text:
Microsoft settlement leaves Free Software in the cold
The European Commission yesterday announced a preliminary agreement with Microsoft. The deal is supposed to settle an antitrust investigation about the company's dominant position in the web browser market. The Commission is also ready to strike a deal on interoperability. The goal is to allow rival products to work with Microsoft's applications on the desktop.
FSFE commends Commissioner Neelie Kroes and the European Commission on their effort to bring more competition to the European software market. Though clearly negotiated under some time pressure, parts of the agreement are better than Microsoft's previous proposals.
While FSFE's input as a steadfast defender of software freedom over the past seven years has helped to bring about some improvements on details of the browser selection screen, the updated agreement proposed by Microsoft does not address the legitimate concerns of the Free Software community.
Karsten Gerloff, FSFE's President, says: "In its current form, Microsoft's proposal has many loopholes for the convicted monopolist to slip through. The lack of a monitoring system leaves Free Software projects out in the cold. There is no clear commitment from Microsoft to adhere to web standards in the future, nor to end the company's habit of adding proprietary extensions to standards."
In order to fend off another possible investigation by the European Commission, Microsoft is also offering a set of promises to let rival programs work with some of its desktop applications such as Outlook and Sharepoint. Yet Free Software projects, which are often the strongest competitors to the company's offerings, will not be able to use the patent licence proposed by Microsoft.
FSFE's legal counsel Carlo Piana says: "We are disappointed that major issues for Free Software and other small, innovative players remain unaddressed. Private enforcement is out of reach for them. This is a missed opportunity to break new ground in antitrust enforcement."
FSFE will analyse Microsoft's proposed commitment in detail in the coming weeks and provide feedback to the Commission. Our goal is to help shape a deal for a sustainable, interoperable and competitive future.


text:
VMware and Salesforce.com launch VMforce. Red Hat provides Cloud Access. And more.
Follow 451 CAOS Links live @caostheory on Twitter and
"Tracking the open source news wires, so you don't have
# VMware and Salesforce.com launched VMforce, a platform for developing and deploying Java cloud applications.
# Red Hat Cloud Access enables enterprises to use their Red Hat Enterprise Linux subscription on Amazon Web Services.
# Canonical announced Ubuntu 10.04 LTS Server Edition, Desktop Edition and ISV support.
…[Read more]

subset: commoncrawl


text:
Quantum mechanics notwithstanding, our world is analog. And so despite our fascination with everything digital, we need interfaces to provide bridges for our analog reality to cross over to the digital paradigm and then back again. One may ask: Is there a common denominator that binds these two worlds together regardless of their many conceptual differences? In my mind, it is grounding.
The fundamental rule for grounding is depicted in Figure 1. By "ground" I mean the common 0 V potential to which signals are referenced. The "chassis ground", if grounding conductors had 0 Ω impedance, would also be 0 V—but, unfortunately, it never is. Yet there are still systems that are sufficiently insensitive to ground potential differences. They use the chassis for the signal and power returns. At one time, this was the way cars had been wired.
Figure 1a shows circuits sharing a common ground run. Notice that the output or the highest current drawing stage (1) must be the closest to the common point to minimize the voltage developed by that stage current over the grounding conductor. Also notice that the input signal and its return must be tied to the input block (3). Internal signal returns (grounds) are shown by broken lines. Returning inputs or outputs anywhere else would superimpose the noise from stages 1, 2, and 3 on the input signal. Figure 1b shows the approach often used in RF equipment. There is no sharing of grounds; they are all individually tied to a single point. Each circuit A and B can occupy its own PCB or they can be on a single PCB, their ground planes separate, such as analog and digital circuits. The grounds come together at the point G, where the chassis is also connected. Where there are a few inches of wire tying the individual grounds together, it is a good idea to insert fast signal diodes and a capacitor as shown between the separate ground runs. Any potential difference developed between the separate grounds due to finite impedance of wiring, as shown in Figure 1, will be attenuated and clamped by the three components. Note that the "capacitor" should in fact be a parallel combination of a number of capacitors, depending on the application, to guarantee performance across the spectrum. The following are typically used: 100 pF, 1 nF, 10 nF, 0.1 μF, and 1 μF.
In safety-critical systems such as aircraft comprising two or more subsystems enclosed in metal cabinets, such as shown in Figure 2, only currents from lightning or other interference suppressed by the EMC blocks is allowed to be returned to the chassis.
Power needs to be delivered by twisted pairs and all the returns connected to the chassis at a single point. If the signal grounds of the electronics are not allowed to be connected to the chassis, which depends on the system architecture, a combination of diodes, a capacitor, and a resistor as shown needs to be used to prevent ground loops as well as parasitic feedbacks between the electronics and the metal cabinet.
