until now the biggest advantage a Windows tablet like the Surface RT offered.)
For once, it's actually multitasking
It works via an on-screen menu, which you access by holding the back button. When you activate it, a menu pops up on the left side of the screen, and you tap an app to open it. Then you drag a second app to the top or bottom, where it splits the screen. You can resize the windows to your heart's content — my standard move was to have a small 16:9 video playing while I triaged my email — or quickly swap them or jump back to fullscreen mode. It's really fluid and insanely useful, much more than the Windows 8 snap modes or any other mobile platform's misnamed "multitasking" setups.
I'd argue multitasking should be at the forefront of how Samsung sells the Note 8.0 against the iPad mini or the Nexus 7, but the company makes a much bigger deal out of the S Pen. It's the same Wacom-made pressure-sensitive stylus I've seen in so many other Samsung devices, slotted into the bottom right corner of the Note 8.0. You can use the stylus for almost any activity — Android basically treats the pen like a finger, except for the AirView feature that lets you hover over a link or menu and see what's underneath. Using it that way is kind of missing the point, though, and using a pen on a tablet is sort of awkward anyway — the S Pen gets in the way of some things, like typing, and it's not really any better at getting you around Android. The S Pen is mostly meant as a drawing and scribbiling tool, and for that the tiny pen is great.
When you unsheath the S Pen (which I will forever call the Spen, and thus assume it's a Swedish stylus), the Note 8.0 makes a noise and immediately jumps to S Note (Snote), a note-taking app. The app reminds me a bit of OneNote, letting you draw or type or annotate screenshots, and providing a handful of templates to help you do so without making a mess. S Note is in theory a great app, but it actually lends a falsely negative sense of what the S Pen and Note 8.0 can really do. In S Note, the app quickly starts to lag behind the stylus, which means that instead of scribbling quickly you have to draw pretty deliberately for the app to keep up. Luckily it's just S Note, and even heavier apps like Photoshop Touch work much better — it's a shame Photoshop Touch doesn't come bundled like it does on the 10.1, but it's worth the $9.99 if you really want to take advantage of the S Pen and its 1,024 levels of pressure sensitivity.
Productivity tool? No. Awesome drawing fun? Yes!
Nearly every software feature from the Note 10.1 shows up on the smaller model as well, except for one I quite liked: the "mini apps" that pop a video player, calendar, or notepad over top of whatever app you're using. The feature's made mostly redundant by the dual-windowing feature, but in some cases I like being able to pin a video player in the corner while I deal with full-screen Gmail.
When we reviewed the Galaxy Note 10.1, we found software problems basically everywhere we looked, from odd UX noises to constant lag and awkwardness. In almost every case, Samsung has fixed those problems – with a much-too-late software update for the Note 10.1, and from the getgo on the 8.0. This device is smooth, fast, powerful, and consistent no matter what it's doing. It surely doesn't hurt that the Note 8.0 is runs a more recent version of Android — 4.1.2 Jelly Bean — and a more powerful 1.6GHz quad-core Exynos processor, either. (This is basically the same spec sheet as the Note II, which is something to be happy about.) But the Note 10.1's development over time makes it abundantly clear that with Android, it's all about the software, and if you're going to customize the software you'd better do it well. After swinging and missing pretty badly, Samsung finally figured it out.
Mostly, anyway. I still can't stand the incessant bloops and ripples that make up the Nature UX, or Samsung's constant instructions — if I'm told one more time to tilt to scroll the browser, I'll lose my mind. (That's the fastest I've ever checked the "Don't show me this again" box, ever.) Almost every action involves some strange sound effect — they can mostly be turned off, but it's a pain, and in all likelihood that terrible chirping noise is going to end up being your notification sound as well. I muted my Note 8.0 early and resolutely, and I'm a happier person for it.
I also can't stand that so many of Google's apps are replaced by Samsung's universally inferior versions, like the hideous S Planner and Music Player. I'd hold out hope that Samsung will make like HTC and begin to scale back its overbearing Android customizations, but the company appears clearly headed the other way — it's creating a "Samsung experience" that is completely separate from what Google offers.
There are a lot of apps and services involved in that "Samsung experience," most of which I don't particularly care for. There's the Samsung Apps app, which exists for reasons beyond my understanding, as well as apps actually called Screen Saver and Samsung Cares Video. S Voice demotes the much more useful Google Now, the Hub apps are mostly just ersatz Play Store competitors — I just wish Samsung would tone it all down a bit. I do like the Peel app, which works as a visual TV Guide and integrates with the IR blaster to let you control your TV and cable box; the new WatchOn app gives you some useful search and discovery features to help you find stuff to watch. If only Samsung had kept the international Note 8.0's ability to make phone calls, I might say the good outweighs the bad, but as is it's a close call.
When the Note 8.0's battery first died on me, I thought I had done something wrong – it couldn't have died after only a day and a night of mostly sitting in its box, not when my iPad mini and Nexus 7 both last the better part of a week. Even now, I'm still a little confused. I got about 36 hours of use when I used it heavily, including one roughly six-hour stretch when I never put it down, which is solid longevity for any tablet. But even when I used it much less, it only lasted about two days. On the Verge Battery Test, which cycles through a series of popular websites and high-res images with brightness set to 65 percent, it lasted just about six hours, which would be a great score for a cellphone but for a tablet is a bit lacking. Basically, no matter how heavily you use the Note 8.0, expect somewhere between a day and a half and two days of battery from it.
A true 'lean-forward' tablet experience, if that's possible
The Note 8.0 is very much the realization of what the Note 10.1 promised: a tablet that's actually, really, truly, genuinely useful for doing things. Not a lot of things, necessarily — broader support for multitasking, or at least integration with some suite of office apps, would go a long way — but things. If productivity is what you want most from your tablet, look no further.
But as far as I can tell, most people don't buy tablets for help in getting their work done — everyone I talk to wants a tablet for reading, watching movies, getting a few things done when they don't want to open their laptop and Get Things Done, and maybe spending too much time playing Ridiculous Fishing. For all those things, there are better tablets out there: the iPad mini's app support still blows Android's out of the water (and its stylus capability is better than you think), and even though the Nexus 7 is starting to show its age it's still my favorite tablet hardware out there. Plus, we're hearing there's a much-improved Nexus 7 coming sooner rather than later.
Samsung's smartly building on the success of its tweener lineup, and has clearly found a market of people who want to do more with their devices. The Galaxy Note 8.0 is destined to be a hit for those people — despite some build quality issues and unexceptional specs, this is a very good tablet, and a uniquely capable one. But like the other Note devices, it's still a niche product. If you just want a device to read books, watch movies, and maybe answer a few emails, there are better ways to do them all than on the Note 8.0 — and whether you buy an iPad mini, a Kindle Fire HD, or a Nexus 7, you'll save a considerable chunk of change in the process.


