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B.J. Penn wanted one last shot at Frankie Edgar in an attempt to avenge two losses to the former UFC lightweight champion and see where his career stood.
Though the crowd at Mandalay Bay Events Center on Sunday night was squarely in Penn's corner, it was evident early there was little reason to believe the outcome would be different.
The only question seemed to be whether it would be Penn's last fight — and that was confirmed as well.
Edgar dominated Penn from the get-go, taking Penn down often and finally delivering a series of punches to get the stoppage and a TKO victory at 4:16 of the third round of the main-event featherweight bout at The Ultimate Fighter 19 Finale and put an end to Penn's illustrious career.
Penn (16-10-2), who was cut over his left eye during the third-round barrage, didn't actually say it in the post-fight interview in the Octagon, but many believed the 35-year-old who debuted as a pro in 2001 was indeed done.
"I shouldn't have came back. I shouldn't have been in the ring tonight," Penn said immediately after the fight. "(UFC President Dana White) said it was over and I gotta agree with him at this point. My father told me when I was a little kid, 'Think past the pain,' and here I am until today."
Later at the press conference, Penn assured he was indeed retiring.
"This is the end. I'm thinking to myself, why did you step back into Octagon after the beating Rory McDonald gave to you (in his last fight in late 2012)?" Penn said. "I guess I needed some closure."
Penn earned the nickname "The Prodigy" for good reason. He is one of the few fighters of the modern era to make his pro MMA debut in the UFC. And along the way, he became one of only two men to hold titles in two weight classes — lightweight and welterweight.
UFC President Dana White even appeared emotional at the press conference. He patted Penn on the back when Penn broke down and dropped the microphone when talking about his legacy in the sport.
"There's nothing left to prove," White said. "He's a legend and he helped build the sport. Fighting is a young man's sport.
"B.J. Penn was our jiu-jitsu coach before we even bought the UFC. I've known him forever."
Edgar (16-4-1), the No. 2-ranked fighter in the 145-pound division, said the he almost felt bad about his victory.
"I felt as the finish was going it was bittersweet," said Edgar, 32, who earned two unanimous-decision wins over Penn in 2010.
"I didn't get up and celebrate like crazy because I felt that was gonna happen."
The two coached against each other on Season 19 of "The Ultimate Fighter," which was criticized by White as the worst season yet because of the lack of exciting fights.
Its two winners, however, made up for it in a little more than 2 minutes.
Corey Anderson cracked Matt Van Buren in the opening moments of the light heavyweight final and poured it on, unleashing a barrage that seemed to have Van Buren out on his feet.
Anderson (5-0) took Van Buren (7-3) down, got his back and kept pounding him with rights before the referee stepped in at 1:01 of the first round for a TKO victory.
Eddie Gordon won the TUF 19 middleweight final with a TKO of Dhiego Lima at 1:11 of the first round. Gordon (8-1), who trains at UFC middleweight champion Chris Weidman's gym in Garden City, N.Y., wobbled Lima with several overhand rights. Lima (10-2) went down and Gordon pounced with left hands, forcing the referee to stop the fight.
Anderson and Gordon each won a UFC contract and a Harley-Davidson motorcycle.
Derrick Lewis (11-2, 1 NC) made another big statement on his place in the heavyweight division, securing his second first-round knockout in two UFC fights with a TKO victory over Guto Inocente. With his knee on the chest of Inocente (6-3), Lewis dropped three heavy right hands before the referee stopped the contest at 3:30 of the first round.
In the opening fight on the main card, Dustin Ortiz (14-3) shook off a deep armbar attempt by Justin Scoggins (9-1) to earn a split-decision victory. The judges scored the flyweight bout 29-28, 28-29, 29-28.
On the preliminary card, Alexis Dufresne suffered a significant setback in her UFC debut, starting with the five-time jiu-jitsu champion from Temecula failing to make the 135-pound weight limit Saturday.
Sarah Moras (4-2) agreed to fight Dufresne (5-1) at a catchweight of 143 pounds and pulled off a unanimous-decision victory. The judges scored it 29-28, 29-28, 30-27 in favor of the TUF 18 competitor.
In the final fight on the prelims, lightweight Kevin Lee took a split-decision win over Jesse Ronson by scores of 29-28, 28-29, 30-27.
Bantamweight Leandro Issa was trailing 20-18 on two scorecards going into the third round but pulled off an impressive comeback by securing an armbar and forcing Jumabieke Tuerxun to tap out at 3:49 of the third round. Tuerxun (17-2) won the opening round and the second, during which Issa (12-4) had a point deducted for grabbing the fence.
Brazilian lightweight Adriano Martins delivered a short, quick right to the jaw of Juan Manuel Puig of Mexico to get the knockout victory of 2:09 of he first round.
Patrick Walsh (5-2) earned a unanimous-decision victory — all by scores of 29-28 — over Daniel Spohn (8-5) in a lackluster battle between light heavyweights who were on TUF 19.
In the opening fight on the card, light heavyweight Robert Drysdale (7-0) won in his UFC debut after Keith Berish (5-1) fell while being choked and tapped out at 2:09 of the first round. Replays showed Berish's leg bend underneath him as he fell while Drysdale sank in a rear-naked choke.


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25/12/2011 2 Comments
Here is a wonderful chocolate version of a favorite English Dessert. Tradition calls for it to be presented in a pretty glass bowl to show off the layers.
For the chocolate sponge cake:
Eggs – 6
Sugar – 1 cup
Vanilla – 1 1/2 tsp
Flour – 2/3 cup
Unsweetened Cocoa Powder – 1/3 cup
Salt – 1/2 tsp
Unsalted butter or Margarine (melted) – 6 tbsp (3/4 stick)
For the custard cream:
Egg yolks – 6
Sugar – 1/2 cup
Flour – 3 Tbsp
3 cups half-and-half, scalded
1 teaspoon vanilla
For the assembly:
Strained Raspberry preserves – 3/4 cup
Toasted Slivered Almonds – 3/4 cup
Raspberry liqueur or crème de cassis (optional) – 1/3 cup
Dry sherry – 1/2 cup
Heavy cream Chocolate curls for garnish – 1 cup
Preheat the oven to 350'F. To prepare the chocolate sponge cake. In a medium bowl, Whisk together the eggs and sugar until well combined. Set the bowl over simmering water and whisk until the sugar has dissolved – 23 to 4 minutes.
Remove from the water and, using an electric mixer, beat until the mixture forms a thick ribbon like stream when dropped from a spoon about 10 minutes. Then beat in the vanilla.
Sift together the flour, cocoa and salt onto a piece of wax paper, then gradually fold these dry ingredients into the egg mixture until just combined. Fold in the butter.
Divide the batter between two 8″*8″*2″ pans, the bottoms lined with buttered wax paper lightly dusted with flour. Smooth the top and bake until a toothpick inserted in the center comes out clean – 30 to 35 minutes. Cool the pans upright on racks for 5 minutes, then turn the, cakes out onto the racks and let cool completely.
Meanwhile, prepare the custard cream. In a medium size bowl, beat the egg yolks lightly. Ass the sugar and beat until thick and pale. Beat in the flour, then add the half-and-half in a slow stream, stirring constantly. Transfer to a medium size saucepan, and cook over moderately low heat, stirring , until thickened about 5 minutes. Do not boil. Strain the custard into a bowl and stir in the vanilla. Press a sheet of plastic wrap directly on the surface and chill until cold about 1 hour.
Note: At this point the cake and custard can be stored. Wrap the cake in plastic wrap and store in a cool dry place for up to 24 hours. Refrigerate the custard for up to 24 hours.
To assemble: Spread the top of each cake layer with the raspberry preserves and sprinkle with 1/2 cup of the almonds. Sandwich the coated sides together, then cut into 1 by 3 inch fingers. Arrange the fingers on the bottom and partially up the sides of a deep 10 to 12 inch glass serving bowl. Pour the liqueur, if desired and the sherry evenly over the cake and let them soak in for 10 minutes. Spoon the custard cream on top. Cover and chill for at least 2 and up to 24 hours.
In a medium size bowl, whip the cream until stiff peaks from the spoon on top of the custard. Garnish the trifle with the chocolate curls. Serve 10 to 12.
Whipped cream can be prepared ahead of time by adding gelatin to it. For each cup of whipping cream, put 1 tablespoon cold water in a heat proof cup, stir in 1/2 teaspoon of unflavored gelatin, and set the cup in a pan of simmering water. Stir until the gelatin dissolves allows to cool. Whip the cream until soft peaks form add the dissolved gelatin and 1 tbsp sugar, if desired. Continue whipping until the cream is stiff. Cover and refrigerate for up to 24 hours. When ready to serve, whisk the cream lightly.

subset: commoncrawl


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Supercool Space Tools
A long time ago, people looked into the dark night sky and wondered about the stars, meteors, comets and planets they saw. The only tools they had to study space were their eyes and their imaginations. They had no other tools to help them learn what these lights in the sky really were.
This little picture book tells about the inventions throughout history that have helped us understand the universe better.


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- Home/
- Research and Education /
- Applications
Complete Control
The tools to realise Your Application, Inspiration, Innovation … Your Solution
Shimmer Wearable Sensor System – Overview
Shimmer's wearable sensor system allows for simple and effective capture, transmission, processing and display of body sensed data in real-time. Shimmer provides equipment, supporting tools and applications for all stages of this process to allow for the development of a complete body sensor solution, tailored to each unique application requirement.
Key elements to developing 'wearable sensor systems and applications'
- Sensor Hardware: Wearable sensor platform to provide wireless computing capabilities, and sensor modules to capture parameters specific to the person and their environment
- Sensor Firmware: This 'programs' the hardware to set up data capture and transmission to match your specific application and usage requirements
- Software Development Tools: Allows you to develop host side applications to receive, process, interpret, store and display the data as per your application and usage requirements
- Enabling Software: These are previously developed applications that will provide some or all of the functions to receive, process, interpret, store and display the data captured
- Advanced Feature Software: These are software applications that provide advance features relating to wireless sensing applications, where all steps of the process from data capture, right through to display have been developed for specific project or usage requirements
Application Areas
The Shimmer body sensor platform and wearable sensing system can be used in a wide range of application areas. As the equipment and tools we supply are highly open and configurable, users can take the technology and mould to their own application requirements or domain expertise.
…of course, these are just some of the applications shimmer is used in. We regularly hear of new applications, research and product development projects from users of the platform as they continue to sense with Shimmer.
To see some examples of how Shimmer is being used, check our resources including videos, published papers, and cases studies.
To see how to develop an application for your need, and look the development paths available that are right for you, check our applications development page.