The subsystem enclosures shown with dotted lines connect to the chassis by mounting screws or straps. Most of today's avionic equipment uses isolated power supplies. There is no galvanic connection between the power return and the internal signal ground to eliminate ground loops, yet the enclosures need to be connected to the internal grounds to eliminate parasitic feedbacks through capacitive coupling; but then they would create ground loops. Some system architectures require signals working with their own ground, isolated from the chassis, to prevent ground loops. To compensate for the parasitic capacitances existing due to the proximity of the metal enclosure to the components and the EMI/lightning protection, the resistor, capacitor, diode combination (as mentioned above) is used, with typical values of resistor about 10 kΩ and capacitance less than 10 μF. The capacitance is again a parallel combination of smaller capacitors to suppress the desired frequency spectrum.—George Novacek, "My Analog World: The Significance of Grounding," Circuit Cellar 244, 2010.
Circuit Cellar's editorial team comprises professional engineers, technical editors, and digital media specialists. You can reach the Editorial Department at email@example.com, @circuitcellar, and facebook.com/circuitcellar


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Orthodontic treatment in young children is known as interceptive orthodontics, and it can begin as early as age 6 or 7. At this age, teeth are still developing and the jaw is still growing. That means certain conditions, such as crowding, may be easier to address.
It is important to note that early treatment does not apply to all orthodontic problems; however, it may help in certain cases. Two conditions that require early intervention are crossbites and protruding front teeth. A crossbite can cause the jaws to grow unevenly. Front teeth that stick out may be fractured or injured in an accident, such as a fall.
Early intervention takes advantage of the fact that a child's jaw is still growing. Early treatment also may be useful when the dental arches and jaws are not in the correct position. Functional appliances may fix or improve these problems. More treatment usually is needed later on, but it may be shorter and less involved.
Kids braces have improved a lot in the past couple of decades. Technology has made them more comfortable and more attractive than the braces most parents remember wearing. They're also more affordable, meaning many more children have them.
Good dental hygiene is crucial for kids with braces and other dental appliances. Three to four times per day, have your child rinse with water to loosen food that might be caught in the braces, then brush thoroughly. Each night before bed, have your child floss their teeth and then rinse with a fluoride rinse to help keep the teeth strong and healthy.
Once per day, you should also help your child floss, which helps loosen food debris and plaque at and under the gum line that would otherwise harden into tartar. It can also help reach the nooks and crannies in the teeth that might be difficult to reach with a toothbrush. Flossing with braces can be difficult, but you can use many options to help ensure the gums stay healthy. Talk to your child's orthodontist or dentist for oral care recommendations.
Every six months, take your child to the dentist for a cleaning and a checkup. The dentist can point out areas that need more attention, and help make sure you're keeping your child's teeth healthy and clean in and around the braces. Often, your dentist or hygienist can suggest helpful tools or ideas to keep your child's teeth healthy while the braces are on.
Although treatment plans are customized for each patient, most wear their braces from one to three years, depending on the oral care issues that need correcting. This is followed by a period of wearing a "retainer," which holds teeth in their new positions. Although a little discomfort is expected during treatment, today's braces are more comfortable than ever before.
A palatal expander may be used to expand the child's upper dental arch so there is more room for teeth to grow in, thus reducing crowding in the mouth. The procedure involves the installation of the appliance. It consists of two pieces of plastic attached to both sides of the upper molars, and an expansion screw. When the expansion screw is turned, the device pushes the two sides away from each other, thus gradually widening the jaw and making room for the child's adult teeth. Once the arch is the proper size, there's a better chance that the adult teeth will come in in a better position.
Space maintainers are another example of an early intervention technique. When a child looses a tooth prematurely, as a result of decay or injury, the other teeth can shift to fill the vacant space. As a preventative measure, a dentist can place a space maintainer to hold the space until the permanent tooth comes in. Space maintainers can be a band or a temporary crown, which is attached to the vacant space. When the permanent tooth begins to emerge the dentist will remove the space maintainer. This procedure may eliminate the need for further or more intensive orthodontics in the future.


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Keto Comfort Foods: Family Favorite Recipes Made Low-Carb and Healthy
书籍英文名:Keto Comfort Foods: Family Favorite Recipes Made Low-Carb and Healthy
书籍作者:Maria Emmerich
书籍简介:The ketogenic diet is all about nourishing and healing your body with nutrient-dense whole foods, as international bestselling author Maria Emmerich has demonstrated in her previous books, including The Ketogenic Cookbook (with Jimmy Moore) and The 30-Day Ketogenic Cleanse. But food is more than just nourishment; food is tradition, food is love, and most importantly, food is a celebration. The mere thought of eating a particular meal or the smell of a favorite childhood dish can evoke positive memories, whether it's a simple Sunday dinner with family or a major life event.
When you begin following the ketogenic diet, whether your goal is to promote weight loss, improve blood markers, or just enhance overall health and well-being, it's easy to forget to enjoy food. Some people fall into a drab routine of consuming the same dishes over and over, which can lead to boredom and frustration—and ultimately to the desire to fall back into old, poor eating habits. With Keto Comfort Foods, Maria Emmerich reassures everyone on the keto diet that it isn't difficult at all to recreate those favorite foods and meals in healthy ways—you just need to use a little creativity. By using clever low- or no-calorie substitutions for sugar and scrubbing all recipes clean of gluten-containing additives, Maria has created an incredible resource for comforting home-cooked meals that are safe enough for everyone in the family and delicious enough for the most discerning eaters. These recipes are sure to become new family favorites!