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Whether you are just starting your dental or medical practice, considering its expansion or thinking about selling, there are often complex business issues to manage, none of which are taught in dental or medical school. Some of these issues are predictable and obvious, others are not. Seeking the help of an experienced attorney who provides a complete array of dental or medical practice transition services is advisable.
Dental and Medical Practice Transition Services
Our dental and medical practice transition services support the business aspects of your dental and medical practice through its full life cycle—from startup to succession and retirement planning. We support deliberate decision making to drive the long-term financial success of your practice and help you navigate the complex business side of dentistry. We welcome the opportunity to speak with you to discuss the specific needs of your dental practice. Call us today at 703-535-5383.
Samuel N. Klewans
Attorney at Law
Michael Skerritt
Attorney at Law


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In a decade that featured economic prosperity and carefree living, the 'roaring' 1920s is an era many people wish they had been born in.
With panoramic coastal views, a swimming pool and dating back to the 1920s, a fabulous family home in Torquay may not be able to transport you back in time but it could offer you and your family a carefree environment that would make you feel extremely prosperous indeed.
Park Range is a substantial four/five bedroom detached family residence situated at the bottom edge of Livermead with large gardens, sweeping private driveway and panoramic coastal views.
Built in the early 1920s, this substantial detached family residence sits at the bottom of Livermead within easy reach of the sea-front, railway station and many other local amenities.
The property stands in good sized gardens of nearly an acre with a sweeping private driveway leading up to a large parking area in front of a double and large single garage, lawn gardens and a swimming pool to the front offer a south-facing position and a high degree of privacy.
There is a summer house, two sheds in total and greenhouse with side footpaths on both sides around to the rear of the property with a pedestrian gate to Manscombe Road.
There are various lawned and shrub areas all being well enclosed and enjoying still wide ranging views over the surrounding area.
Internally the house benefits from gas central heating, double glazing and panoramic views almost from every window.
On the ground floor are three spacious receptions rooms with two benefiting from open fires, a kitchen and breakfast room with separate utility room, two downstairs cloakroom and WCs and a sun lounge/conservatory.
On the first floor are four double bedrooms all having a double aspect with the master bedroom having a triple aspect with an en-suite bathroom off and all enjoying extensive views from the harbour-side along to Brixham and Paignton, offering a south-easterly position.
In addition is a family bathroom with bath and separate shower as well as a dressing room.
On the second floor is a large games room with access to eaves of the roof on three sides and a dormer window again enjoying the sweeping views over the surrounding area.
Park Grange at No.1 Broadpark Road, Livermead, Torquay is on sale with an asking price of £1,250,000.
To find out more or arrange a viewing, call Woods:Bryce Baker Torquay on 01803 315770.
Agents Note: Declarable interest - The Vendor of this property is related to a member of staff working for an 'Experts In Property' office/agent.
To search for more properties for sale across Devon why not visit the DevonLive.com property channel? Click here to find your new home.


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Spied: Rolls-Royce Ghost With Updated Nose
Related Video
A Rolls-Royce Ghost prototype was recently snapped wearing excellent color-matched camouflage. The photographer, however, wasn't fooled and snapped a few shots revealing what the automaker has in store for its refreshed "entry" sedan.
Most visual tweaks will take place up front. The bumper and headlights will be redone and could mimic the 2014 Wraith coupe, which was recently unveiled in Geneva. The Ghost prototype appears to have revised and more interesting headlights than the simple rectangular units on the current car. One unique design feature on the Wraith is its recessed grille, which may remain exclusive to that coupe. Additionally, the updated Ghost could sport new side view mirrors and get new wheel designs. Out back, the changes are subtle and slightly cleaner thanks to exhaust tips that are no longer exposed.
Rolls may massage the Ghost's 6.6-liter twin-turbo V-12, currently rated at 563 hp and 575 lb-ft of torque. Though power output will be increased, don't expect it to exceed that of the Wraith, which shares the Ghost's powertrain but makes 624 hp and 590 lb-ft. We last tested a Ghost back in 2010 when the 5381-pound sedan needed 4.3 seconds to go from 0-60 mph.
The Ghost's opulent interior is already offered with a dizzying amount of color schemes, upholstery, and accent choices so we don't anticipate drastic changes inside. The infotainment system will likely get an update. That said, expect the refreshed Ghost to make its official public appear at an upcoming auto show, possibly at Frankfurt or Paris, both of which are scheduled for this fall.
Photo Source: CarPix
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Women's Lacrosse Closes Season with a Win: Raiders Defeat Holy Cross and Celebrate Seniors
May 4, 2017
The Colgate women's lacrosse team hosted the Holy Cross Crusaders this weekend for their last home game of the season, honoring the careers of seniors, Isabel Kreitler and Sarah Bowles, as they clutched one final win to close out the season.
On Saturday, April 29, the Raiders battled the Crusaders to an 11-8 victory. With her second goal of the season, first-year attack Kate Kelly provided an important goal for the Raiders, netting one right off the bench. Despite Holy Cross scoring two of the first three goals of the game for a temporary lead of 2-1, the Raiders quickly retaliated by scoring three goals in a span of about four minutes to take a 4-2 lead. They held onto the lead for the remainder of the game. Maintaining momentum, junior attack Kristen Brigagliano recorded a hat trick in the first half of the game to help jump-start the Raiders' offense.
After Holy Cross' Mary Patalita scored with 12:04 minutes left in the first half, Brigagliano scored once again to complete her hat trick – scoring all three of her goals in a span of 5:20 minutes during the first half of the competition. This three-goal output tied her career-high for the third time this season. First-year attack Lindsey West also netted a hat trick during the game for the second time in her career. Kelly's goal came with 9:14 minutes left in the first half, giving the Raiders a three-goal lead, before Patalita recorded a hat trick of her own to bring the Crusaders back within two goals before halftime.
After the halftime break, the Raiders took the field full of confidence. West opened up the half with a goal for the Raiders, but the Crusaders quickly responded with two goals, making the competition a one goal game with just 15:21 minutes left in the second half. Just two minutes later, West notched her hat-trick off of a free-position goal, which was immediately followed by junior midfielder Hayley O'Hanlon's first goal of the game just 25 seconds later. Notably, the Colgate seniors Kreitler and Bowles each had remarkable plays that helped facilitate the Raiders victory. Kreitler recorded a pair of goals and five draw controls while Bowles tailed four caused turnovers and three groundballs in a solid defensive effort. With Kreitler's two goals and a final goal from O'Hanlon, the Raiders were able to clinch an 11-8 victory to close their season against the Crusaders.
"The Holy Cross game was our Senior Day, and winning the game was a great way to celebrate our two amazing seniors, Isabel Kreitler and Sarah Bowles" junior defender Kelly Haberl said.
"Although our season did not go the way we had hoped, we finished really strong. From the big upset last weekend to our win over HC on Saturday, we finally put together a full 60 mins and proved to ourselves and the Patriot League that we can play to a high level and that our record is not a good indicator of our talent," sophomore midfielder Charlotte Redican said.
Despite not qualifying for the Patriot League Tournament, the women's lacrosse team fought hard throughout their season, winning their last two games, which ultimately culminated in an overall record of 6-9. The team moves on to next year with strong potential and a positive outlook.