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AT&T has been warning the top 5% of iPhone data users on their network for a while now that they'd start throttling their speeds. TiPb reader David, who previously got the infamous SMS nasty-gram, just received it again and since then can't seem to get download speeds any faster than an EDGE-like 150Kbps.
His friends and co-workers are still getting full speed, ruling out a tower problem.
I called AT&T because I thought it was an issue with them and I did a trouble shooting session on the phone. After finishing they asked if I received any text from them and I replied "yes" and told them which one and that's when AT&T told me "problem solved". I asked how do I go from 14mbps to straight EDGE, bypassing 7.2mbps, and they couldn't reply
Are you one of the top 5% who've previously received warnings from AT&T? Have you experienced any throttling this severe?


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Tag Archives: Pursuits
Under African Skies
The Watering Hole
The Mapmaker
Maker of Magic
A Soldier's Journey
Child's Play
Jessica Riley '98 binds together children, art, and a good cause with Kiba Kiba Books.
With all due respect to the artists exhibiting work at Middlebury's Mahaney Center for the Arts, the most electrifying stuff here on a recent afternoon isn't hung on the walls, tinkling from the pianos, or even gleaming from Robert Indiana's LOVE sculpture outside. It's a collection of paperback books strewn across a coffee table in the lounge.
But these are no ordinary paperbacks. Slim and popping with color, they beg to be picked up and opened—to worlds where perfectly imperfect sea dragons slither through oceans, cosmic creatures spin in circles, and impish spirits slide down mountains on blocks of ice. Small enough for small hands and with such titles as Fearless Fifi and Silly Jack, the books are for children, yes. But what makes them extraordinary is the fact that these volumes are also illustrated by children.
"It's a new business model that I really think the world could use," says Jessica Riley '98, the founder and owner of Kiba Kiba Books LLC, as she glances across her collection of publications. "I'm hopeful that it does take off and that people get it. It's such a beautiful thing when you realize how it's connected and how the pieces fit together."
Riley never intended to be a book publisher. As a kid growing up in Saratoga, New York, she wanted to be on a TV show; later, she wanted to be a screenwriter. But from an early age, Riley had a knack for art. "I think I was four or five, and somebody bought me a paint set that was intended for an older kid, with really small brushes and really small tubes of paint," she recalls. "When my parents were in another room, I opened it up and painted in a picture that came with the set. I remember my mom coming back into my room in shock because all the little spaces were filled in perfectly with different colors. I remember thinking to myself, 'Why am I getting so praised for something that was so easy for me to do?'"
Riley found that she was also pretty good at making life more joyful for other kids. On a youth speed-skating team, she was appointed "games coordinator," whose job it was to get everyone else to play and have fun. Flash forward several years to Riley's time at Middlebury, where, as an English and film major, she took a "body and earth" dance class with Professor Andrea Olsen. "She taught me the creative process," says Riley. "After I graduated, I said to Andrea, 'Whatever it is you taught in the class, that's what I want to do, but I don't know how to get there.'"
It would be a colorful journey. Riley spent two years designing handbags in Park City, Utah, and four more working for PBS. "But people my whole life always told me, children's books, children's books," says Riley, who had, in fact, been compiling a list of children's books she wanted to do eventually.
Then, in 2005, while Riley was volunteering back in Saratoga, she held a workshop for local kids, reading them a story she'd written about the endangered Karner blue butterfly. The kids illustrated it and the result was Blue Blew (now out of print). After searching for a publisher, Riley decided to start her own publishing company. She called it Kiba Kiba, which, in the language of the Rapa Nui people of Easter Island, means peace. The word was one of several Riley had stumbled across and written down over the years, along with the number 72—for how many books she'd like to publish. Why 72? The number just came to her, says Riley.
The pieces started coming together—literally. At another workshop, Riley showed up with snippets of fabric she had cut into various shapes, and she read aloud such phrases as "I dream trees grow tall enough to reach the sky." The children began creating images for Riley's words with the fabric, and the result was The Dream of the New Earth. "It's amazing," says Riley. "When you give children abstract ways to paste and beautiful fabric or beautiful materials, then it's really easy to come up with a beautiful thing and art."
The Dream of the New Earth has now been translated into six languages and has been followed by five more stories. All but one are illustrated by kids, ages four to 13, who've enrolled in one of Riley's weeklong workshops. "It's so cool," says Riley of witnessing the children at work. "You have no control over what the kids are going to do, and it always works out. By the end of the week, we're all like, 'Wow!'"
Five of the Kiba Kiba books may be purchased with their original artwork or as a "companion art book," with space for young readers to paste, paint, or draw their own creations. The exception is Kiba Kiba's newest book, OMG! One Million Giraffes, which features drawings from all ages and from all over the world.
But that's not all. Because every Kiba Kiba book has its own special vision of cleaner water, a healthier Earth, etc.—Riley has dedicated a "pod" to each project, detailed on the Kiba Kiba Web site, whereby children can send in artwork and songs; teachers can create lesson plans; and artists, musicians, and community organizers can help build grassroots campaigns.
Kiba Kiba is preserving the magic of the printed page, but is also embracing the connectivity of the digital age. In the process, this small company is making books fluid. Soon, The London Frogs will be republished with a foreword by Chad Urmston '98 of the band State Radio; Riley hopes this will help inspire new songs for the pod.
"Together we can change the world," she promises readers on the Web site. And she may be right. The nonprofit Water.org, cofounded by Gary White and Matt Damon, has agreed to partner with Kiba Kiba to share its Global Water Supply Curriculum as part of The London Frogs pod. "Everyone benefits," explains Riley of her pod concept. "My books are being utilized, nonprofits are getting a campaign, and the schools and the children involved feel good about what they're doing."
This is the new business model of which Riley speaks. And while it may not be the most lucrative one—she is hardly the first to admit that there's not a lot of money in children's books (Harry Potter excluded)—the fluidity of Kiba Kiba books and the flexibility of Riley's life point to the power of possibility.
Take, for example, The Play Spirits' Playground, one of Kiba Kiba's latest projects, whose vision is free play and movement in nature. Co-written by Hedda Bernsten '99, Riley calls the book her "great work" and "meant to be." The pair wrote the story just days before Bernsten won an Olympic silver medal in Vancouver, where children from the St. George's School illustrated the book. Now they are focusing on creating the Play Spirits concept into a TV show and are pitching it to various children's television networks.
Riley says she gets goose bumps when she thinks about how The Play Spirits' Playground came to be and how she came to be not a book publisher but a "creative project facilitator." Looking around the Middlebury arts facility, Riley says she wishes Olsen would appear. "I'd be like, 'I did it!'" says Riley. "I came full circle, and I'm doing exactly what I wanted to do 10 years ago. It's just being in the moment, and whatever comes next is what I do next. In the process you can see the greater work."
Sarah Tuff '95 is a freelance writer in Burlington, Vermont. Jessica Riley's Web site can be found at www.kibakiba.com.


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Sen. David R. Brinkley of Frederick County and Sen. Joseph M. Getty of Carroll County will lead the Republican caucus in the Maryland Senate as lawmakers move into the fourth and final year of their terms next year, GOP senators said Monday.
Brinkley, who previously served as minority leader in 2007-2008, will return to that role for the 2014 session. He replaces former Sen. E. J. Pipkin of Cecil County, who resigned and moved to Texas.
Getty was elected minority whip, replacing Sen. Edward R. Reilly of Anne Arundel County.
The former whip said he voluntarily stepped aside after Brankley expressed an interest in running for the top spot in the caucus, which holds 12 of the 47 seats in the Senate. Reilly said Getty was Brinkley's choice to serve as whip.
Brinkley and Getty were unopposed and that the vote for them was unanimous, Reilly said.
"I'm happy to be back in the ranks," Reilly said.


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Peach with a subtle golden shimmer
Combining intense color payoff with a velvety-smooth formula, the long-lasting and fade-proof ZOEVA Luxe Color Blush "Last Love" lights up the features with a radiant glow, while also shading and sculpting cheeks with a healthy pop of color.
Infused with apricot kernel oil and vitamin E, the powder blush caresses the skin with a seamlessly blendable, lightweight texture that results in a smooth and even looking complexion. The silky powder flatters a range of skin tones and delivers natural-looking, flushed cheeks with a glowing finish as if lit from within.
The formulation of the blush is enriched with apricot kernel oil and vitamin E and is 100% free of fragrances, mineral oils, parabens and phthalates.
Pick up a small amount of blush with a ZOEVA blush brush and remove excess powder by lightly snapping the brush with your finger. Smile and dap the desired color onto the apples of the cheeks. Blend softly for a flawless finish.
1 compact blush incl. makeup mirror
Net weight: 8.0 g / 0.28 oz
Ingredients: Talc, Aluminum Starch Octenylsuccinate, Magnesium Stearate, Caprylic/Capric Triglyceride, Dimethicone, Phenoxyethanol, Dimethiconol, Tocopheryl Acetate, Prunus Armeniaca (Apricot) Kernel Oil, Dehydroacetic Acid, Cera Alba, CI 77491 (Iron Oxide), CI 77891 (Titanium Dioxide), CI 77492 (Iron Oxide), CI 77499 (Iron Oxide).


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1 Jay and Erik drinking Belgium beer in Amsterdam.
2 Carlijne and Steve.
3 On our way to the hotel, we visited the Royal Palace. (no pics allowed inside)
4 Steve, Jay and Remko (a friend of mine who lives in Brussels.
5 Steve taking a closer look at "Manneke Pis"
6 And here is the little guy himself.
7 We winded up in some kind of march.
8 Tall Puppets,
9 Belgium police woman :-)
10 Meeting the other Eurorollers on a terrace: Sint Goriksplein.
11 Jay drinking Belgium beer in Belgium :-)
12 Steve, Carol and Andrew.
13 Carl, Bones, Mary, Tim.
14 And as always present at Euroroll: Julie
15 Maureen, Richard and Joe
16 Elizabeth from Germany and Andrew from DC.
17 Carol preferred to cycle.
18 Tim from South Africa.
19 Doug and Monique plotting a route.
20 Kim and Doug
21 Carol from a different perspective. :-)
22 And her bicycle too.
23 We're off for a group skate.
24 Small downhills
25 Steve still waking up.
26 Magdalena an Josh.
27 Bones
28 The Brussels bicycle lanes are almost vanished.
29 Carol in action.
30 Murals in Brussels: famous cartoons.
31 Wet cobble stones: can it be worse?
32 Sheltering from rain.
33 Some very nice cartoons.
34 Bones giving it a try.
35 Ok, we continue.
36 High crossings.
37 Huge buildings.
38 The sun is coming out again.
39 Carl, our local (Swedisch) guide.
40 The cobble stones are gone.
41 Josh with his Hawai look.
42 You should be able to break, because Brussels isn't flat.
43 And also skating/racing uphill.
44 Grasping for air.
45 Always optimistic Josh.
46 Navigator Carl.
47 At the University campus.
48 Lot's of interesting buildings
49 Most roads are pretty good...
50 ...when you are outside the...
51 ..very center with it's cobblestones.
52 Entering Bois du la Cambre
53 Be carefull slippery roads.
54 We skated ...
55 ..all around thiss...
56 big park.
57 Hi Tim.
58 Josh , Magdalena and Kim enjoying the sun.
59 Narrow uphill streets.
60 Retro bike.
61 Alas, no drinks for us here.
62 So we continue.
63 Weird castle.
64 This area is cool.
65 Finally drinks for us.
66 Doug explaining where we are.
67 Andrew.
68 Elizabeth
69 Bones.
70 Me.
71 A piece of the old city wall.
72 All covered with a plants.
73 A few cobble stones at the end.
74 Taking time for pictures.
75 Yes we made it.
76 Great tour Doug.
77 We're done.
78 La Bourse around the corner.
79 The route we took.
80 Bones cleaning his skates with a toothbrush.
of 80
Peter Nikkel.