In Keto Comfort Foods, Maria Emmerich has compiled her most soul-warming, happiness-invoking recipes. The book's more than 170 tantilizing, hearty comfort food recipes include everything from cinnamon rolls to steak fries, and from chicken cordon bleu to tiramisu cheesecake. Maria has covered all the bases, giving you the recipes and tips you need to make delicious and healthy versions of your favorite dishes.
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Mountains of the Night
Price: $3.99
(Money-back satisfaction guaranteed.)
Format: Ebook for Kindle / iPad / iPhone / Android / Nook / others (.epub).+ old Kindle (.mobi).
Or Buy Now in: PAPERBACK EDITION
Print EditionThis title is also available in print in paperback. (Payment, printing, and shipping via Amazon.com.) |
We all have our Mountains of the Night.
Writer Bruce Taylor hikes though a treacherous landscape of chronic illness and family dysfunction—his own Mountains of the Night.
Persevering against great odds, he nonetheless summits those peaks and to his astonishment, discovers a landscape of forgiveness, courage and joy.
This ebook is in your choice of formats that work for almost every ebook reader and has no copy protection ("DRM"). Read it on any reader you want, any time.
We hope you enjoy the ebook! If you like it, please tell others to visit www.ReAnimus.com/1515
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text:
180g Crepe - Clementine (581)
This product is sold out
Attention all crepe paper artists! Get ready to elevate your crafting game with our heavy weight Italian crepe paper!
This versatile paper is perfect for a wide range of applications, from creating stunning paper flowers and party decor to wrapping gifts and anything else your imagination can dream up. The raw materials and manufacturing processes used to make these papers make them fully recyclable, so you can feel good about using them for your projects.
The weight of this crepe, 180g (144g/m²), guarantees a high colour intensity and reduces transparency when stretched. The stronger structure of the material gives it resistance and elasticity, making it ideal for countless applications, from floral decorations and shop window displays to product packaging.
Crafted in Italy, these papers boast an extraordinary 260% stretchability, providing you the creative liberty to produce exceptional and striking designs that truly captivate.
Size: 19.5 x 98.5"


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Moritz von Schwind was an Austrian painter, born in Vienna. Schwind's genius was lyrical—he drew inspiration from chivalry, folklore, and the songs of the people. Schwind died in Pöcking in Bavaria, and was buried in the Alter Südfriedhof in Munich.
Moritz von Schwind received rudimentary training and spent a happy and carefree youth in Vienna. Among his companions was the composer Schubert, some of whose songs he illustrated. In 1828, the year of Schubert's death, he moved to Munich, where he befriended the painter Schnorr and enjoyed the guidance of Cornelius, then director of the Academy.
In 1834, he was commissioned to decorate King Ludwig's new palace with wall paintings illustrating the works of the poet Tieck. He also found in the same place congenial sport for his fancy in a "Kinderfries". He was often busy working on almanacs, and on illustrating Goethe and other writers through which he gained considerable recognition and employment.
In the revival of art in Germany, Schwind held as his own the sphere of poetic fancy. In 1839 he was entrusted with the new Karlsruhe academy, itself an embodiment in fresco of ideas thrown out by Goethe. He decorated a villa in Leipzig with the story of Cupid and Psyche, and further justified his title of poet-painter with designs from the Niebelungenlied and Tasso's Gerusalemme for the walls of the castle of Hohenschwangau in Bavaria.
From the year 1844 dates his residence in Frankfurt during which he created some of his finest easel pictures, most notably the "Singers' Contest" in the Wartburg (1846), as well as designs for the Goethe celebration. There were also numerous book illustrations. The conceptions for the most part are better than the execution.
In 1847, Schwind returned to Munich on being appointed professor in the academy. Eight years later his fame was at its height on the completion in the castle of the Wartburg of wall pictures illustrative of the "Singers' Contest" and of the history of Elizabeth of Hungary.
The compositions received universal praise, and at a grand musical festival in their honour, Schwind himself was one of the violinists. In Munich he also worked on some churches, particularly the altar and windows of the Church of Our Lady.
His exceptionally mature cycle, "Seven Ravens" from Grimm's fairy stories was produced in 1857. In the same year he visited England to report officially to King Ludwig on the Manchester art treasures. So diversified were his gifts that he turned his hand to church windows and joined his old friend Schnorr in designs for the painted glass in Glasgow Cathedral.
Towards the close of his career, with broken health and his powers on the wane, he revisited Vienna. During this time, he created the cycle from the legend of Melusine and the designs commemorative of chief musicians which decorate the foyer of the Vienna State Opera. Cornelius writes, "You have translated the joy of music into pictorial art."


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As data emerges on the spectrum of symptoms caused by COVID-19, it's clear that people with chronic health conditions are being hit harder.