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Galatea [gal-eh-TEE-eh] lies 37,200 kilometers (23,100 miles) from Neptune. It has a diameter of 180 kilometers (110 miles) and completes an orbit in 10 hours, 18 minutes. It is irregularly shaped and shows no sign of any geological modification. Galatea circles the planet in the same direction as Neptune rotates, and remains close to Neptune's equatorial plane. The above image is smeared so that Galatea appears highly elongated.
Galatea Statistics
Discovered by Voyager 2
Date of discovery 1989
Mass (kg) ?
Equatorial radius (km) 79
Equatorial radius (Earth = 1) 1.2386e-02
Mean density (gm/cm^3) ?
Mean distance from Neptune (km) 62,000
Rotational period (days) ?
Orbital period (days) 0.428745
Mean orbital velocity (km/sec) 10.52
Orbital eccentricity 0.0001
Orbital inclination (degrees) 0.05
Visual geometric albedo 0.06
Magnitude (Vo) 22.3
Neptune Despina Larissa
Copyright © 1997-2000 by Calvin J. Hamilton. All rights reserved. Privacy Statement.


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Term first used in 1941 by the Belgian critic Paul Fierens to describe the style of painting of an informal group of artists active in and around Brussels (Brabant province), c. 1910–23. Its founder-members included Fernand Schirren, Louis Thévenet, Willem Paerels (1878–1962), Charles Dehoy and Auguste Oleffe, who had already been grouped together in Le Labeur art society, founded in 1898. When, in 1906, Oleffe moved to Auderghem, his house became an established meeting-place, and Edgard Tytgat, Jean Brusselmans, Anne-Pierre de Kat (1881–1968) and the most prominent member of the group Rik Wouters became associated. The first exhibition of the work of those who were later called the Brabant Fauvists was held at the Galerie Giroux in Brussels in 1912. Inspired by a variety of directions within Impressionism, the group rejected Symbolism and was heavily influenced by James Ensor. They sought to express themselves through a clear visual language, with pure glowing colours and precise composition. They chose simple subjects, such as still-lifes, harmonious landscapes and scenes from everyday life executed in a painterly manner with spontaneous, expressive brushstrokes, for example ...
Els Maréchal
Lewis Kachur
(b Argenteuil-sur-Seine, Seine-et-Oise, May 13, 1882; d Paris, Aug 31, 1963).
French painter, collagist, draughtsman, printmaker and sculptor. His most important contribution to the history of art was his role in the development of what became known as Cubism. In this Braque's work is intertwined with that of his collaborator Pablo Picasso, especially from 1908 to 1912. For a long time it was impossible to distinguish their respective contributions to Cubism, for example in the development of Collage, while Picasso's fame and notoriety overshadowed the quiet life of Braque.
His family moved in 1890 to Le Havre, where his father had a painting and decorating business. In 1897 Braque entered the municipal art school, where he met and became friendly with Othon Friesz and Raoul Dufy. He joined them in Paris at the turn of the century and, after a year of army service, settled in Montmartre in 1902. He began to visit the Musée du Louvre, where he encountered van Gogh's work, and that October he began to study at the Académie Humbert, where his fellow students included Francis Picabia and Marie Laurencin. The following year he studied briefly with ...
Vanina Costa
(b Marseille, Sept 23, 1879; d Paris, May 20, 1965).
French painter. After the death of his father, he was brought up by his mother alone, whose endless travels seem to have affected his studies. At 16 he simultaneously enrolled at the Ecole des Beaux-Arts, Marseille, which he attended in the morning, and at the Ecole de Commerce. After winning a prize for drawing, he was encouraged by his mother to enter Gustave Moreau's studio at the Ecole des Beaux-Arts in Paris, which he did in May 1898, shortly before Moreau's death. Although he barely had time to derive any benefit from Moreau's teaching, he formed several lasting friendships among fellow students later associated with Fauvism: Manguin, Puy, Rouault, Matisse and especially Marquet, with whose work his own shows marked affinities.
After Moreau's death, when Camoin's fellow students enrolled in other studios or private art schools, he worked alone or else with Marquet in the streets of Paris during the few hours that Marquet was not at the Académie Carrière. Camoin's portrait of ...
Matthew Gale
(b Florence, Oct 16, 1900; d Fiesole, Nov 13, 1988).
Italian painter. A child prodigy, he published music and exhibited paintings at the age of 13, and met Umberto Boccioni and Ardengo Soffici. He produced Fauvist works (e.g. Self-portrait in a Bathing Robe, 1915; Fiesole, Fond. Primo Conti) before forming a wartime Florentine Futurist group with Achille Lega (1899–1934) and Ottone Rosai. His dynamic paintings, such as Refugees at the Station (1918; Fiesole, Fond. Primo Conti), coincided with contributions to L'Italia futurista, of which he became editor before being called up in 1918. After World War I, Conti's shifting interests were reflected in his periodicals Il centone (1919; edited with Corrado Pavolini (b 1898)) and L'enciclopedia (1920–23). He met Filippo de Pisis and developed a mysterious realism influenced by Pittura Metafisica, although it was the contemporary treatment of his Rape of the Sabines (1925; priv. col.; see 1980–81 exh. cat., p. 179) that caused controversy at the Rome Biennale of ...
Ronald Alley
(b Bulle, Switzerland, April 24, 1878; d Paris, Jan 30, 1958).
French painter of Swiss birth. From 1901 he spent almost all his life in Paris, studying there at the Académie Julian. His early work was influenced first by Impressionism, then by Fauvism and Art Nouveau, and included a number of rhythmically stylized female heads in pastel colours, followed from c. 1910 by a more strongly constructed Cubist phase. He spent two years in New York (1914–16), where he met (Henri-Robert-)Marcel Duchamp—whose sister Suzanne Duchamp he married in 1919—and Francis Picabia, and became involved in the Dada movement until 1921; his Dada paintings and reliefs are delicate and poetic and often combine the forms of objects, such as mechanical instruments, with words and typography, as in his portrait of Thomas Edison (1920; London, Tate).
In the 1920s, seeking to create a visionary art that would transport the artist and viewer into unknown worlds expressive of the aspirations of the soul, Crotti began to produce pictures in a variety of styles, sometimes completely abstract, like ...
Jane Lee
(b Chatou, nr Paris, June 17, 1880; d Garches, Sept 8, 1954).
French painter, sculptor, illustrator, stage designer and collector. He was a leading exponent of Fauvism. In early 1908 he destroyed most of his work to concentrate on tightly constructed landscape paintings, which were a subtle investigation of the work of Cézanne. After World War I his work became more classical, influenced by the work of such artists as Camille Corot. In his sculpture he drew upon his knowledge and collection of non-Western art.
Derain abandoned his engineering studies in 1898 to become a painter and attended the Académie Carrière. He also sketched in the Musée du Louvre and painted on the banks of the Seine. On a visit to the Louvre in 1899 he met the painter Georges Florentin Linaret (1878–1905), who had been his companion at school, and who was copying Uccello in an extraordinary manner; he was studying under Gustave Moreau and later introduced Derain to a fellow pupil, Henri Matisse. Derain's painting was already influenced by the work of Cézanne, and in ...
Richard Cork
(b Gravesend, Kent, 1885; d London, Aug 29, 1939).
English painter and illustrator. She studied at the Slade School, London, in 1902–3, then trained under Max Bohm at Etaples and in 1910–13 at La Palette, Paris, under Jean Metzinger, John Duncan Fergusson and Dunoyer de Segonzac. As a result she developed a Fauvist style using rich impastos. She contributed several brusquely simplified illustrations to Rhythm magazine during 1911 and exhibited Fauvist canvases at the Allied Artists' Association in 1912 and 1913. She exhibited with S. J. Peploe and Fergusson at the Stafford Gallery in 1912, but an encounter with Wyndham Lewis the following year led to a dramatic change in her work. By spring 1914 she had become an enthusiastic member of the Rebel Art Centre, and her name appeared on the list of signatures at the end of the Vorticist manifesto in the first issue of Blast magazine (1914).
Little survives of Dismorr's Vorticist work, but her illustrations in ...
Anneke E. Wijnbeek
(b Delfshaven, nr Rotterdam, Jan 26, 1877; d Monte Carlo, May 28, 1968).
French painter and printmaker of Dutch birth. He took evening classes in geometric drawing from 1892 to 1897 at the Akademie voor Beeldende Kunsten in Rotterdam. In 1895 he began working intermittently for the newspaper Rotterdamsche Nieuwsblad, for which he made, among other things, a series of bright watercolour drawings of Rotterdam's red-light district and illustrations of Queen Wilhelmina's coronation. Van Dongen's first paintings used dark tones in imitation of Rembrandt, who remained the most important model for his work; his later book on Rembrandt was, in fact, a projection of his own life. By the mid-1890s he was using more vivid contrasts of black and white, for example in Spotted Chimera (1895; priv. col., see Chaumeil, pl. 1), his palette soon becoming brighter and his line more animated. In Le Muet Windmill (1896; priv. col., see Chaumeil, pl. 7), a red ochre monochrome painting, he successfully enlivened the colour by means of broad, energetic brushstrokes....
Dora Pérez-Tibi
(b Le Havre, June 3, 1877; d Forcalquier, Basses-Alpes, March 23, 1953).
French painter, printmaker and decorative artist. From the age of 14 he was employed as a book-keeper, but at the same time he developed his innate gift for drawing at evening classes at the Ecole des Beaux-Arts in Le Havre,given by the Neo-classical painter Charles Lhuillier (?1824–98). He discovered the work of Eugène Boudin, Poussin and Delacroix, whose Justice of Trajan (1840; Rouen, Mus. B.-A.) was 'a revelation and certainly one of the most violent impressions' of his life (Lassaigne, Eng. trans., p. 16). In 1900, with a grant from Le Havre, he joined his friend Othon Friesz in Paris and enrolled at the Ecole Nationale Supérieure des Beaux-Arts in the studio of Léon Bonnat. At the Musée du Louvre he studied the art of Claude Lorrain, to whom he painted several Homages between 1927 and 1947 (e.g. 1927; Nice, Mus. Masséna). His encounter with works by van Gogh at the Galerie Bernheim-Jeune and with Impressionism at Durand-Ruel is reflected in such early works as ...
Dora Pérez-Tibi
Movement in French painting from c. 1898 to 1906 characterized by a violence of colours, often applied unmixed from commercially produced tubes of paint in broad flat areas, by a spontaneity and even roughness of execution and by a bold sense of surface design. It was the first of a succession of avant-garde movements in 20th-century art and was influential on near-contemporary and later trends such as Expressionism, Orphism and the development of abstract art.
The term derives from the word 'fauves', used in a review by the critic Louis Vauxcelles (Gil Blas, 17 Oct 1905) of the room at the 1905 Salon d'Automne where the incongruity of an Italianate bust by Albert Marque, portrait of Jean Baignères (1905; France, priv. col.; see 1976 exh. cat., p. 44), surrounded by exuberantly coloured paintings by Henri Matisse, André Derain, Maurice de Vlaminck and others seemed to him like placing 'Donatello parmi les fauves'. As with other names of 20th-century movements, the label was thus pejorative in origin, in this case reflecting not only violently hostile critical reaction but also the incomprehension of the general public. Nevertheless, the painters to whom it was applied, not a consciously defined group but a loose association linked in certain cases by friendship, defiantly accepted the term as one appropriate to the violence with which they overturned academic conventions....