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19 May 2013
As part of our ongoing coverage of the 2013 International Congress on Schizophrenia Research (ICOSR), held 21-25 April in Colorado Springs, Colorado, we bring you session summaries from some of the Young Investigator Travel Award winners. For this report, we thank Helen Fisher of the Institute of Psychiatry, London, U.K.
20 May 2013. The symposium "Is the Psychosis Continuum for Real? The Cognitive, Environmental, and Neural Correlates of 'Real' Psychotic Experiences in the General Population" sought to further increase awareness of the presence of psychotic symptoms amongst individuals who do not meet diagnostic criteria or require psychiatric care for a psychotic disorder. Numerous studies have now shown that a substantial minority of children and adults in the general population report having psychotic-like experiences (see Kelleher et al., 2012, for a review), while a smaller proportion are likely to have clearly defined psychotic symptoms, and even fewer will be diagnosed with a psychotic disorder during their lifetime, leading to the postulation of a quantitative continuum of psychosis (van Os et al., 2009). For most individuals, subclinical psychotic-like experiences and symptoms appear to be transitory (Cougnard et al., 2007), and it is debatable as to whether they index risk only for psychotic disorders (Fisher et al., 2013; Murray and Jones, 2012; Werbeloff et al., 2012). Nonetheless, psychotic symptoms do persist in some individuals seemingly without their experiencing any palpable distress or requiring psychiatric care (Linscott and van Os, 2013).
The speakers in this symposium examined various ways in which this non-clinical group with psychotic symptoms can be differentiated from individuals with a clinical diagnosis of psychosis. Such comparisons provide promising opportunities to unravel psychosis etiology. By gaining greater insight into why only some individuals with anomalous or unusual experiences develop a need for psychiatric care, it may eventually be possible to halt, or at least reduce the likelihood, of an individual moving along a hypothesized continuum to a full-blown, clinically relevant psychotic disorder.
Iris Sommer, UMC Utrecht, the Netherlands, perfectly set the scene for the symposium by showing a video in which a man without any psychiatric diagnosis described the voices that he has heard for many years. This video clip instantly drew our attention to clear differences in his experience and interpretation of his voices than tend to occur for patients seen in a psychiatric clinic. Namely, the voices he heard mainly said positive things to him, he was not distressed by their occurrence, and he did not provide a delusional interpretation of their presence; rather, he seemed to accept that they were "just there." This comfortableness with ambiguity and lack of a clearly formed belief about why the voices occurred seems to be a key distinguishing feature of non-clinical from clinical voice hearers and fits with research from Smeets et al. (Smeets et al., 2012) that suggested the combination of hallucinations and delusions increased the risk of developing a psychotic disorder. The good social and occupational functioning of the man in the video also set him apart from individuals requiring treatment for a psychotic disorder. However, Sommer also presented findings demonstrating overlap in the brain regions activated during auditory hallucinations in non-clinical and clinical individuals (Diederen et al., 2012), suggesting that the underlying phenomenon may be similar in both groups, but the important difference could be the interpretation of the experience.
The contrasting appraisals of non-clinical and clinical individuals with psychotic symptoms were also the focus of the presentation by Emmanuelle Peters, Institute of Psychiatry, London, U.K. In keeping with cognitive models of psychosis (Garety et al., 2001, 2007), she advocated that the way individuals appraised anomalous experiences, such as hearing or seeing things that other people could not, was a crucial factor in determining whether they developed psychotic symptoms requiring psychiatric care or continued to have non-distressing psychotic experiences. Lovatt et al. (Lovatt et al., 2010) found that non-clinical individuals tended to account for their psychotic experiences by using psychological, spiritual, and normalizing explanations, while the diagnosed group were more likely to think that "other people" were causing their psychotic experiences, and believed they were in danger or being threatened. Peters suggested this more paranoid worldview might have been brought about by exposure to interpersonal trauma (Lovatt et al., 2010) and is likely to result in greater distress (Gaynor et al., 2013) and, thus, subsequent need for psychiatric care.
However, Kirstin Daalman, UMC Utrecht, the Netherlands, presented data that contradicted part of Peters' hypothesized pathway. Daalman et al. (Daalman et al., 2012) have found that both non-clinical and clinical groups with auditory verbal hallucinations are more likely to report a history of interpersonal forms of trauma in childhood when compared to controls. Instead, it was the emotional valence of the voices that differed between the groups, with non-clinical individuals experiencing voices that were reassuring, and those with a psychotic disorder more frequently reporting their voices as threatening. One possibility is that exposure to prior trauma or revictimization in adulthood might have adversely impacted on the worldview held by those individuals who went on to require psychiatric care. Clearly, more exploration of the full etiological pathway to developing clinically relevant psychosis is required.
The final presenter, Leslie Horton, University of Pittsburgh, Pennsylvania, presented research on schizotypy, which Sommer had earlier suggested lies between psychotic-like experiences and psychotic disorder on the psychosis continuum. Indeed, Horton drew our attention to research by Kwapil et al. (Kwapil et al., 2008), which indicated that both positive and negative forms of schizotypy are associated with impaired functioning. Nonetheless, she suggested that these types of schizotypy may have different etiologies and outcomes. Horton reported that individuals with positive schizotypy did not tend to have schizoid symptoms (Barrantes-Vidal et al., 2013) but were more likely than those with negative schizotypy to feel suspicious or maltreated in the moment and also experience more psychotic-like symptoms when under stress when compared to those with low levels of schizotypy (Barrantes-Vidal et al., unpublished). By contrast, individuals with negative schizotypy tended to have no thoughts or feelings in the moment when assessed using experience sampling methodology. Further work is required to explore the outcomes of individuals with positive and negative schizotypy, and they may also represent a useful group for exploring the etiology of psychotic disorders without the confounding effects of medication and chronic illness.
Tony David, Institute of Psychiatry, London, U.K., rounded off the symposium by reflecting on the possibility of various continua with perhaps the continuum of positive to negative valence of psychotic symptoms being of particular importance. He also raised the interesting question of whether individuals situated at one point on a psychosis continuum could move up or down the continuum. Finally, he cautioned about the need to consider directionality more carefully and explore further the role of dissociation and the possible link between appraisal and biological experience.
The debate concerning the presence of a continuum of psychosis rumbles on (see Linscott and van Os, 2013, for a recent update), with potentially important implications for future editions of DSM and ICD. However, the existence of individuals in the general population who have psychotic symptoms but do not require psychiatric care appears to be very much a reality.—Helen Fisher.


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Corey Osborne: 2002 Jeep WranglerPosted in Ultimate Adventure: 2011 on November 1, 2011
Photographers: 4 Wheel & Off-Road Staff
Driver: Corey Osborne
Co-Driver: Terry Hawkins
Stomping Grounds: Montrose, CO
Corey Osborne and co-driver Terry Hawkins are two guys who really get it. With years of wheeling experience between them and a long build history with the '02 Jeep Wrangler TJ, both men were well prepared for the week of hardcore adventure. While the Colorado guys' wheeling backgrounds consisted heavily of low-speed and high-traction rockcrawling, they quickly adapted to the loose rock and thick mud of the Midwest. And while we did enjoy teasing Corey about being the "other TJ" on UA, his modified Wrangler did a fine job of standing out on its own.
- Engine: 4.0L
- Transmission: NV3550
- Transfer Case: NP231 with a slip-yoke eliminator and Tera Mfg 4:1 kit
- Front Axle: High-pinion Dana 44, RCV axleshafts, TNT truss, ARB Air Locker, 5.13 gears
- Rear Axle: Dana 44, alloy axleshafts, Gen-Right truss, ARB Air Locker, 5.13 gears
- Springs & Such: Custom 3-link front with 14-inch-travel King coilovers, 4-link rear with 12-inch-travel King coilovers, Ballistic rod ends, Gen-Right suspension brackets
- Steering: PSC hydraulic assist
- Tires & Wheels: 37x12.50 Nitto Trail Grapplers on 17x9 Raceline Monster beadlocks
- Currie 1-inch body lift, Rock Hard sport cage, Warn winch, Metal Cloak front bumper and fenders, Jeeperman rear bumper and tire carrier, Master Craft seats, Tom Wood's drivelines, TeraFlex belly-up skidpan, Gen-Right fuel tank, Viking soft top, Power Tank, 101-inch wheelbase


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Blog entry 1 in 7 of us are hungry
If you regularly read the Freerice blog, you'll most likely already know this – if not, you need to: 1 in 7 people worldwide goes to bed hungry every night. And now, with nearly 7 billion people in the world, this means that almost 1 billion people are not getting the food they need today.
We tend to think about the world's hungriest as being far removed from us - living in another country, somewhere in Africa or Asia, not close to us. In reality, they're much closer than you realise. The 6 degrees of separation theory claims that each of us is connected to every other person on earth through at most 6 other people.
To illustrate this, meet Molly – a 12 year old girl living in a slum in Nairobi, Kenya. You know Molly through someone you know, who knows someone else, who knows another person, who knows yet someone else, who knows a person who knows Molly.
You're also connected to her in another way – through Freerice. Freerice enables you to make a directly impact in the lives of the hungry every time you play the game.
The 6 Degrees theory also an exciting theory because makes problems seem more manageable. There are almost 2 billion people with access to the internet today. So far, Freerice has over 1 million registered players and we've raised enough to feed almost 5 million people. If you get 6 friends to join you, and they get 6 friends to join them, and so on... imagine what we could achieve!
And that's the idea behind, 6 Degrees of Freerice, the theme of this year's World Freerice Week ending this weekend.
We know you love playing Freerice because it's a great way to learn and make a difference, and today we're happy to launch new subjects in addition to the 4 subjects launched earlier in the week!
Don't forget, the launch of new subjects is a great tool for inviting more people to play Freerice. So share it if you would like to raise more rice!
You can now play these new subject:
- Human Anatomy in English
- Flags of the World in French and Spanish
- World Capitals in Italian
Tomorrow is the final day for the competition to win one of three video cameras and t-shirts. All you need to do is create a 6 Degrees of Freerice group, and then get going as quickly as possible to invite friends to join and raise rice! You can find out more here: Freerice.com/Freerice6
Freerice is maintained by and supports the United Nations World Food Programme, the world's largest humanitarian organization fighting hunger worldwide. To find out more go to WFP.org
I will tell 6 of my friends about it as soon as I can.
I would like to suggest adding maybe a subject for Biology. It's important to know about animals and their functions, as well as the role they play on Earth, since all of our meat comes from them, unless we're talking cannibalism!
ooooooooooooooo! i want to help!
Free rice rocks!!!
i would just lovvee to participate in this thanks to the founders of this website
Recent FAQs
Cada vez que respondas incorrectamente,...
Has clic en Temas,...
Pues de muchas maneras y aquí te listamos...
Sí. El arroz que dones beneficiará a la...