While many people experience mild illness, 89% of people with COVID-19 who were sick enough to be hospitalized had at least one chronic condition. About half had high blood pressure and obesity, according to data from the Centers for Disease Control and Prevention. And about a third had diabetes and a third had cardiovascular disease. So, what explains this?
"Obesity is a marker for a number of other problems," explains Dr. Aaron Carroll, a public health researcher at the Indiana University School of Medicine. It's increasingly common for those who develop obesity to develop diabetes and other conditions, as well. So, one reason COVID-19 is taking its toll on people who have obesity is that their overall health is often compromised.
But does obesity specifically affect the immune system? Perhaps.
Prior research has shown that people with obesity are less protected by the flu vaccine. They tend to get sicker from the respiratory disease even if they've been immunized. In fact, researchers have found that as people gain excess weight, their metabolism changes and this shift can make the immune system less effective at fighting off viruses.
"What we see with obesity is that these [immune] cells don't function as well,' says Melinda Beck, a health researcher at University of North Carolina, Chapel Hill. Basically, she explains, obesity throws off the fuel sources that immune cells need to function. "The [immune cells] are not using the right kinds of fuels," Beck says. And, as a result, the condition of obesity seems to "impair that critical immune response [needed] to deal with either the virus infection or [the ability] to make a robust response to a vaccine."
So this is one explanation as to why people with obesity seem more vulnerable to serious infection. But, there are many more questions about why some people are hit harder, including whether race is a factor.
The CDC found that 33% of people who've been hospitalized with COVID-19 are African American, yet only 13% of the U.S. population is African American. Some local communities have found a similar pattern in their data. Among the many (26) states reporting racial data on COVID-19, blacks account for 34% of COVID deaths, according to research from Johns Hopkins University.
This disproportionate toll can be partially explained by the fact that there's a higher prevalence of obesity, high blood pressure and diabetes among African Americans compared with whites.
And as Dr. Anthony Fauci of the National Institutes of Health said last week at a White House coronavirus task force briefing, this crisis "is shining a bright light on how unacceptable that is, because yet again, when you have a situation like the coronavirus, [African Americans] are suffering disproportionately."
There are several factors, including some genetic ones, that may make African Americans more vulnerable to COVID-19. "There have been a few studies that have pointed to African Americans potentially having genetic risk factors that make them more salt-sensitive," says Renã Robinson, a professor of chemistry who researches chronic disease at Vanderbilt University. This may increase the likelihood of high blood pressure, which, in turn, is linked to more serious forms of COVID-19. "It could be a contributing factor," she says, but there are likely multiple causes at play.
Another issue to consider, she says, may be high stress levels. She says when a person experiences racial discrimination, it can contribute to chronic stress. She points to several studies thatlink discrimination and stress to higher levels of inflammation among black adults. "And chronic stress can make one more vulnerable to infection because it can lower your body's ability to fight off an infection," she says.
Chronic stress is linked to poverty — so this could be a risk factor for low-income communities. In fact, research has shown that people who report higher levels of stress are more likely to catch a cold, when exposed to a virus, compared with people who are not stressed.
According to a new survey from Pew Research Center, health concerns about COVID-19 are much higher among Hispanics and blacks in the U.S. While 18% of white adults say they're "very concerned" that they will get COVID-19 and require hospitalization, 43% of Hispanic respondents and 31% of black adults say they're "very concerned" about that happening.
And other aspects of structural racism could contribute to the elevated risk for black Americans.
"Every major crisis or catastrophe hits the most vulnerable communities the hardest," say Marc Morial, president and CEO of the National Urban League. And he points to several factors that help to explain the racial divide.
"Black workers are more likely to hold the kinds of jobs that cannot be done from home," Morial says. So, they may be more likely to be exposed to the virus, if they are working in places where it's difficult to maintain social distancing. In addition, he points to longstanding inequities in access to quality care.
"There also is bias among health care workers, institutions and systems that results in black patients ... receiving fewer medical procedures and poorer-quality medical care than white individuals," he says. He says an expansion of Medicaid into those states that still haven't expandedwould be one effective policy to address these inequities.
The characteristics of the communities where people live could affect risk, too especially for those who live inlow-income neighborhoods. The roots of chronic illness stem from the way people live and the choices that may or may not be available to them. People who develop the chronic illnesses that put them at higher risk of COVID-19 often lack access to affordable and healthy foods or live in neighborhoods where it's not safe to play or exercise outside.
"Let's take a patient with diabetes for example. They are already at high risk for COVID-19 by having a chronic condition," says Joseph Valenti, a physician in Denton, Texas, who promotes awareness ofthe social determinants of health through his work with the Physicians Foundation.
"If they also live in a food desert, they have to put themselves in greater risk if they want access to healthy food. They may need to take a bus, with people that have COVID-19 but aren't showing symptoms, to get access to nutritious food or even their insulin prescription," he says.
Poor nutrition, and the obesity linked to it, is aleading cause of premature death around the globe. And, this pandemic brings into focus the vulnerability of the millions of people living with lifestyle-related, chronic disease.