Tom Parsons
(b Le Havre, Feb 6, 1879; d Paris, Jan 10, 1949).
French painter. He began his training in Le Havre in 1896 under the enlightened teaching of the French painter Charles Lhuillier (1824–99) and continued in Paris under Léon Bonnat until 1904 at the Ecole des Beaux-Arts. In 1903, however, he decided against an academic career and started showing his work at the Salon des Indépendants and, from 1904, at the Salon d'Automne. At this stage he was working in an Impressionist style (for illustration see Le Havre). Following the emergence of Fauvism at the infamous Salon d'Automne of 1905 and a painting trip with Georges Braque to Antwerp in 1906, he adopted the bright, anti-naturalistic palette of the Fauves, for example in his Fernand Fleuret (1907; Paris, Pompidou). He became closely associated with Matisse, renting a studio in the same building as him in Paris from 1905 to 1908. In the summer of 1907, however, painting with Braque in La Ciotat, in the Midi, Friesz began to turn to the example of Cézanne, seeking to emphasize a strong sense of pictorial construction that he felt had been sacrificed to Fauvism's colouristic excesses. The Arcadian subject-matter of much of his subsequent work up to ...
Jacqueline Stare
(b Stockholm, Sept 2, 1888; d nr Oslo, May 22, 1946).
Swedish painter, stage designer and teacher. He studied at the Konstnärförbund school in Stockholm (1905–8), then travelled to Paris and studied at Matisse's school (1908–11). He was a member of the Young Ones group. In 1911 he married Sigrid Hjertén. Grünewald was greatly influenced by Matisse between 1910 and 1920, and Fauvism was generally important to him. His prize-winning design (1912–14) for decorating the Register Office of Stockholm Town Hall was purely Fauvist, and he was forbidden to execute the project. This French influence can be seen in Ivan in the Armchair (1915; Stockholm, Mod. Mus.). Cézanne's paintings also had an early significance for him. In 1915 he exhibited together with his wife at the Sturm-Galerie in Berlin. Grünewald carried out the first of many stage designs for a production of Samson and Delilah at the Kungliga Teater, Stockholm, in 1921. He was a sought-after decorator during the 1920s and worked in a classical spirit. He was also an able portrait painter and illustrator, e.g. ...
Marisa J. Pascucci
(b Belostok, Russia [now Białystok, Poland], Dec 25, 1884; d Detroit, MI, April 5, 1930).
American painter of Russian birth. Halpert arrived in New York City as a child in 1889 and grew up on the Lower East Side with other Eastern European Jewish immigrants. He spent most of his life studying independently and working in New York City and Paris. He was married to Edith Gregor Halpert, owner and director of Downtown Gallery, which played a major role in the rise of modern art in the United States.
Halpert's artistic training began in 1899 with studying and working for his tuition at the Educational Alliance and National Academy of Design, where he met his first artistic mentors Jacob Epstein, Henry McBride (1867–1962) and J. Carroll Beckwith (1852–1917). In 1902 he made his first visit to Paris, sponsored with funds raised by Beckwith, staying until 1905 and studying first at the Ecole des Beaux-Arts then at the less restrictive Académie Julian. He ultimately left the structured learning environment all together to learn independently from contemporary artists working in Paris, such as the Impressionists ...
Akira Tatehata
(b Kyoto, May 6, 1928).
Japanese painter. After graduating from Musashi High School he painted impastoed figurative works in a Fauvist style. He went to France in 1952 and in 1955 met the French critic Michel Tapié (1909–87). His style underwent a dramatic change to Art informel. His paintings in the late 1950s were aggressively and intensely textured, with vivid colours of red, yellow and black, and a fierce sense of vibration over the entire pictorial surface. However, the grounds of the paintings had the serenely beautiful texture of Chinese porcelain. This East Asian sensibility confirmed Imai's importance for the Art informel artists, who were searching for an alternative aesthetic to that of Western modernity. Imai was also an influential activist and after visiting Japan in 1957 with Tapié, Sam Francis and Georges Mathieu, helped to arouse interest in Art informel in Japan. His flamboyant gestural paintings of the 1960s were mainly red, with thickly applied paint and dripping lines running in spiral and radial directions. From the 1970s he moved between Japan and Paris. He began to include words in his ...
Vanina Costa
(b Paris, March 23, 1874; d St Tropez, Sept 25, 1949).
French painter. He studied under Gustave Moreau at the Ecole des Beaux-Arts in Paris from late 1894, befriending his fellow students Albert Marquet, Henri Matisse, Jean Puy and Georges Rouault, who were among those later to be labelled the Fauves (see Fauvism) when they exhibited together at the Salon d'Automne in 1905. Manguin's Nude in the Studio (1903; Canada, priv. col., see L. Manguin and C. Manguin, p. 67), in its rejection of local colour, conspicuously broken brushstroke and subversion of traditional perspective, is an early example of his Fauvist style, which was considerably less revolutionary than that of Matisse or Maurice de Vlaminck. The picture is, however, given a personal twist by Manguin's unusual framing devices and ambiguous space, for example in his use of a theoretically impossible reflection in a mirror to produce a picture within a picture. The disjunction that was noted at the time by Guillaume Apollinaire between Manguin's use of heightened, unnaturalistic colour and straightforward, almost academic drawing style is evident in a ...
Mária Szobor-Bernáth
(b Budapest, Nov 30, 1878; d Budapest, Dec 3, 1959).
Hungarian painter. He studied in Paris at the Académie Julian and the Ecole des Beaux-Arts between 1902 and 1904. In 1906 he exhibited at the Salon d'Automne. He was influenced by Fauvism and especially by Matisse. In 1907 he returned to Hungary, where he became a member of Eight, the and exhibited with them from 1909 until they disbanded in 1912. During this period his paintings emphasize the structural components of the composition. In certain pictures, for example the Old Customs at Vác (c. 1910; Budapest, N.G.), thick contours delimit balanced forms; in others (e.g. Constructivist Self-portrait, c. 1914; Budapest, N.G.), the same contours become lines of force dividing the composition into turbulent surfaces. The early paintings Forest Path and Green Room (both 1910; Budapest, N.G.) show the influence of both Cézanne and van Gogh, respectively. From 1919 Márffy responded to Post-Impressionism and the Ecole de Paris, developing his own style only in the 1930s, when he abandoned painting from direct observation. He used sensuous opal colours that blur the content, but he retained a strict compositional formula, as in ...
Jean Selz
(b Bordeaux, March 26, 1875; d Paris, June 14, 1947).
French painter and draughtsman. In 1890 he was taken by his family to live in Paris so that he could study drawing at the Ecole Nationale Supérieure des Arts Décoratifs. There he met Henri Matisse, with whom he formed a lasting friendship and with whom he studied from 1894 to 1898 at the Ecole des Beaux-Arts under Gustave Moreau. In the Louvre, Marquet made copies after Poussin, Velázquez, Claude Lorrain and particularly Chardin, of whose House of Cards he produced copies in 1894 and 1904 (Montmédy, Mus. Bastien-Lepage, holds what is considered the later of the two).
Tentative early works by Marquet such as Portrait of the Artist's Mother (1894; San Francisco, priv. col., see 1988 exh. cat., no. 1), suggesting the influence of Fantin-Latour, were soon succeeded by landscape paintings such as Parisian Suburb (1897; Besançon, Mus. B.-A. & Archéol.), in which he began to simplify the subject into broad areas of colour. ...
Nicholas Watkins
(Emile Benoît)
(b Le Cateau-Cambrésis [now Le Cateau], nr Cambrai, Picardy, Dec 31, 1869; d Nice, Nov 3, 1954).
French painter, draughtsman, sculptor, printmaker, designer and writer. He came to art comparatively late in life and made his reputation as the principal protagonist of Fauvism, the first avant-garde movement at the turn of the century. He went on to develop a monumental decorative art, which was innovative both in its treatment of the human figure and in the constructive and expressive role accorded to colour. His long career culminated in a highly original series of works made of paper cut-outs, which confirmed his reputation, with Picasso, as one of the major artists of the 20th century.
Matisse was born in his grandparents' home and grew up in the neighbouring village of Bohain-en-Vermandois, where his father's general store had developed into a grain business. He worked first as a solicitor's clerk in the local town of Saint-Quentin before taking a degree in law in Paris from October 1887 to August 1889, without apparently showing the slightest interest in art; on returning home he resumed work as a solicitor's clerk. Bored by the routine of office life, he attended drawing classes at the Ecole Quentin Latour before going to work....
James Flath
[Chin.: "New Year pictures"]
Genre of popular woodblock prints known for their bold colors and folkloric content. Prior to the mid-20th century these prints were widely used throughout China to decorate the home, as calendars, and to conduct domestic rituals in advance of the lunar New Year festival.
The most common production method for nianhua uses three to five relief printing blocks. In this technique an outline block is used to print an image in monochrome, and additional blocks are then used to apply individual colors. Finally the prints may be touched up by hand. In some examples all colors are applied using brushes. The subject matter of nianhua is diverse. Although the variety of gods appearing in nianhua is virtually unlimited, domestic deities such as the Stove God, Door God, and the God of Wealth are common. The image of the Stove God in particular was believed to embody the deity and protect the household. The act of burning the print at the end of the year was traditionally intended to send the deity to Heaven, and its subsequent replacement was to welcome him back to the home. Themes of wealth, good fortune, and scholarly success leading to official promotion are popular, as are images relating to fertility and the birth of male children. Narratives scenes drawn from historical classics and the theater are among the most widely produced items in the genre. More rarely, ...
Caroline Boyle-Turner
Term applied to the reaction against Impressionism led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, and Georges Seurat. It can be roughly dated from 1886, the year of the last Impressionist exhibition, to c. 1905, when Fauvism appeared and the first moves towards Cubism were made. While it was predominantly a French movement, there were related developments in other countries, which often occurred somewhat later. Post-Impressionism can be loosely defined as a rejection of the Impressionists' concern for the naturalistic depiction of light and colour in favour of an emphasis on abstract qualities or symbolic content. It therefore includes Neo-Impressionism, Symbolism, Cloisonnism, Synthetism, and the later work of some Impressionists. The term was coined in 1910 by the English critic and painter Roger Fry for an exhibition of late 19th-century French painting, drawing, and sculpture that he organized at the Grafton Galleries in London.
After considering more substantive terms such as 'expressionism', Fry settled on 'Post-Impressionism' for the title of the exhibition at the Grafton Galleries in ...