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The memorial Mass for James J. "Jim" Walsh, 84, of Pontiac, and formerly of the Verona/Kinsman area, will be at 10 a.m. Saturday at Sacred Heart Church, Kinsman, with Father John Hornicak officiating.
As it was Jim's final wish, cremation rites will be accorded.
Friends may call from 4 to 7 p.m. Friday at Hager Memorial Home, Dwight, and for one hour prior to the memorial service Saturday at the church.
Mr. Walsh passed away at 4:04 a.m. Monday, Dec. 24, 2012, at OSF Saint James-John W. Albrecht Hospital in Pontiac with his loving family by his side.
Born Feb. 29, 1928, in Morris, the son of Robert H. and Evangeline (Heppner) Walsh, Jim was a proud descendant of Irish immigrants that came to America for a better life. Growing up in the Verona area, he received his education in Verona and Mazon schools, graduating as valedictorian of Mazon High School's Class of 1946.
On Jan. 9, 1949, Jim married his high school sweetheart, Betty L. Hintze, who preceded him in death on July 29, 2000, after 51 years of marriage. They grain farmed in the Verona area and raised tomatoes for the Campbell Soup Co. for five years. They also raised registered Angus cattle, showing and selling them around the United States. During the 1970s, Jim also delivered fuel for his family's Grundy County Oil Co.
In the fall of 2001, Jim met Phyllis Bolen Schmidt on a blind date. This chance meeting evolved into their marriage on Sept. 9, 2001, and he became a member of another loving, extended family.
Jim leaves behind his wife Phyllis; his four children, Kathleen (Doug) Lowery of Mazon, Jay (Debra) Walsh of Kinsman, Susan Walsh of Atlantic Beach, Fla., and John (Jodi) Walsh of Mazon; stepchildren, Marie (Lee) Bunting of Dwight, Gene (Diane) Schmidt of Hannah, Ind., Kay (Rick) Merrill of Atlanta, and Dean (Faith) Schmidt of Peoria; and sisters-in-law, Ruth Walsh and Carolyn (Dale) DeGrush, both of Mazon; seven grandchildren; and six great-grandchildren (with one on the way); numerous stepgrandchildren and stepgreat-grandchildren; plus his nieces and nephews.
In addition to his first wife, Betty, preceding Jim in death were his parents, his brother William F. Walsh in 1979 and a sister Elizabeth Brady Uerkwitz in 1972.
Together, Jim and Phyllis enjoyed dancing and card playing, but most of all he loved her baking ... especially her pies.
Upon retiring from farming, Jim was known for his carpentry skills, generously giving away many of his woodworking projects. He was also an avid gardener, especially his tomatoes, and loved spending time with family and friends, sharing stories of his youth or telling a recent joke he'd heard.
Jim was a member of St. Mary's Catholic Church of Pontiac and was a past member of Sacred Heart Church of Kinsman.
He enjoyed watching Chicago Bears football, RFD TV and the Triple Crown races. His favorite vacations were in Florida.
In lieu of flowers, preferred memorials may be made as gifts to Sacred Heart Church of Kinsman or Ward Cemetery of Verona.
James J. Walsh
The memorial Mass for James J. "Jim" Walsh, 84, of Pontiac, and formerly of the Verona/Kinsman area, will be at 10 a.m. Saturday at Sacred Heart Church, Kinsman, with Father John Hornicak officiating.


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Foley stands by claims vs. Malloy
Dear editors,
I heartily disagree with your editorial (Wednesday) suggesting my claims against Governor Malloy were not supported by evidence, were inappropriate, and were based just on "something I had heard." You need to re-look at the "Face the State" segment. All of the charges I made are based on the evidence of multiple reliable sources, the same standard the media use to "substantiate" a story. If the minimum threshold in journalism or in political discourse for bringing up an issue of concern was "proof," there would be little or nothing brought up. When the media first published articles raising questions about the Rowland administration, they did not have proof. Nor did Woodward and Bernstein -- they only had "Deep Throat," a single reliable source.
Two of the charges I made against Governor Malloy have already been confirmed by third parties -- that Global Strategies Group was awarded a government contract a short six months after Roy Occhiogrosso left Malloy's administration and the UConn Foundation paid for the governor's trips to Switzerland and China. These are both true with no facts in dispute.
I never said either was illegal or violated our ethics statutes. I said they are part of a pattern of practices by the governor's administration that erode public confidence by giving the impression that business is going to pals and that taxpayer and private donor funds for UConn are being diverted for improper uses.
As for the charge that first selectmen believe that if they don't use Pullman Comley they are less likely to get proceeds from state bond offerings, how does the governor know that this is not true? The mere fact that some believe this, which I know at least several do, is a problem which the governor should address. So no facts are in dispute here, either.
As for the charge that the governor was paid or provided something of value by Dan Esty or someone affiliated with Esty, neither Esty nor the governor has specifically denied this. They have both only denied that the governor was "employed" by Esty which is not what I claimed. Despite their qualified denials, I still believe it is true.
So I am right on three out of four. There is nothing factually incorrect or untrue with them. Not bad. We do not yet know the answer on number four. The problem for the governor is that even if I were right on only one of these charges, which we already know I am, my point is made -- he and his administration do not meet acceptable ethical standards -- certainly not the standards I would set as a governor and the standards the citizens deserve.
I am ruffling feathers and upsetting a cozy world at the capitol for a cause I think is important. Ethical standards in government must be high enough that citizens are confident their interests are well served. We do not have that today in Connecticut. I hope to change that.
Tom Foley was the Republican candidate for governor of Connecticut in 2010. A Greenwich resident, he has formed a committee to explore his prospects for governor in 2014.


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MIDDLEBURY — Middlebury voters on Tuesday voted 75 to 17 in favor of affirming a $3 million bond issue to finance various road improvement projects throughout town.
The second Australian ballot vote was needed to affirm a Town Meeting Day vote of 467 to 158 in favor of the bond. That initial vote was improperly warned and therefore had to be ratified.
The proposed 20-year, $3 million bond issue is to take care of 17 different road improvement projects that might otherwise linger on the drawing board.


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|Announcements in Forum : Plugin Development
|27/06/2012 until 29/12/2030
Beta Tester
Join Date: Jun 2008
Location: 629 - git.io/Y
Posts: 15,858
Reputation: 3244
Forum Rules
General Forum Rules:
These rules apply everywhere and should always be followed.
Signature & Avatar Rules:
Forum Specific Rules:
These rules are specific to one or more sub-forums, not everywhere.
Reporting Rulebreakers
If you notice a forum member who is breaking those rules, please report it by clicking on the Report Post button . As mentioned above, DO NOT post in the topic stating that you think there is a rule violation going on. For one thing, you are not a moderator so even if you're right YOUR post is off-topic and thus also breaking rules, so you can get in trouble for reporting other people in that case. The other possibility is that you are wrong, and the post is not breaking any rules, in which case all that remains is one post that is perfectly fine, and another post that is off-topic and incorrectly accusing another user of breaking rules. In that case, who do you think will receive an infraction? Submitted reports that are wrong are simply discarded - we do not give out infractions for an inaccurate report.
There are three main types of penalties for breaking rules - a warning is basically a "don't do that again" slap on the wrist, a ban is reserved for serious or repeated rule breaking, "infractions" fall between these two and can add up to a ban. Every infraction type has a points value and an expiry time, if you get 10 infraction points at once you will be automatically banned. The categories are quite generic, so messages will often come with an additional explanation from the moderator that gave the penalty. The point costs and expiry times (i.e. how long it takes to lose those points from your total) are:


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Building and maintaining your UM-Flint website is easier than ever with Drupal, the university's latest content management system. Here you'll find some basic tutorials to help you get started with Drupal, and more in-depth information will be added in the coming months.
New Users & Training
If you are new to Drupal, we ask that you go through Drupal training before your account is created. You can accomplish this in two ways.
- Attend a scheduled Open Drupal Session for a quick, introductory training. These sessions are designed to be drop-in, informal workshops where Drupal users can work on their websites with help from ITS and University Relations staff. New users are asked to arrive at the sessions right when they start, as the training is the first thing that will be addressed. For a list of upcoming Open Drupal Sessions, visit the Drupal Sessions webpage or contact Tim Todd in ITS.
- When an Open Drupal Session isn't available, one-on-one training sessions can be scheduled with Tim Todd in ITS. Please contact Tim at firstname.lastname@example.com if you would like to schedule individual training.


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I will be hosting along with Joe McDonald another episode of NY Mets Report Radio today at 5:30 p.m. on Blog Talk Radio. Among other things we'll talk about Pedro Martinez's start tonight at Washington and the series with the Nationals.
So go over to our Blog Talk Radio page to hear the show and if you want to call in at 347-996-5188, we will take your Met calls.
Hope to hear from you!