"We're seeing the convergence of chronic disease with an infection," says UNC's Beck. And the data suggest that the combination of these two can lead to more serious illness. "We're seeing that obesity can have a great influence on infection," she says.
So, will this shine a spotlight on the need to address these issues? "Hopefully," Beck says. "I think paying attention to these chronic diseases like obesity is in everybody's best interest."
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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Privacy notice and cookie policy for website
1. Purposes and content
Hilding Anders Norway A/S, Jensen Beds ("we") are committed to protecting your privacy and your personal data. This privacy notice describes how we process and use the personal data that we receive from you when you visit and use this website and how you can contact us if you have additional questions regarding our processing of your personal data.
2. What personal data will be processed and why?
2.1 We collect and process your IP address that you submit in order to provide you with a better experience when you visit our site and also obtain information from us. We will also use the information for statistical analysis.
2.2 We collect and process, for example, your name, address, phone no. and e-mail address to be able to answer your requests and/or orders. Without this personal data we will not be able to answer your requests and/or orders.
2.3 We collect and process personal data as mentioned above (2.1, 2.2) in addition to contact and delivery details and financial information regarding payment of products when you share them (a) as a part of your account details (if relevant) and/or (b) in connection with your requests or purchase of products on our website.
3. What is the legal basis for processing of your personal data?
3.1 In addition to processing your personal data in connection with product orders you do with us, we use the data for the following purposes:
- To improve and adjust the user experience on our web page and make it more user friendly.
- To communicate with you regarding your orders, special products or advertising to be able to recommend products and services that may interest you.
- The information we collect when you visit our site, can also be used to show you web banners (retargeting). This is advertising that we place on other websites. In this connection cookies and pixels are used. Our goal is to make our advertising useful and interesting for you. Information regarding you is not saved in the cookies, only your activity on the website.
4. Who has access to your personal data?
4.1 We have implemented appropriate technical and organisational measures to protect your personal data against loss, unlawful access, etc. The number of persons with access to your personal data is limited and only individuals associated with Hilding Anders Norway A/S and other companies within Hilding Anders International AB, which need to process your personal data, will have access to your personal data.
4.2 We will also share your personal data with suppliers that carry out services on our behalf such as:
R3 - r-3.se
- newsletters, web banners, consumer behaviour on web page, analysis
- e-mail address, name and address
Involve – Involve.no
- web banners, analysis, Facebook adverting, Instagram advertising
- demographic and psychographic segmentation
Google – google.com/analytics
- analysis of web traffic
- consumer traffic on the web page, tracking of sources
Google – adwords.google.com
- advertising in google network
- consumer traffic to web page
Facebook – facebook.com
- advertising on Facebook
- demographic and psychographic segmentation
Instagram – instagram.com
- advertising on Instagram
- demographic and psychographic segmentation
YouTube – youtube.com
- advertising on YouTube
- demographic and psychographic segmentation
MailChimp – mailchimp.com
- distribution of newsletters
- e-mail addresses
Voyado – voyado.com
- distribution of newsletters
- e-mail addresses
5. For how long is your personal data stored?
We store the personal data as long as it is necessary to fulfil the purpose for which the personal data has been collected. This means that we delete your personal data when such data is no longer necessary to process a request, an order or to administrate your account or our client relationship. Statistics that have been anonymised may be saved thereafter.
6. What are your rights?
6.1 Hilding Anders Norway A/S, Jensen Senger. Org.nr.: NO 951898139 MVA. Address: Postbox 19, N-3061 Svelvik, Norway, is the controller of the processing of your personal data. This means that we are responsible for your personal data being processed correctly and in accordance with applicable laws.
6.2 You are entitled to know what personal data we are processing regarding you, and you can request a copy of such data. You are entitled to have incorrect personal data regarding you corrected, and in some cases you may request that we delete your personal data (if, for example, the personal data is no longer necessary in order to fulfil an agreement with you). If you have given your consent to processing of your personal data for an explicit purpose you may always withdraw your consent. If you want to withdraw your consent, you may contact us through the contact information provided in Section 6.3. You also have the right to object to certain processing of your personal data, and request that the processing of your personal data be limited. Please note that limitation or deletion of your personal data may result in us not being able to fulfil our obligations under an agreement with you. You are also entitled to extract your personal data in a machine-readable format and to transfer the personal data to another controller.
6.3 If you have questions regarding how we process personal data concerning you or wish to exercise your rights in accordance with Section 6.2, you are most welcome to contact us at firstname.lastname@example.com, by e-mail.
6.4 If you have any objections to or complaints about the way we process your personal data, you have the right to lodge a complaint with the relevant data protection supervisory authority.
7. Changes
If any changes are made concerning the processing of your personal data, we will inform you by publishing an updated version of this privacy notice on www.jensen-beds.com.
8. Cookies
8.1 What is a cookie?
A 'cookie' is a small text file containing information, which is stored on your computer. Cookies are only used for technical reasons and to facilitate your use of a website. One type of cookie, a "permanent cookie", will save a file on your computer for a long time. It can thereafter be used to customise this website based on the user's choices and preferences. Another common type of cookie is the "session cookie". Session cookies are not saved once you close your web browser. For more information about how cookies work, please be referred to www.allaboutcookies.org.