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Sunday 10th June 2012 open Lookout
Conditions:- Mostly cloudy, ambient temp 12 deg, wind NW5 mph, barometer 1008.1mb moon phase waning crescent, Water temp 15.4 deg, DO 5.8 , PH 7.63, MV –41
1st Neil Brown 46lb peg 13
2nd Dave Pearson 44lb 3oz peg 5
3rd Ricky Bennett 37lb 15oz peg 24
4th John Foster 37lb 10oz peg 25
5th Graham Skirrey 33lb peg 29
6th Dave Jackson 31lb 14oz peg 6
Saturday 9th June 2012 open Bowes
Conditions:- Rain and Showers then overcast, ambient temp 16 deg, wind N 8 mph, barometer 1008.9 mb, moon phase waning gibbous, PH7.61, DO 5.76, Water temp 14.6 deg, mv –36
1st Jonny Maven 50lb 10ox peg 2
2nd Chris Pine 44lb 13oz peg 22
3rd Dave Pearson 44lb 1oz peg 4
4th Colin Pine 40lb 7oz peg 40
5th Alan Nc Guire 28lb 1oz peg 36
6th Ben Huggins 21lb 9oz peg 17
Wed 6th June 2012 open Bowes another TON UP!!!!!!
Conditions:- mostly cloudy, ambient temp 15, wind W 13mph, low barometer 996.6mb, moon phase waning gibbous, water temp 13.9 deg, ph 7.65, DO8.95, mv –55
1st Alan Mc Guire 114lb 5oz peg 40
2nd Jonny Maven jnr 74lb 3oz peg 4
3rd John Foster 67lb 10oz peg 36
4th Kim Christie 48lb 07oz peg 24
5th Alister Morris jnr 17lb 10oz peg 22
6th John Dryden 14lb 13oz peg 2
Terry Collins from Ashington had a great session on Lookout on peg 13 with over 27 carp to 10lb, 16 Ide and Orfe over 2lb, 4 bream to 6lb, and 17 tench to 5lb, he used worm tipped with caster, paste and pellet.
Young Jack Fields 11yrs old from Washington fishing with his uncle John caught steady on pellet and paste for carp and maggot for silvers, caught a 8lb 10oz bream on peg 16 on Bowes and also he caught his P B carp of 17lb 6oz a common.
We had a series of Coaching sessions on Bassetts for a Scout group who all managed to get their Angling Badges well done to the 8th Tynemouth Scout Group who did very well and the most fish caught by a scout in a session was 53 on Saturday their final session, so now we have another group of youngsters coming into fishing.
Sunday 10th June 2012 open Lookout