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Trombonist Jack Teagarden was a mainstay of late 1920s New York Jazz scene. He was also one of the best White Jazz singers, particularly when he sang the Blues on songs like Makin' Friends. He recorded frequently with many groups that included Roger Wolfe Kahn Orchestra, Eddie Condon , Red Nichols and Louis Armstrong. In late 1933, he signed a five-year contract with Paul Whiteman Orchestra . After leaving Whiteman in 1939 Jack Teagarden put together a big band that would continue to play until 1946. From 1947 to 1951 he was a sideman with the Louis Armstrong's All-Stars. After leaving Armstrong , Teagarden led a Dixieland sextet throughout the remainder of his career, playing with such talented musicians as Jimmy McPartland , and (during a 1957 European tour) pianist Earl Hines. Teagarden toured the Far East during 1958-59, teamed up one last time with Eddie Condon for a television show/recording session in 1961 . He died from pneumonia in New Orleans in 1964.
|Jack Teagarden and his Orchestra
|The Three T's
|Jack Teagarden's Big Eight
|Thanks a Million
|Roy Del Ruth
|Hoagy Carmichael
|John Murray Anderson
|Birth of the Blues
|Victor Schertzinger
|Hi, Good Lookin'
|Edward C. Lilley
|Twilight on the Prairie
|Jean Yarbrough
|The Strip
|Leslie Kardos
|Glory Alley
|Raoul Walsh
|The Glass Wall
|Maxwell Shane
|Jazz on a Summer's Day
|Bert Stern
|Jack Teagarden; The Story Of A Jazz Maverick by Jay Smith and Len Guttridge , Da Capo Press, 1960
|Jack Teagarden's Music - His Career and Recordings by Walter C. Allen, Jazz Monograph, 1960