8.2 What cookies are used by www.jensen-beds.com?
• Google Analytics
Google analytics is a service delivered by Google inc. Google Analytics collects information about which pages you visit on our web page, how long your visit lasts, the number of visits and from which page you came from to get to our web page. Collected information is processed by Google to generate visitor statistics and reports. We are using this service to analyse the traffic on our website.
• Google:
We allow Google Analytics to install and manage cookies on this website. Information regarding search words and choices clicked on are used by Google to improve their search engine.
• Facebook:
Cookies from Facebook are used only if you have visited Facebook or have used a Facebook function or link on our website. Information can also be used to reach you on Facebook with special offers from us.
8.3 For more information regarding the use of cookies on this website please contact us at email@example.com.
8.4 How can you turn off the use of cookies?
If you do not wish to accept cookies you can change your web browser's settings to automatically deny the storage of cookies or to inform you when a website wants to store cookies on your computer. Previously stored cookies can also be deleted through the web browser (for more on this see below under Section 8.5). Please note that certain areas and functions on this website require cookies and may not function if cookies are deleted or declined.
8.5 How can you delete cookies that are already saved?If you are using a PC and an updated browser and wish to remove the cookies that are already on your equipment, you can press CTRL, SHIFT and DELETE simultaneously. You can find the support pages for the most commonly used browsers here:
Flash-cookies (alle nettlesere)
9. Social media and widgets
Websites can make use of widgets for social media, which allow users access to content from Jensen-beds website on different social media platforms (e.g. Facebook, Instagram YouTube and LinkedIn). To better understand how and what information is collected via social media and what cookies are used by such third party, we refer to the current privacy policy for each of the social platforms respectively.
10. Adjustable Sleep App
Jensen Beds built the Adjustable Sleep app as a free app. This SERVICE is provided by Jensen Beds at no cost and is intended for use as is. This page is used to inform website visitors regarding our policies surrounding the Adjustable Sleep app Services.
Even though the app is requesting your approval for some critical Services, the app and Jensen does not collect, save or use any of the users' personal data. The app only uses the services to provide the user with a better experience such as Voice Control. The app does use third party services that may collect information used to identify you.
Link to privacy policy of third party service providers used by the app:
• Apple
• Google Play Services
• Bugsnag error monitoring
We may update our Privacy Policy from time to time. Thus, you are advised to review this page periodically for any changes. We will notify you of any changes by posting the new Privacy Policy on this page. These changes are effective immediately after they are posted on this page.
If you have any questions or suggestions about our Privacy Policy, do not hesitate to contact us.
Box 19, N-3061 Svelvik, Norway
Phone: +47 33 78 49 50
Fax: +47 33 78 49 69
E-mail: firstname.lastname@example.com


text:
California Archery Center
Learn the Olympic Sport and Art of Archery
Recreational Program Guide
BEGINNING Recreational Classes & Camps
You learn safety first and the rules of the range, and basic form starting with natural shooting technique, how to keep score. We do lots of fun archery games and mini tournaments for all levels. Students are divided in shooting lanes by ages, level, and distance abilities. All equipment is supplied, and all of our coaches are US Archery certified professionals. Classes meet once weekly, and camps are half-day week long sessions which can be combined with fencing camp to make all day camps!
After your beginning class graduation, if you want to continue with archery in the novice-intermediate level you would become a Cal Sports Club member.
NOVICE-INTERMEDIATE Recreational Classes & Camps
This is the level after the beginning course. We start to teach more of the Olympic Style and technique at this time, and you also get to start using a variety of bows such as the recurve, genesis, and compound bow. We also start moving the targets to different distances for different levels. Archery classes are pretty easy to teach with both novice and intermediate archers as level is based on distance ability with increased technique, mechanics, and focus. Our US Archery Certified Head Coach (he has many other distinctions) actually teaches these recreational levels along with US Archery Certified Assistants Coaches and apprentices.
The Novice-intermediate recreational program is an ongoing program that runs throughout the year. You can attend once or twice weekly. All equipment rental fees are still included in the annual fee.
INTERMEDIATE-ADVANCED Recreational Classes & Camps
These classes take you to an awesome level of shooting with deeper concentration in technique and mechanics, while also practicing many different types of competition formats while using a variety of target faces. These classes lead to our JOAD –US Junior Olympic Archery development program and teams.
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Does Congress have the right under the Constitution to extend
copyright protection for ever-longer periods of time? Should the law
treat intellectual and physical property differently? What are the
key economic aspects of digital property? How much, if any, control
should we put over the Internet? How does the evolution of creative
culture build on past creation?
These are just some of the questions that Lawrence Lessig of Stanford
Law School has been thinking and writing about. He is the author of
Code and Other Laws of Cyberspace: How Will the Architecture of
Cyberspace Change the Constitution? and The Future of Ideas: The Fate
of the Commons in a Connected World. He recently argued before the
Supreme Court in Eldred v. Ashcroft that Congress's extension of
copyright protection is unconstitutional.