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The most compelling story he ever told me was this one:
For several years, my father, his father, and his little brother survived by hiding in the dense forests surrounding the small village in Poland where he was born.
One day, my dad went into the village to steal some bread so they would not starve.
As he was leaving the village, a young man from my dad's village - now a soldier with a gun - saw my dad with the stolen bread and stopped him.
This young man, this soldier, could have killed my father, or at the very least arrested him and sent him to a concentration camp. But he did not.
My dad knew this young man. They grew up together in the same small village.
My father looked into the young soldier's eyes and said - with great passion - "Remember who you are!"
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If you have any technical difficulties accessing the Course or the Classes, I would be very grateful to receive your feedback. You can contact me at this email address, or use the Contact form at Metaphysics for Life.
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Heartcompass Enterprises
Metaphysics for Life
Foundation for Creating A Mind With Heart
Go To: "The Missing Piece: Creating A Mind With Heart" to enroll now.
NEW PAGE at METAPHYSICS FOR LIFE - MIND WITH HEART
A Mind With Heart is connected to Source, and gives substance to your life experience with Love-based Truth.
When you connect to SOURCE you are connecting to Infinite Intelligence, Inner Wisdom, Inner Guidance, the Universe, Your Higher Self, God - yes, I said God.
All of this is WHO YOU REALLY ARE.
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Wednesday, June 26, 2013
All you need is gum... and a whole bunch of love
Upon closer inspection, I found out why... a small dot of red began to bloom. Then seep, And drip.
Aw, crap.
We removed it ASAP and I gave up on any chance of her wanting another one any time soon. We've been having some problem areas and I've been depending on the CGM to help us pinpoint exactly what is going on.
I came downstairs after nursing Lucas when Elise ran up to me and said, "I'm ready to try again!"
So we did... this time it went just fine. I looked at Elise and told her that I was so proud and amazed by her bravery.
She hugged me and said, "Oh thank you Mama! All you really need is some gum. And a whole bunch of love. Thank you for giving me both."
Swoon... I love that girl.
*we always give her gum to chew during pod changes and CGM insertions. She swears it takes away the pain.
8 comments:
We just had our pre-pump class today. Please tell Elise that I will definitley give Andrew some gum when he gets his 1st insertion. Thanks Elise!!!!!!!!!ReplyDelete
What a trooper!ReplyDelete
I've had similar experiences. Every once in a while those suckers hurt bad. Thankfully, most of them are comfortable and pretty painless.
Please give her a huge *high-five* from me. :-)
What a brave girl! I'm impressed :) I'll pass the gum suggestion along to my little patients -- thank you both for the tip!ReplyDelete
- AnonymousJune 26, 2013 at 3:55 PM
I had one that hurt today but I pushed it on in, and luckily had no bleeding.ReplyDelete
Sometimes it's easy-peasy, sometimes it really, really hurts.
Hugs for Elise and you!
Who knew that gum could be a pain reliever! She sure is growing into one beautiful girl with a great big heart...just like her Momma! xoxoReplyDelete
Oh, so sweet :). Haven't experienced a painful one yet in the almost 6 months of use. I guess our turn's probably coming up for that. I'll keep the gum in my bag of tricks !ReplyDelete
I hate those bleeding sites, they freak me out, although I know they're really no worse than the rest, it's just alarming to see all that blood over one poke.ReplyDelete
Gum to the rescue! And love, too - she is so cute and brave :)
Huh - Gum. Who woulda thunk. Now the love - well you certainly aren't short of that.ReplyDelete
Beautiful little child you have. So brave, so strong, so absolutely wonderful.
Comment moderation now in effect because of jerky comment spammers.
Now please leave your message after the beep.