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- [20]Accessories
How To Build A Bundle
The following accessories can be bundled with your purchase by checking the green 'Include with Product' button. You can add as many items to your order as you require and then simply 'Add to Cart' to complete order.
- Product Info
Product Info
Purchase Terms: Please note some basic accessories may be missing from the package. Please see the 'In The Box Tab' for terms of sale.
Note on Reworked Products: All items for sale in our reworked and refurbished items stores are strictly limited offers and no rain checks will apply. All items for sale are supplied with a FULL MANUFACTURER'S WARRANTY. The condition of each product may vary from a damaged package to superficial damage from previous use. These products may include store demonstrators, customer returns, factory seconds etc. All cameras have had previous usage. Please be assured that every product has been inspected by the manufacturer and reworked or reconditioned and supplied to us with a full warranty.
Check out the Nikon D7200 DSLR Camera Body's Key Features
(Nikon D7200BODYT2)
- Risk Free Purchase Guarantee (bottom of page)
- FULL 12 MONTH NIKON WARRANTY (via registration)
- REWORKED Product
- DX Format
- 24.2 Megapixels
- 51 AF Points
- Full HD
- Built-In Wi-Fi
- Long Battery Life
Set your heart on the new D7200, the most advanced DSLR in Nikon's DX range. The D7200 sets a new standard for image quality with its DX-format 24.2-megapixel CMOS sensor and EXPEED 4 image-processing engine. Its Advanced Multi-CAM 3500 II autofocus sensor module with 51 precise focus points captures super sharp images even in low light conditions. You can even film superior Full HD 1080/60p movies in 1.3x format, capturing distant subjects in a larger size. Share your images and movies instantly with the convenient built-in Wi-Fi® and NFC – a first for Nikon DSLRs. The D7200 is your reliable companion, ready to take the shot wherever you go.
Greater resolution from day to night
The EXPEED 4 image-processing engine and DX-format 24.2-megapixel CMOS sensor without an optical low-pass filter accurately capture colours and fine details from beautiful portraits to gorgeous cityscapes. With improved noise reduction performance across a wide ISO range of 100 to 25600, you'll be able to shoot moving or stationary images cleanly without additional lights. Furthermore, capture clear and defined monochrome stills with the extended ISO range of Hi BW 1 (equivalent to ISO 51200) and Hi BW 2 (equivalent to ISO 102400).
Every detail is sharp and defined
From low-lit interiors to sports and wildlife, the D7200's outstanding 51-point autofocus (AF) system with the new Advanced Multi-CAM 3500 II autofocus sensor module with a detection range down to -3 EV ensures your shots remain clear even in dark environments. The 51-point AF system covers the entire frame in 1.3x, while 15 cross-type sensors in the centre feature higher detection strength, providing superior subject-acquisition performance even for fast moving subjects.
Cut a professional movie
The D7200 offers great flexibility for shooting. Film in a DX-based format similar to that of 35mm film or a 1.3x format for superior Full HD 1080/60p videos. The mode M with Auto ISO sensitivity control allows the D7200 to automatically adjust to the appropriate exposure, so you can shoot continuously from dark to bright areas. Experiment with creativity as the D7200 lets you create beautifully rendered time-lapse movies in-camera, a first for Nikon DX-format DSLRs. Record clearer audio with wind noise reduction when you use the built-in stereo microphone. You can also select your preferred microphone frequency response for specific filming needs such as "Voice" for interviews and speeches. An independent settings menu dedicated for movies enhances operability.
Continuous shooting champ
Capture the action like never before as the D7200's increased buffer size allows 100 continuous shots at 6 frames per second*2. Spectacular light trail shots or star trails can now be achieved with the continuous shooting mode. Using a continuous release mode (CH or CL) and a shutter speed set at 4 seconds or slower, keep shooting for as long as your memory card and battery life allow.
A smarter way of sharing images
Share your perspective of the world with the D7200's built-in Wi-Fi® and NFC capabilities – a first for Nikon DSLRs. Uploading and transferring photos to your social network and smart devices is now easy and seamless. Simply install the free Wireless Mobile Utility*3 app on your iOS or Android smart devices. The built-in Wi-Fi® also lets you shoot remotely with your smart device, minimising camera shake that comes with pressing the shutter.
Take creative control
Nikon's exclusive Picture Control image creation system offers a new level of customisation. The "Flat" option renders fine details and healthy skin tones. It also stores richer information, from shadows to highlights for both still images and movies. This rich data reduces the risk of oversaturation, blocked–up shadows or blown-out highlights during post editing, resulting in images with beautiful colour gradation and contrast. In addition, the new "Clarity" parameter increases or softens your subject's clearness in still images, while maintaining details and saturation. Inject some fun into your photos with Special Effects like Night Vision, Colour Sketch and Miniature Effect.
Clarity you can see
With 100% frame coverage, the D7200 allows you to precisely compose your shots. Setting information is clearly presented in the viewfinder's organic EL display – a technology that is sharper and more energy efficient. For times when you prefer to frame your shots on the monitor, the wide-viewing angle of the D7200's 1229k-dot, 3.2-inch LCD display with RGBW alignment provides clarity and enhanced visibility even under bright conditions.
Built for the road less travelled
The rugged D7200 is engineered with a handy built-in flash in a light yet durable magnesium alloy body. It is shielded against shock, and is weather-sealed to keep out dust and water drops, making the D7200 your trusted companion. Its long-lasting battery life lets you shoot up to 1110 images or 80 minutes of movies at a go. Rough it out with this compact and portable performer which weighs approximately 1250g.
Take your photography to the next level
Achieve the best image results with a comprehensive range of NIKKOR lenses and accessories. Create studio-quality lighting by pairing Nikon's range of Speedlights with Nikon's Creative Lighting System featured in the D7200. The WR-R10/WR-T10 wireless remote control eliminates any vibration caused from manually pressing the camera shutter. Enjoy seamless end-to-end image and video management with the free Capture NX-D and ViewNX-Movie Editor editing software for stills and movies respectively.
New 51-point AF with improved performance, even in low light
The D7200's new Advanced Multi-CAM 3500 II autofocus sensor module offers strengthened capabilities. Superior low-noise ability at high ISO of the AF sensor realizes incredible performance in low-light situations at -3 EV (ISO 100, 20ºC/68ºF) with one central focus point and at -2 EV or below (above -3 EV) with the other 50 points. Its 51 focus points cover a wide area of the frame in DX format, and the entire frame in 1.3×, while 15 cross-type sensors in the center feature higher detection strength. All 51 points are responsive at f/5.6, while one center point is compatible with f/8, for greater focusing performance even when using teleconverters. The outstanding focusing performance, wide AF coverage and lens compatibility make it easier to capture various scenes sharply, from low-lit interiors to sports or wildlife.
Unlimited continuous shooting for creating virtually seamless light-trail
The D7200's continuous shooting capability can be used to produce spectacular light-trail photography of star trails. Using a continuous release mode (CH or CL) and a shutter speed set at 4 s or slower, you can now keep shooting for as long as your media cards and battery life allow. With shorter-duration gaps between each exposure than when using the interval timer, you can then create a composite picture using third-party software that joins your shots almost seamlessly, to beautiful effect.
Standard ISO up to 25600 with superb image quality realized by image-processing engine EXPEED 4
The benefits of the new EXPEED 4 image-processing engine become clearly apparent in low light. Its advanced technology not only raises the D7200's highest standard ISO to 25600, which is two full stops higher than its predecessor, while reducing noise, but it also helps preserve sharpness and textures even at relatively high ISO settings. This gives photographers more leeway to attain an optimum shutter speed and avoid subject blur, such as while shooting moving subjects when the volume of light drops. It also allows videographers to shoot clean footage, for example of nighttime streets, without the need for additional lights. For stills, the range is expandable to Hi BW1 and Hi BW2 (ISO 51200 and 102400 equivalent, respectively) in monochrome, further extending the scenes that can be captured.
HDR (High Dynamic Range) produces a single image with a wider dynamic range
High Dynamic Range (HDR) function takes two images of different exposures with one shutter release and automatically combines them to produce a single image that has a wider dynamic range. This achieves images with less noise and rich tonal gradation in shadows and highlights, even for high-contrast shooting scenes. HDR is ideal for stationary subjects such as high-contrast landscapes and still lifes.
Built-in Wi-Fi and NFC* for faster, easier communication
When you capture images with the power to wow others, it's natural that you'd want to post them and get feedback — immediately. With the D7200's built-in Wi-Fi function, sharing images to your online community has become easier. This lets you transfer your chosen images from the camera to your smart device simply and wirelessly. What's more, the D7200 supports NFC, enabling Wi-Fi connection by just touching the D7200 with the smart device.
In-camera time-lapse photography with smoother exposure transitions
Experiment with new forms of creative expression. For the first time in a Nikon DX-format camera, the D7200 lets you create beautifully rendered time-lapse movies entirely in-camera — and free from distracting flickering effects. This is due to Nikon's exclusive exposure smoothing function, which allows you to shoot long sequences easily and comfortably using A mode even when brightness levels change significantly, such as the transition between darkness and light at sunrise or sunset, without the whiteout and blackout that may occur when M mode is chosen to avoid flickering. Exposure smoothing is also available for interval timer photography — which can now accommodate up to 9,999 shots and is able to deliver footage of up to approx. 6K quality, allowing you to add pan and zoom effects when editing the pictures into a Full-HD movie.
Rugged body and sealing for reliable dust and rain protection
To shield against shock, the D7200 employs light and durable magnesium alloy for its top and rear covers. It also offers weather and dust protection equivalent to the D810 and D750, by applying comprehensive sealing to various parts of the body.
Long Battery Life
The D7200 employs the EN-EL15 Rechargeable Li-ion Battery — as used in the D810, D800, D800E, D750, D610 and D7100 — delivering approx. 1,110 images and movies of approx. 80 min. When you want to record for longer, the optional EH-5b AC Adapter (EP-5B Power Connector required) and MB-D15 Multi-Power Battery Pack are also available as power sources.
Nikon Corporation
One of the world's largest and most respected photographic companies turned 100 this 2017. Nikon was one of the innovators of the DSLR camera and was the first company to enable video recording on a DSLR camera, in fact NASA called on Nikon to provide the photographic equipment on the Space Shuttle. No longer in the shadow of its competitors, Nikon now stands up as a world leader if not the world leader in digital photography and we believe that Nikon always represents great value and even better technology.
Peace of Mind Purchase Guarantee
This product is supplied via Nikon Australia and enjoys the FULL benefits of the 'Genuine Nikon Australian Warranty'. (You may also be entitled to other consumer warranties as provided by the Australian Consumer Guarantee and these entitlements are not limited by this warranty). In the event that this product should fail please contact our service department or you can speak with Nikon Australia directly.
We are a FULLY AUTHORISED Australian retailer for Nikon Australia.
Due to differing operating costs associated with selling products via different marketplaces such as eBay, Amazon or our Online Store, our pricing may vary as a result.
- Tech Specs
Technical Specifications
Type Type Single-lens reflex digital camera Lens mount Nikon F mount (with AF coupling and AF contacts) Effective angle of view Nikon DX format; focal length in 35 mm [135] format equivalent to approx. 1.5x that of lenses with FX format angle of view Effective pixels Effective pixels 24.2 million Image sensor Image sensor 23.5 x 15.6 mm CMOS sensor Total pixels 24.72 million Dust-reduction system Image sensor cleaning, Image Dust Off reference data (Capture NX-D software required) Storage Image size (pixels)
- DX (24x16) image area: 6000 x 4000 [L], 4496 x 3000 [M], 2992 x 2000 [S]
- 1.3x (18x12) image area: 4800 x 3200 [L], 3600 x 2400 [M], 2400 x 1600 [S]
- Photographs with image area of DX (24x16) taken with live view selector rotated to movie live view: 6000 x 3368 [L], 4496 x 2528 [M], 2992 x 1680 [S]
- Photographs with image area of 1.3x (18x12) taken with live view selector rotated to movie in live view: 4800 x 2696 [L], 3600 x 2024 [M], 2400 x 1344 [S]
File format
- NEF (RAW): 12 or 14 bit, lossless compressed or compressed
- JPEG: JPEG-Baseline compliant with fine (approx. 1:4), normal (approx. 1:8) or basic (approx. 1:16) compression (Size priority); Optimal quality compression available
- NEF (RAW)+JPEG: Single photograph recorded in both NEF (RAW) and JPEG formats
Picture Control system Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, Flat; selected Picture Control can be modified; storage for custom Picture Controls Media SD (Secure Digital) and UHS-I compliant SDHC and SDXC memory cards Double card slot Slot 2 can be used for overflow or backup storage or for separate storage of copies created using NEF+JPEG; pictures can be copied between cards File system DCF 2.0, DPOF, Exif 2.3, PictBridge Viewfinder Viewfinder Eye-level pentaprism single-lens reflex viewfinder Frame coverage
- DX (24x16) image area: Approx. 100% horizontal and 100% vertical
- 1.3x (18x12) image area: Approx. 97% horizontal and 97% vertical
Magnification Approx. 0.94x (50 mm f/1.4 lens at infinity, -1.0 m-1) Eyepoint 19.5 mm (-1.0 m-1; from center surface of viewfinder eyepiece lens) Diopter adjustment -2 to +1 m-1 Focusing screen Type B BriteView Clear Matte Mark II screen with AF area brackets (framing grid can be displayed) Reflex mirror Quick return Depth-of-field preview Pressing Pv button stops lens aperture down to value selected by user (A and M modes) or by camera (other modes) Lens aperture Instant return, electronically controlled Lens Compatible lenses Compatible with AF NIKKOR lenses, including type G, E and D lenses (some restrictions apply to PC lenses) and DX lenses, AI-P NIKKOR lenses, and non-CPU AI lenses (A and M modes only); IX-NIKKOR lenses, lenses for the F3AF, and non-AI lenses cannot be used
The electronic rangefinder can be used with lenses that have a maximum aperture of f/5.6 or faster (the electronic rangefinder supports the center focus point with lenses that have a maximum aperture of f/8 or faster)
Shutter Type Electronically controlled vertical-travel focal-plane shutter Speed 1/8000 to 30 s in steps of 1/3 or 1/2 EV, bulb, time, X250 Flash sync speed X=1/250 s; synchronizes with shutter at 1/320 s or slower (flash range drops at speeds between 1/250 and 1/320 s) Release Release modes S (single frame), CL (continuous low speed), CH (continuous high speed), Q (quiet shutter-release), Self-timer, MUP (mirror up) Approximate frame advance rate
- JPEG and 12-bit NEF (RAW) images recorded with DX (24x16) selected for image area: CL 1 to 6 fps, CH 6 fps
- JPEG and 12-bit NEF (RAW) images recorded with 1.3x (18x12) selected for image area: CL 1 to 6 fps, CH 7 fps
- 14-bit NEF (RAW) images recorded with DX (24x16) selected for image area: CL 1 to 5 fps, CH 5 fps
- 14-bit NEF (RAW) images recorded with 1.3x (18x12) selected for image area: CL 1 to 6 fps, CH 6 fps
Self-timer 2 s, 5 s, 10 s, 20 s; 1 to 9 exposures at intervals of 0.5, 1, 2 or 3 s Remote control modes
Delayed remote, quick-response remote, remote mirror-up Exposure Metering TTL exposure metering using 2016-pixel RGB sensor Metering method
- Matrix: 3D color matrix metering II (type G, E and D lenses); color matrix metering II (other CPU lenses); color matrix metering available with non-CPU lenses if user provides lens data
- Center-weighted: Weight of approx. 75% given to 8-mm circle in center of frame; diameter of circle can be changed to 6, 10, or 13 mm, or weighting can be based on average of entire frame (non-CPU lenses use 8-mm circle)
- Spot: Meters circle with diameter of about 3.5 mm (about 2.5% of frame) centered on selected focus point (on center focus point when non-CPU lens is used)
(ISO 100, f/1.4 lens, 20°C/68°F)
- Matrix or center-weighted metering: 0 to 20 EV
- Spot metering: 2 to 20 EV
Exposure meter coupling Combined CPU and AI Modes Auto modes (auto; auto [flash off]); scene modes (portrait; landscape; child; sports; close up; night portrait; night landscape; party/indoor; beach/snow; sunset; dusk/dawn; pet portrait; candlelight; blossom; autumn colors; food); special effects modes (night vision; color sketch; miniature effect; selective color; silhouette; high key; low key); programmed auto with flexible program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M); U1 (user settings 1); U2 (user settings 2) Exposure compensation Can be adjusted by -5 to +5 EV in increments of 1/3 or 1/2 EV in P, S, A, M, SCENE and night vision modes Exposure lock Luminosity locked at detected value with AE-L/AF-L button ISO sensitivity
(Recommended Exposure Index)
ISO 100 to 25600 in steps of 1/3 or 1/2 EV; in P, S, A, M modes, can also be set to approx. 1 or 2 EV (ISO 102400 equivalent; monochrome only) above ISO 25600; auto ISO sensitivity control available Active D-Lighting Auto, extra high, high, normal, low, off Focus Autofocus Nikon Advanced Multi-CAM 3500 II autofocus sensor module with TTL phase detection, fine-tuning, 51 focus points (including 15 cross-type sensors; f/8 supported by one sensor), and AF-assist illuminator (range approx. 0.5 to 3 m/1 ft 8 in. to 9 ft 10 in.) Detection range -3 to +19 EV (ISO 100, 20°C/68°F) Lens servo
- Autofocus (AF): Single-servo AF (AF-S); continuous-servo AF (AF-C); auto AF-S/AF-C selection (AF-A); predictive focus tracking activated automatically according to subject status
- Manual focus (M): Electronic rangefinder can be used
Focus point Can be selected from 51 or 11 focus points AF-area modes Single-point AF; 9-, 21- or 51-point dynamic-area AF, 3D-tracking, auto-area AF Focus lock Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing AE-L/AF-L button Flash Built-in flash Auto, portrait, child, close up, night portrait, party/indoor, pet portrait, color sketch: Auto flash with auto pop-up
P, S, A, M, food: Manual pop-up with button release
Guide number Approx. 12/39, 12/39 with manual flash (m/ft, ISO 100, 20°C/68°F) Flash control TTL: i-TTL flash control using 2016-pixel RGB sensor is available with built-in flash; i-TTL balanced fill-flash for digital SLR is used with matrix or center-weighted metering, standard i-TTL fill-flash for digital SLR with spot metering Flash modes Auto, auto with red-eye reduction, auto slow sync, auto slow sync with red-eye reduction, fill-flash, red-eye reduction, slow sync, slow sync with red-eye reduction, rear-curtain with slow sync, rear-curtain sync, off; auto FP high-speed sync supported Flash compensation -3 to +1 EV in increments of 1/3 or 1/2 EV Flash-ready indicator Lights when built-in flash or optional flash unit is fully charged; blinks after flash is fired at full output Accessory shoe ISO 518 hot-shoe with sync and data contacts and safety lock Nikon Creative Lighting
System (CLS)
Nikon CLS supported; commander mode option available Sync terminal AS-15 Sync Terminal Adapter (available separately) White balance White balance Auto (2 types), incandescent, fluorescent (7 types), direct sunlight, flash, cloudy, shade, preset manual (up to 6 values can be stored, spot white balance measurement available during live view), choose color temperature (2500 K to 10000 K), all with fine-tuning Bracketing Bracketing types Exposure, flash, white balance and ADL Live view Live view modes Live view photography (still images), movie live view (movies) Lens servo
- Autofocus (AF): Single-servo AF (AF-S); full-time servo AF (AF-F)
- Manual focus (M)
AF-area modes Face-priority AF, wide-area AF, normal-area AF, subject-tracking AF Autofocus Contrast-detect AF anywhere in frame (camera selects focus point automatically when face-priority AF or subject-tracking AF is selected) Movie Metering TTL exposure metering using main image sensor Metering method Matrix or center-weighted Frame size (pixels)
and frame rate
- 1920 x 1080; 60p (progressive), 50p, 30p, 25p, 24p
- 1280 x 720; 60p, 50p
1920 x 1080; 60p and 50p are available only when 1.3x (18x12) is selected for image area in the movie shooting menu
File format MOV Video compression H.264/MPEG-4 Advanced Video Coding Audio recording format Linear PCM Audio recording device Built-in or external stereo microphone; sensitivity adjustable Maximum length 29 min. 59 s (10 or 20 min. depending on frame size/rate and movie quality settings) Other movie options Index marking, time-lapse photography Monitor Monitor 8-cm/3.2-in., approx. 1229 k-dot (VGA; 640 x 480 x 4 = 1,228,800 dots), TFT monitor with approx. 170° viewing angle, approx. 100% frame coverage and brightness adjustment Playback Playback Full-frame and thumbnail (4, 9 or 72 images or calendar) playback with playback zoom, movie playback, photo and/or movie slide shows, histogram display, highlights, photo information, location data display and auto image rotation Interface USB Hi-Speed USB; connection to built-in USB port is recommended HDMI output Type C HDMI connector Accessory terminal Wireless remote controllers: WR-1 and WR-R10, Remote cord: MC-DC2, GPS unit: GP-1/GP-1A (all available separately) Audio input Stereo mini-pin jack (3.5-mm diameter; plug-in power supported) Audio output Stereo mini-pin jack (3.5-mm diameter) Wireless Standards IEEE 802.11b, IEEE 802.11g Operating frequency 2412 to 2462 MHz (channels 1 to 11) Range (line of sight) Approx. 30 m/98 ft (assumes no interference; range may vary with signal strength and presence or absence of obstacles) Data rate 54 Mbps; maximum logical data rates according to IEEE standard; actual rates may differ Authentication Open system, WPA2-PSK Wireless setup Supports WPS Access protocols Infrastructure NFC Operation NFC Forum Type 3 Tag Supported languages Supported languages Arabic, Bengali, Bulgarian, Chinese (Simplified and Traditional), Czech, Danish, Dutch, English, Finnish, French, German, Greek, Hindi, Hungarian, Indonesian, Italian, Japanese, Korean, Marathi, Norwegian, Persian, Polish, Portuguese (Portugal and Brazil), Romanian, Russian, Serbian, Spanish, Swedish, Tamil, Telugu, Thai, Turkish, Ukrainian, Vietnamese Power source Battery One EN-EL15 Rechargeable Li-ion Battery Battery pack Optional MB-D15 Multi-Power Battery Pack with one EN-EL15 Rechargeable Li-ion Battery or six R6/AA-size alkaline, Ni-MH or lithium batteries AC adapter EH-5b AC Adapter; requires EP-5B Power Connector (available separately) Tripod socket Tripod socket 1/4 in. (ISO 1222) Dimensions / weight Dimensions
(W x H x D)
Approx. 135.5 x 106.5 x 76 mm/5.4 x 4.2 x 3.0 in. Weight Approx. 765 g/1 lb 11.0 oz with battery and memory card but without body cap; approx. 675 g/1 lb 7.9 oz (camera body only) Operating environment Operating environment Temperature: 0 to 40°C/32 to 104°F; humidity: 85% or less (no condensation)
- In The Box
What's Included?
What's In The Box:
All refurbished cameras will be supplied with the following accessories
- Camera Body
- Camera Lens if applicable
- Battery Charger & Rechargeable Battery if applicable
The following items that may have been supplied when the camera was new are not guaranteed to be included with the camera kit, however these accessories will not impact the camera's ability to take a photo
- Strap
- Lens Cap
- USB Cable
- Warranty Card
- Audio Video Cable
- Non Rechargeable Batteries
- Manual, in most cases can be downloaded from manufacturers website
- Software Suite CD-ROM, in most cases can be downloaded from manufacturers website
- (this list is not exhaustive and other items not listed above may be missing)
Please do not buy a refurbished camera if you believe not receiving a hard copy instruction manual, Warranty Card or CD rom will be an issue.
- Reviews
No Reviews Available