I recently sat down with Lessig to discuss some of the economics of
intellectual property.
Features Editor
"So long as each copyright extension is itself a limited term, then you still have a limited term…. It's the sort of thing your child says when you say, take one cookie and the child takes five. The child says, I did take one. Five times."
Act. Give us a little background on the Sonny Bono Act and the goal of the case.
Lessig: The Constitutional background is that the Constitution requires that copyrights be granted for the
purpose of promoting progress, the progress of science, and they be granted for only limited terms.
But our Congress has gotten into the practice of extending the terms of copyright that they've already
granted. So in the last forty years, they've extended the terms of existing copyrights eleven times. In
1998, Congress extended the term again, this time, the longest they've ever extended existing terms,
20 years. So for the next 20 years after that passage, no work would pass into the public domain
from copyright expiration at all.
For additional references, see Openlaw's discussion of Eldred v. Ashcroft,Jazsi's
Congressional Testimony and the Sonny Bono Copyright Term Extension Act of 1998.
To keep that in context, in the same 20 years, one million patents would pass into the public
domain. So we brought a challenge after the Bono act was passed claiming that this practice
showed that Congress was no longer respecting the requirement that the terms be limited, but in
effect, copyright had become perpetual, on the "installment plan" as Peter Jazsi put it.
Our claim was that the court should step in to attempt cut back on this practice to guarantee that the
constitutional vision of work once created and earning its copyrighted return should pass into the
public domain for others to build upon.
Roberts: Seems kind of open and shut. The Constitution says copyright should be for a limited duration.
The Congress seems to make it perpetual. What issue came into play in the 7-2 decision upholding
the extension?
Lessig: There's an argument that what Congress is doing is respecting the Constitution. And then there's
the historical practice which led the Court to do what it did. The argument is, Well, as long as each
extension is itself a limited term, then you still have a limited term. That's an argument which
ordinary people laugh at. It's the sort of thing your child says when you say, take one cookie and the
child takes five. The child says, I did take one. Five times. But it's a technical way of saying
Congress is complying with the Constitution. And what the Supreme Court said was that because
Congress had done this in the past, that had established a practice of deference to Congress's
decisions in the past.
Roberts: Let's go back to the details. Any copyrighted material before 1923 is in the public domain.
Anything after that is protected. Correct?
LL: It's a little bit more complicated. We used to have a very sensible system. It required that you
both register and renew your copyright in order to gain copyright protection. So work after 1923
had to have been renewed in order to continue the copyright protection. But in the 1990s, Congress
passed a statute that basically said you didn't even have to renew any existing copyrights. So there's
a period of time where copyrighted works were subject to falling into the public domain if they
were not renewed and a bunch of that work did fall into the public domain. But from now on it's
automatic and will continue to be.
Another part of this problem which we emphasized but the Court didn't take account of, was that it's
so hard to know what material is available and what material is not available. There are no good
records of who copyright owners are (because renewal isn't required anymore) and not even a
requirement of registration. You can't even know who's claiming a copyright over what. So there's
this mass of unsorted material out there that could or could not be available for public use creating
vast uncertainty. As we said, just at the time that technology is enabling all sorts of new creativity,
to build on this material and do stuff with it, the law is getting in the way and locking it up.
Supposedly for just another 20 years, but I'd bet a lot that—
Roberts: Just by chance it might be extended again?
Lessig: Exactly.
Roberts: Any thoughts on a voluntary system that might be a clearinghouse for the issue of information as
to who holds the copyright and resolve the uncertainty issue?
Lessig: One of the projects I'm putting most of my time into now is called "Creative Commons."
Creative Commons has a number of projects that are trying to solve this and related problems.
Trying to move more material voluntarily into a place where people can build on it. We're about to
announce a project called the Public Domain Project which will attempt to figure out which stuff is
properly registered and what is not. So there are voluntary efforts to do this but it's an extraordinary
amount of effort to do what we argued the Constitution already said had to happen.
Roberts: Let's turn to the economics and incentives of copyright. What's the economic case for limiting
copyright privilege? Some people would argue that extending copyright protection gives people the
incentives through higher profits to create more intellectual property, music, art and so on. Why
should it be limited?
Lessig: You have to distinguish between extending the term of existing copyrights and extending
copyrights into the future. If you're talking about extending copyrights into the future, then the
question is what's the marginal incentive that the next twenty years creates. Given the length of
copyrights right now, the answer is: almost nothing.
Roberts: Because?
Lessig: Because the copyright term right now for corporate works, before the Bono Act, was 75 years.
It's now 95 years. If you ask, what's the discounted present value of that additional 20 years, it's
almost nothing.
Roberts: You're talking about a new work, created today.