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Carsten Stormer, a war photographer, was a man born out of place, and has spent most of his life rushing between peace and peril, trying to find out where he should be: hence the title of his memoir, "To The Front and Back, Please: tales from the world's frontlines" Born in Munich, with a metabolism set not for routine office life but adventure, he tried life first as a seafarer, and then took his camera to document conflicts in eight of the world's most daunting theatres, from Iraq to Afghanistan to Burma. In the course of his odyssey from 2004 onwards, which lasts him the best part of a decades, he evolves from a young man simply seeking his place in the world into someone wiser, regretful and yet somehow more grateful for all that he has. Stormer's main initial motive, which is to find thrills beyond anything his life back home could promise, quickly gives way to a desire, perhaps even a need, to document the incessant horrors that he sees around him. Whilst he takes image after image in warzone after warzone, there is always a sense that he is fighting one of the greatest enemies of all, which is the invisibility of suffering; the ease with which countless murders and other brutal acts occur in the darkness, away from public scrutiny.
The greatest strength of Stormer's book is that, like the best photographers, he knows when to step back and allow images from the lives of others to tell the story. The people he meets during his journey are scarred by unfathomable loss; people such as Mohammed, the boy from Darfur who returned from collecting firewood to find that his home had been torn apart by Government forces, and most of his family slaughtered. As Mohammed pursues revenge, Stormer accompanies him, his sense of futility growing all the while. As the author wades through this monotony of horror, he remains keenly aware – and often guilty – about his supreme privilege, the right to leave any of this at any time; whilst Mohammed and others sink further into the spirals of retribution, Stormer is free to come and go, a scenario about which he increasingly feels uneasy.
At the same time, he is also unsettled by the strength of spirit that he sees in the survivors. "I couldn't believe how quietly and calmly some of the men told their stories," he writes. "I wanted to see fury, grief, despair, all the feelings one associates with great suffering. I couldn't comprehend how they could take it all so lightly." In the very next paragraph, he answers his own question, noting that "It wasn't until later that I realized that life went on for them simply because it had to. They started each new day from scratch. They didn't carry their anger and grief forward from one day to the next, as to do so would change nothing. The only option they had was to adapt themselves to their fate. They possessed nothing, they put up with everything. Laughter can't make you forget things which have happened, but it does make them more bearable because it's full of humanity."
This growing awareness stays with Stormer as he moves through Congo, Iraq and Somalia, and it is in the latter place that the book sees one of its most moving moments; when MMK, the handler who routinely guides Stormer away from danger, is found dead, having been gunned down by unknown assailants. As Stormer notes, "it would have been impossible for me to operate in Mogadishu without the help of MMK. He provided my board and lodging, arranged safe conduct through a lawless city, persuaded people to give interviews, enabled me to visit refugee camps. In the course of lengthy conversations he explained a great deal about the fate of his country, a land forgotten by the world. He was not obliged to do all this; it was just the way he was. "We've got to help our friends in the outside world," he always used to say, "even if the world forgets us."
MMK, and others like him, should not be forgotten; and "To The Front and Back, Please" is a vital and vibrant attempt in that respect. Indeed, MMK's mantra when asked about life in Mogadishu – "Some days are good, some bad" – could easily have worked as an alternative title for this book, as Stormer makes his frequently bemused and outraged way through encounters with implacable warlords and infuriating UN bureaucrats. Stormer avoids the temptation, all too common in works of this nature, to go for the simplistic Western happy ending; as he comes to the close of this impressively insightful work, he chooses to focus upon the life of a girl he cannot save. Bailyn, a Muslim who is shot by the Philippine army, dies in his arms, and he is powerless to find medical care for her; a direct inversion of so many of the saviour narratives that litter this literary field, as Stormer goes on to question the systemic failures that allow those such as Bailyn to perish so cruelly and needlessly. He ends by counting his blessings at having emerged mostly unscathed, and, crucially, still with the vigour to amplify the stories of those whose perilous lives he has witnessed in passing.
This book is a coming of age; somewhere in there, too, there is a call to action. We are so saturated with apathy, overwhelmed by tales of conflict; the reason that people get away with so many terrible acts is that they commit horrors so vast as to be almost unimaginable. Where Stormer succeeds is in making that horror human, relatable, and uncomfortably close: he makes it real, and he therefore allows us grow angry, fuelling the moral fury that is behind so much effective political progress. And, for that, we can thank him.


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As the old adage cautions to never read your own press, we invite you to read what people are saying about Holiday Sitters on our behalf. Articles and other mentions follow.
For all press inquiries, please find our press kit and contact info below. We are happy to assist in any way we can to tell our story and help families find sitters who feel like family.
In the Media
16 March 2016
"Holiday Sitters: More Than a Childcare Service"
28 June 2016
"The Mamas Recommend: Holiday Sitters"
10 February 2017
"Check out these 10 global startups from Hack Osaka pitch contest"
03 October 2017
"Nieuw in toeristenstad Rotterdam: een kinderoppas in de eigen taal"
19 October 2017
"Toerist op strand, kind bij de oppas"
Press kit
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Free Service Call with RepairExact Written Estimate Before Repair is Made
Which Washing Machine Style Is Best for You?
The average washing machine lasts around 11 years, allowing for over a decade of useful life. Whether you're upgrading your current washing machine because you need a roomier unit or you want more features, a question you may run into is this: is a front-loading or top-loading washer best for you?
Both front- and top-loading washing machines have their benefits, but they each also have their drawbacks. Before you head to the appliance store to make your purchase, compare both washing machine options and loading styles so you know what style of washer is best for your needs. Always have your washing machine serviced by a professional appliance repair technician as recommended by your appliance's warranty.
Price & Budget
If cost is a factor in buying a new washing machine, then a top-loading washer may be your best option. Top-loading washing machines of most brands are cheaper than front-loading units, sometimes by several hundred dollars. More basic styles with a classic agitator and smaller loading allowances will be your cheapest options for budget-friendly purchasing.
However, if you can acquire a payment plan for a new washing machine, then a front-loading style may be best. Since front-loading washing machines use less energy overall, you'll save money in the long run throughout the unit's useful life.
Front-loading washing machines don't use an agitator to wash clothing, and top-loading units usually do. Front-loading washing machines use paddles to agitate and cleanse clothing instead. Both front- and toploading washing machines have their benefits when it comes to laundering convenience.
Since there's no agitator in place, you can put more clothes in a single load when choosing a frontloading washing machine. The unit also uses less water and detergent than a traditional washing machine does and doesn't whip and abuse washed items due to not having an agitator to tear and wear down clothing.
Two drawbacks to front loading-washing machines are these: how the units are loaded and how long washing cycles take. If you have issues with bending over or reaching, then a top-loading machine will be best for washing your clothes in. Washing cycles are also fairly long, so if you have many loads to do in a day, a front-loading machine may not be best for you.
A front-loading washing machine also requires more space in front than a top-loading unit does, so if you have a smaller laundry room or keep your units side by side, you'll have an easier time moving your clothing from a top-loading machine to a dryer than you would if you had a front-loading washer.
Overall, the front-loading washing machine is more versatile than its top-loading counterpart is, for one reason: front-loading washing machines are stackable. Smaller laundry spaces or apartment living can necessitate having washing and drying units that can be placed on top of one another, so if this is your reasoning for replacing your unit, go for a front-loading machine.
Front-loading washing machines also often come with drawers and pull-out step stools to make doing laundry easier, something traditional top-loading units typically lack. Compare several models of both front- and top-loading machines to see what size, style, and other features of a washing machine work best for you.
Both front- and top-loading washing machines – and their accompanying dryers – require regular maintenance. An issue with front-loading machines is mold or mildew buildup that leaves clothing smelling rank and unclean. However, the agitator inside a top-loading machine can become imbalanced and require professional care as well.
Maintenance on either type of washing machine is inevitable, so choose a unit that has the most washing machine options you'll use, and follow the advice of your appliance repair specialist for regular inspections and service. Our team of specialists at Art Adams Appliance Repair will keep your new front or top-loading washing machine in great condition; call us today.