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5 Things Parents Routinely Overpay For
by a guest poster • October 5, 2012 • Tagged: baby, parents, stuff  • Comments
Elle writes over at Couple Money, helping couples to reach financial freedom by living one one income and having fun with the second.
Becoming parents has changed our lives dramatically and so far it's been a blast. One of the first things we noticed is how our finances have changed with having a little one. The common warning we heard from well meaning friends was that babies will drain your finances like nothing else.
While certain expenses like health insurance premiums can take a big chunk out of our wallets, there are some baby expenses we as parents can reduce (and hopefully redirect towards other future goals).
Baby Expenses That you Can Save Big Money On
During my pregnancy I decided to track our real life baby expenses on our site as a way to give first time parents an idea of what to expect financially. Thankfully other parents have been kind to us and shared some of their tips as we asked both online and offline for their advice.
Over the series I noticed that there a few things that parents can overpay for if they are not careful (which can be done when you're adjusting to your little one's sleep schedule).
Baby Food/Formula
Feeding your baby is essential, but costs can vary widely. If you're formula feeding look at buying in bulk (perhaps a warehouse club) or consider a subscription service like Amazon Mom, which offers some pretty competitive discounts on foods.
As your baby gets older and is trying out purees and solid food, you may find it more cost effective to make your own baby food. Some parents have also enjoyed having the freedom to prepare some unique dishes for their little ones to try out.
Breast Pumps
For us we went with breastfeeding our baby girl and even though it can save you a lot of money, buying a breast pump can be quite expensive. Before you pick up a breast pump ask yourself how you plan on using it. For those who have to go back to work full-time at an office, getting a portable unit that can automatically pump can be worth the money. You can rent a pump from your local hospital to see if you really need the top of the line model.
Thankfully besides the deals offered online for the pumps, there is a tax break that you may want to take advantage of when you file next year.
This was by far the most common expense people warned us about. The good news is that it doesn't have to be a huge money drain. Based on some friends' recommendations we signed up for a disposable diaper subscription through Amazon, bring our diaper costs to around $20/month. What's great about going online is that we have it delivered right to our house, which also saves us some time.
A few months ago we also made an adjustment to a hybrid of cloth diapers/disposable diapers. The transition was a bit surprising at first, but it's a good fit for out routine.
For those who are interested in cloth diapering, there are several great options. For us, we're using FuzziBunz.
Baby Clothes
We did not imagine how quickly our baby girl went through clothes the first year. Even with gifts from grandparents and friends, she was outgrowing clothes every week it seemed.
Don't underestimate the temptation to grab and buy adorable outfits in tiny sizes. It's amazing how much is out there for baby clothes and it can be very easy to drop a lot of money for outfits that will be worn for a couple of weeks (yes we've even had outfits that we were once!).
Save yourself a lot of heart ache by using a baby consignment shop if possible. We have one near our neighborhood and we've been able to pick out some awesome clothes there at a fraction of the price you'd see at stores. The quality is fantastic, with tags still on some of the outfits we pick up. When we're done we can pass it down to friends or family, consign it back and get some credit for future purchases, or save it for future kids.
Baby Toys
My recommendation for toys is the same as clothes – look for a consignment store that specializes in baby gear. They tend to check their wares more closely and you can get some fantastic deals with them. Of course like many parents we can'[t resist grabbing some new toys time to time, but it's great having a cost effective option nearby as well.
Money Saved -> Baby Fund
What's great with saving money on baby expenses is how you can use that money for bigger financial goals that you may have for your little one. For parents looking at building a college fund, optimizing baby expenses can be a wonderful way to jump-start the fund.
Thoughts on Baby Expenses
I'd love to hear from you about your take on baby expenses. How have you found ways to save on baby and kid expenses? What has been the easiest fix? What has been the hardest? What sites and stores do you use when you shop for baby gear?


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New Research Suggests Digital Economy Act & ACTA Will Stifle Creativity
from the understanding-creativity deptGlyn Moody points us to some research coming out of the University of Leicester which suggests that highly restrictive copyright laws and enforcement regimes actually serve to harm creative output and the creative industries. This is a point that we've discussed in the past, so it's nice to see more research being done in this area. Basically, what the research is finding is that these legislative efforts are serving to limit the technologies that are used to create new works today.
Of particular concern is that it will "stifle the creative opportunities for youngsters with tough regulation on digital media restricting young peoples' ability to transform copyrighted material for their own personal and, more importantly, educational uses." Now, I can already hear the copyright system defenders claiming that transforming copyright materials for their own uses is not a "creative opportunity," but that's wrong. The way young people learn to create is initially through emulation. You learn to draw what you see. You learn to play the music that others wrote. And as you start to play around, you transform it in your own way. That's the very basis of young creative expression.
The issue is that new digital technologies allow for a modern version of that in things like digital mashups and remixes. People who don't recognize that these are the modern day equivalents to creating new artworks by attempting to copy what others have done will scoff, but they are mostly demonstrating the myopic view that modern technology used for creativity and creative learning simply "isn't like it used to be." Creativity comes in all forms, and what young people learn today through transforming the creative works of others is what will lead to the great artwork and creative output of tomorrow... if the legacy industries and our politicians don't stamp out such creative opportunities.
Filed Under: acta, copyright, creativity, dea


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Lucy Hale is a brunette beauty who has become a fashion sensation due to her role in the hit show Pretty Little Liars. She even was honored for her acting talent this year at the People's Choice Awards for her role in the show and was named as the Favorite Cable TV Actress. Here is how you can recreate Lucy's style and to stay "pretty" in your designer swimwear.
Lucy flaunts her best style at the screening of the season finale of Pretty Little Liars. The sophisticated a-line dress has a flirty and edgy look to it. The blush color of this ensemble gives it the feminine touch, while the snake print gives the look an edge. Capture the elegance of Lucy's style in your luxury swimwear by wearing the Irresistible bikini. The Irresistible bikini has a soft blue snake print giving it a flirt edge. The teal bamboo hardware in the center bust of the top and the gold hardware in the low-rise bottoms glam up the bikini and gives an extra touch of sophistication to this glamorous suit.
This actress has always had a passion for music and has announced the release date of her country album to be June 3rd 2014. The album named Road Between has received much hype as the star releases more and more information. Lucy recently revealed the album artwork which features her in a gorgeous white dress. This look can be carried over into her luxury swimwear bikini in the Call Me Maybe Bikini. This bikini is an ivory color making it easy to match with most outfits. In addition, the bikini has a brown stone and gold hardware giving it an earthy feel. This bikini is perfect for any women's style whether she is a bohemian princess at heart or a southern belle. We can see this native southern rocking this bikini in her cowboy boots at stage coach this year!


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So Cage, Cage-Taylor, BCT, Mr. GMSI has has to impressive showings. Having the break out performance at DDT4 the holding his own (with a broken nose!) with Kevin Steen. The man seems to be a FN machine both inside and outside the ring. So what should be next for Brian Cage? Who would you like to see him wrestle next? El Generico? Riccochet? Davey Richards? Willie Mack? TJ Perkins? Or should he keep the Fighting Taylor Boys going-matches with Future Shock? Super Smash Brothers? Young Bucks?
Where should Brian Cage "The NXT Diva" (remember that chant!) go next???