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Little Ones Pray With Me Tonight - Irmgard `Aluli
Little ones pray with me tonight
|Source: Hailama Farden from "Kani ka pila! The musical legacy of Irmgard Keali`iwahinealohanohokahaopuamana Farden `Aluli." - The composer would pray with her twins, Mihana and Inoa, in the evening. She had them repeat a prayer after her, that was the inspiration for this mele.


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Today's top story: Building credit with a small income. Also in the news: The best time to buy virtually anything, how to make sure you can afford your next vacation, and demystifying credit card inquiries.
How to build credit if you have a small income
Strategic spending can build your credit.
The Best Months to Buy Everything
Waiting for the right month can save you money.
5 Ways to Make Sure You Can Afford Your Next Vacation
Budgeting for paradise.
The Most Misunderstood Part of Your Credit Report
Understanding inquiries.


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1938 August 18, - December, SWITZERLAND
Closed its borders to Jewish refugees who could not produce valid entry visas. Despite this, Paul Gruninger, the local police chief of St. Gallen (near Austria) permitted 3,600 Jews to enter Switzerland. In December 1938, he was suspended and charges were later brought against him. Found guilty of insubordination, he was sentenced a stiff fine and lost his position and pension. In 1971, he received recognition from Yad Vashem as one of the "Righteous Among the Nations".


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A modern twist on the classic design. Ultra smooth under a player's hand, with a sleek, low-profile surround restricting the sideways movement of the SOLID STAINLESS STEEL saddles, the WVP range of vibratos is the ultimate in comfort and performance.
Ideally suited to more contemporary guitar designs, this family of bridges looks far more expensive than it is.Features include a stamped steel "heat hardened" top plate with 6-screw pivot mounting. Push-in arm and Wilkinson design "stagger-drilled" solid steel block for unrivalled tuning stability.


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Although Ostwald's Rule – that the least stable rather than the most stable polymorph will crystallise first – is not a universal law, instances where the rule is followed have created particular problems in drug development. One high profile example was the discovery, two years after product launch, of a lower energy, more stable polymorph of the AIDS drug, Norvir™ (ritonavir). The newly identified crystalline form dissolved more slowly than the original form, compromising oral bioavailability and forcing removal of the oral capsule formulation from the market. A new formulation of Norvir™ was eventually developed and launched, but at considerable cost.
Engineers at the University of Leeds have now developed a way to avoid some of the problems caused by polymorphism. The simple technology can be used in existing chemical reactors to ensure "right first time" drug crystal formation. The team examined crystallisation of the COPT inhibitor, entacapone – which exhibits strong polymorphic behavior in aqueous/acetone solutions – with and without the presence of a self-assembled molecular layer of entacapone on a metal surface. The surfaces were found to act as nucleation catalysts, providing polymorph-specific templates: in the presence of self-assembled molecular layers, stable prismatic form A crystals were obtained from aqueous/acetone solutions compared to needle-shaped crystals of the metastable form D which would usually be obtained. If the procedure is as effective on an industrial scale, it could lead to consistent crystallisation of a desired polymorph (once identified!), through the selective choice of adsorbed species.
The study is published in a special edition of Crystal Growth & Design.


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Alternative Energy, Renewables, and Clean Technology
The Eckert Seamans Energy Group provides our alternative energy, renewables, and clean technology clients with legal skills and government and business experience to achieve project objectives. We regularly help wind, solar, and hydro power producers; ethanol and landfill gas facilities; combined heat and power developers (CHP); and demand response (DR) and energy efficiency (EE) providers, among others, to navigate regulatory, transactional, finance, tax, environmental, and land use matters.
We represent clients in many segments of the energy industry. These clients include domestic and foreign energy producers and marketers, traditional utilities, and mineral and gas exploration and extraction companies (with a focus on Marcellus Shale). We also represent financial institutions, private equity firms, and government entities.
Representative Matters
- Counsel to wind and solar energy providers and ethanol and landfill gas facilities throughout the project life cycle, including project finance; engineering, procurement and construction (EPC) contracting; offtake arrangements such as power purchase agreements (PPA), leases, net-metering and renewable energy credit (REC) marketing; investment tax credit (ITC) and production tax credit (PTC) strategies; site acquisition and environmental and land use issues; licensing and maintenance agreements; intellectual property protection; and mergers and acquisitions.
- Advocate for energy companies in connection with regulatory matters before state and federal commissions and legislative bodies, including rules for Pennsylvania Alternative Energy Credits (AECs), community solar legislation, and interconnection rules.
- Drafted and negotiated carbon credit trading agreements that serve as the basis for trading carbon credits on the Chicago Climate Exchange.
- Regulatory and litigation counsel to owners of Federal Energy Regulatory Commission (FERC) licensed hydropower projects in numerous federal and state agency and appellate cases addressing license compliance, license modifications, environmental impacts, and public safety.
- Counseled an industrial development agency in relation to installation of 1 MW ground-mounted photovoltaic array, including solicitation of development proposals, preparation of developer agreements, site acquisition, land use approvals, and sale of RECs.
- Acted as regulatory counsel to regional wind energy development trade association in obtaining favorable regulatory policies for wind energy and new ethanol facilities; assisted with siting, land acquisition, land use and zoning, state and federal grants and financing.
- Represented a leading DR provider before federal and state regulatory commissions, including advocacy for state energy efficiency plans; provided advice on legal implications of corporate transactions.
- Represented a DR trade association before FERC in a host of proceedings involving revisions to PJM's capacity market rules; obtained emergency orders in advance of capacity market auctions; and counseled DR provider in relation to transactions in capacity and energy markets, including bi-lateral replacement transactions in PJM.
- Represented landfill gas providers in negotiating gas sales transactions and the sale of landfill gas facilities; assisted in obtaining a waiver of federal pipeline safety regulations for landfill gas pipelines.
- Provided comprehensive counsel to combined heat and power ("CHP") installers, including drafting transaction documents and assisting in obtaining utility energy conservation grants.
News & Insights
Legal Updates:
Energy Alert: PA DEP Now Accepting Grant Applications for Natural Gas Vehicle Program
Related Practice Areas
Intellectual Property Litigation