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We have two basic settings for speaking our videos.
1. Focused speaking where you speak only the lines with words you studied in LEARN
2. Non focused speaking where students speak the whole video.
This is for both videos lessons not in a course or in a course.
It is easy to select either one and control the behavior of our unique player.
1. Click the player settings button
2. Select (Focused speech on) or deselect (speak the whole video) the Focused speaking checkbox.
3. Start speaking!


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The official website for "The Stepfather" remake has gone live. This film gets my nomination for the "Prom Night" of 2009, but we'll see when it gets released October 14th.
Here's a teaser trailer for the "Plan 9 From Outerspace" remake. And they released it on 9-9-09. Oh, I see what they did there.
Just to balance out all of the remake news, here's new stills from the indie film "Imago Mortis", which stars "Nightmare on Elm St." parts 4 and 5 star Lisa Wilcox, and follows a young woman who is investigating the disappearance of her brother.
Here's another teaser for you today, for Jon Knautz's "Shrine". You may know Knautz from last year's Indie hit "Jack Brooks Monster Slayer".


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5:00 pm
Moyers & Company "Confronting The Contradictions of America's Past" Bill opens this weekend's Moyers & Company (check local listings) with thoughts about the origins and lessons of Independence Day. We should remember, he says, that behind this Fourth of July holiday are human beings, like Thomas Jefferson, who were as flawed and conflicted as they were inspired, who espoused great humanistic ideals while behaving with reprehensible racial discrimination. That conflict -- between what we know and how we live -- is still a struggle in contemporary politics and society. D
6:00 pm
William and Mary William completes his plans to sell his business and move to New Zealand. Reuben's true colors are revealed and Mary makes a decision.G
7:00 pm
Outdoor Idaho "Borderlands" Sagebrush plains merge seamlessly into forested mountains in the vast country along the Idaho-Nevada border, where cowboys rule. But cowboys don't have a corner on this lonely corridor west of Highway 93. It's also a great place for people seeking solitude and recreation. They come to float through remote canyons, fish for walleye, or horse pack into a beautiful wilderness area. This is the true Wild West, where the nation's last gold rush took place and also its last stage robbery.G
7:30 pm
Oregon Field Guide "Kite Festival/Trees and Pollution/Ultralight Hiking" FIELD GUIDE cameras find kites from two inches wide to the size of a parade balloon at Oregon's largest kite festival in Lincoln City. Emerging research shows that plants and trees planted in some locations can add to air pollution because they emit isoprenes, which combine with man-made pollutants to create ozone.G
8:00 pm
Garrow's Law As season two begins, Garrow's friend and mentor, attorney John Southouse, is grappling with inner demons and Lady Sarah returns unexpectedly to London with her infant son. Liverpool Assurance Company wants Garrow to prosecute the owners of a slave ship for the value of 133 slaves who were thrown overboard when water ran low aboard ship. Meanwhile Sarah is threatened with ruin by her husband and wants help from Garrow.G
9:01 pm
Masterpiece Mystery! "Endeavour" Rookie Constable Endeavour Morse is already fed up with police work, having given it a trial after leaving Oxford without graduating and trying a stint in the military. He is ready to turn in his resignation when a murder turns up that only he can solve. Shaun Evans portrays the young constable in this prequel to the Inspector Morse tales.G
10:30 pm
New Tricks UCOS investigates art fraud in the Queen's private collection, which is overseen by the handsome Sir Tim. The team discovers a catalogue of forgeries by an artist and political activist who killed himself after a blaze destroyed his studio. The team seeks to learn who was behind the scam, which dates back 25 years.G
11:30 pm
Joseph Rosendo's Travelscope "Northern Ethiopia - Ancient History and Spiritual Present" Joseph visits the monasteries of Lake Tana, castles of King Fasiladas in Gondar, the stelae of Axum and rock-hewn churches of Lalibela. Along the way, he finds World Heritage sites and traces the lineage of Ethiopia's kings back to the days of Solomon and the Queen of Sheba.G


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All paradigm shifts answer the amoral craving for novelty. Obama's election victory did it. So did the Auschwitz footage in its day. Good and evil are irrelevant. Show us the world's not the way we thought it was and a part of us rejoices. Nothing's exempt. One's own death-sentence elicits a mad little hallelujah, and mine's egregiously overdue. For ten, twenty, thirty years now I've been dragging myself through the motions. How long do werewolves live? Madeline asked recently. According to WOCOP around four hundred years. I don't know how. Naturally one sets oneself challenges - Sanskrit, Kant, advanced calculus, t'ai chi – but that only addresses the problem of Time. The bigger problem, of Being, just keeps getting bigger. (Vampires, not surprisingly, have an on-off love affair with catatonia.) One by one I've exhausted the modes: hedonism, asceticism, spontaneity, reflection, everything from miserable Socrates to the happy pig. My mechanism's worn out. I don't have what it takes. I still have feelings but I'm sick of having them. Which is another feeling I'm sick of having. I just...I just don't want any more life. (p. 7)
This quote, taken from Glen Duncan's The Last Werewolf (released last month), underscores something that I've noticed from some so-called non-genre writers when they utilize SF/F genre staples such as a werewolf. Whereas the werewolf in say something influenced (derived) from Stephanie Meyers' Twilight Saga might represent a conflicted, brooding, emo-inspired youth or where it might be a vicious, animalistic force depicting carnal lust and violence, here in Duncan's book (the opener of an apparent trilogy) the purported "last" werewolf is shown going through a mid-life crisis of self-doubt and ennui. For someone like myself who is entering mid-life, something rings truer in Duncan's werewolf than in others that I've read over the years. Perhaps it's that sense of been there, done that, bought the t-shirt.
Whatever it might be, I have noticed that some of the more recent "genre novels" by "non-genre" novelists have brought something to the table that made me pay closer attention to their own works. Take for instance Cormac McCarthy's The Road. When it was published five years ago, several SF/F fans derided it for being (to them a post-apocalyptic novel) a genre trope-laden novel in denial. True, there is the post-apocalyptic setting, but what made McCarthy's take on it more powerful was not its similarities to 1950s-1960s post-nuclear event SF stories, but rather its core of the father/son dynamic and their search for peaceful refuge in a world seemingly devoid of peace or rest. It wasn't a matter of what McCarthy "borrowed" or "stole" but rather what he added. It doesn't matter as much if it's viewed as a genre novel that contains a strong commentary on familial bonding and hope or if it's seen as a social commentary that utilizes post-apocalyptic SF imagery to make its point. What does matter is if McCarthy achieved something memorable and by and large he has done so with The Road.
Next week will see the American publication of Lev Grossman's The Magician King, the sequel to his 2009 novel, The Magicians. Two years ago, a lot of the controversy revolved around the "ripping-off" of J.K. Rowling's Harry Potter series in the form of the Brakebills magical academy and C.S. Lewis' The Chronicles of Narnia for the setting (and many of the mechanics) of the fantasy portal world of Fillory. Others did not like Grossman's novel because of the upper-middle class youth and their open insecurities and confused relationships; it read too much like an 1980s social commentary novel the likes of Bret Easton Ellis or Jay McInerney might write. There is something to that charge, something that appeals to me. Perhaps it is Grossman's tackling of the consequences of escapist dreams co-existing with those capable of wielding magical forces. Maybe it is the ripping away of aspirations to lay bare some rather brutal truths about the unfairness of life. Possibly it is the traumas that make the fantasy world feel hollow and self-serving rather than something bigger, brighter, and better than "real life." These things together make Grossman's last two novels refreshing reads.
Then there are authors who are doing weird fictions outside of genre imprints. Jesse Ball's latest novel, The Curfew, tackles a dystopic future of a controlling government a bit differently than most dystopic fictions:
Who had overthrown it? Why? Such things weren't clear at all, just as it wasn't entirely clear that anything had been overthrown. It was as if a curtain had been drawn and one could see to that curtain but not beyond. One remembered that the world had been different, and not long ago. But how? This was the question that nagged at those who could not avoid asking questions.
The nothing that had changed at all was really beyond bearing. Houses and buildings were full of desperate people who deeply misunderstood their desperation. This was due to artful explanation on the part of the government. It is impossible to tell, many said out of the corners of their mouths, if the ministry is thinking well of us – if they are acting on our behalf. Yet still there were acorns falling from trees, fish breaking the surfaces of ponds, etc. In a long life, said many an old man, this is but one more thing. Yet there were others who were young and knew nothing about the helplessness of life's condition. Did they glow with light? They did, but of course, it could not be seen. And all the while, the grinding of bones like machinery, and the light step of tightrope walkers out beyond the windows. (p. 8-9)
The Curfew was an entertaining, thought-provoking novel not because it tackled the issue of a totalitarian novel head-on, but rather because it was obliquely referred to through metaphor and poetic turns of expression (Ball is a poet by trade). The horror of the "curfew" builds slowly; we know there is something nefarious about the government, but seeing it through the eyes of its citizens makes it more monstrous because of how uncomfortably close it gets to describing a plutocratic republic. By the time we get to the following dialogue, the action is more palpable because it is more implied than acted out directly:
Molly tugs on William's sleeve.
*Do you think that the world can be saved?
– The world saved?
William smiles.
– From what?
*Those people. That, and, and Mother dying.
– That is part of our world, and can't be changed. I don't know that I would want to live in a world where things had become better, but your mother was gone. She always dreamed about that place, and I don't think I could go there without her.
Molly looks at her feet. Then she looks out into the audience. She appears to be looking right at them, one by one.
William draws in a deep breath. He continues.
– But, for you, I want it to change. One day you will be the only one of us three remaining, and then the world that includes us will be inside of you and nowhere else. (p. 185-186)
Ball's narrative works well because he hints at revolt and revolution against a repressive regime and he "shows" this through how furtive the opposition is to the "curfew" imposed upon them. I especially enjoyed the subtle jabs employed by some of the characters because this felt more "real" to me than any imagined sudden open defiance to an insidious, established, totalitarian regime.
Perhaps this is where many people discover the appeal in these works noted above. For some, the fantastical or SFnal are but window dressing for the spectacle that is human drama. We can appreciate a good monster, but monsters as monstrums that evoke fear and wonder not because they are grotesque, but because they warn us through illumination of something within us. These authors, in their own ways, do this through the use of genre elements to convey a sense of human curiosity and fallibility that is found more often in other literary branches than the purely speculative. Sometimes, it does take an "outsider" to "steal" something to make something that if not quite sui generis, at least authentic to those readers who love a mixture of real-world concerns with the fantastic.