Lessig: Right. Prospectively. We did a calculation. Copyright term right now gives the copyright
owner 99.8% of the value of a perpetual term. Nobody can in good faith argue that any new
incentives are being created by this new extension going forward. With respect to existing works,
by definition it's not creating any incentives to produce because you're just granting a windfall to
works that have already been produced. No matter what we do, Gershwin will not produce anything
else. That extension is nothing more than what economists would call "rent-seeking," using property
as a cover. I'm working on a piece right now on this. It's an interesting twist on public choice
theory. We're now in an era where rent-seekers typically turn to property as their technique of
choice. Property sounds so harmless and good. The natural conception is that it's always
incentive-producing. But property can be just as much a rent-seeking device as monopoly. And
that's increasingly what happens.
Roberts: What's the difference between copyrights and patents? Why doesn't the political process
respond to that rent-seeking opportunity there as well in the case of patents?
Lessig: There are a couple of differences. The patent term, at least, has been more rational over the last
200 years. Copyrights and patents began at the same length. Patents got fourteen years, copyrights
could be renewed after fourteen years. But patents have stayed around there. It's now just twenty
years from the time of filing the patent. I think that the real reason is that the people who get the
benefit from patents are also the people who pay the price of longer terms. Most invention in this
context is invention that builds on other works so if you increase the term you might get a benefit but
you're also paying the cost because of the additional terms that you get. There has been a tendency in
Congress to try and extend term-drug patents is the best example. But because the political interests
are so strong on the other side, there's been a nice political movement against the extension of
patents in the context of drugs. So it happened for a while but now there's a fairly strong political
movement that would resist any effort by drug companies to extend the terms of existing patents. So
the political process hasn't failed in as significant way as in the case of copyright.
Roberts: You argue in The Future of Ideas that copyright holders are often shortsighted or highly
risk-averse. They overestimate the costs of losing their protection. The creators of content are very
apprehensive, perhaps rationally, of losing their copyright or intellectual property right. But when
information is free, will the benefits ultimately redound to the creators?
Lessig: I would distinguish between three groups. One is creators. One is holders of copyrights who
need not be the creators. One is a subgroup of sorts—the families and relatives of the creators. With
respect to creators, I'm a strong believer in the copyright system for creativity. Creators get a
copyright. They get to control it, for a limited time and it should be more narrowly limited than it is
right now. But still, I think they deserve that type of protection. They, once they've created the
work, aren't in the position of continually exerting control over how the work is used or who gets to
use it. It's really the publishers, which is the second group, and the family, which is the third group.
The publishers, such as the recording industry or the movie industry, aren't so much defending the
rights of creators, they're defending a certain business model. They have a certain vision about how
they're going to make money. The music industry, for example, is going to make money by selling
copies of pieces of plastic. They're going to control distribution as much as they can. They're going
to earn rents by controlling the distribution. They have a concentrated market-that's their ticket, their
cash cow for earning their returns. The Internet comes along and threatens that way of doing
business. So they launch a holy war, Jack Valenti calls it a terrorist war, against these new
technologies. Not so much because he's keen to protect creators, because creators have all sold
their rights to these people. They don't have any more they're going to get from it. It's more because
they're trying to protect a business model. That is completely illegitimate-to use the law to protect a
business model as opposed to protect the return from a particular kind of creative work. It seems to
me inconsistent with what has been our tradition in the context of technology changing the way we
distribute content.
The third group, the relatives, have a much more invidious type of interest. A lot of them just want
to make money. That's fine.
Roberts: A pretty common urge.
Lessig: Yes. But a bunch of them really have a strong desire to control how that work is used. So you
can't produce Porgy and Bess without an African-American cast. You can produce Shakespeare
however you want to produce Shakespeare. You can produce Shakespeare with Peter Pan
characters. You can do anything you want with Shakespeare because it's in the public domain and
that produces an extraordinary incentive for people to be innovative with how they're going to
produce it. They're going to create new versions and it's going to be constantly alive the way
Shakespeare companies around the world constantly keep Shakespeare alive. But Porgy and Bess is
going to stay the way Porgy and Bess was.
Roberts: Because?
Lessig: Because they continually control the copyright.
Roberts: The Gershwin estate?
Lessig: Yes. And they get to say how the copyright gets to be used and they say it only gets to be used in
these ways. Again, I don't have a problem with that control for a limited time. But when it's over a
century after the work is created? At some point the work should become free for culture to build
on it. The most dramatic example of this is Margaret Mitchell's Gone With the Wind and the recent
book, The Wind Done Gone by Alice Randall. They basically had to litigate through two courts to
have the right to publish that book, essentially a critical commentary on Gone With the Wind.
People say, eventually the courts got it right, but what they forget is that on the way to getting it right
you had to spend tons of money on lawyers. But publishers don't have money to spend on lawyers.
And that produces a publishing industry that's extraordinarily conservative. Never willing to take
any risk. Because just having to answer a complaint is enough to destroy any profit that existed.
Roberts: Going back to Porgy and Bess, if Gershwin were composing today, in today's intellectual
property regime, surely he could bequeath the rights to Porgy and Bess to his estate with the proviso
that they allow it to be liberated. Or he could freeze it the way it's been frozen. Shouldn't he have
the right to keep it static or liberate it as he sees fit?
Lessig: Not for this length of time, no. Copyright shouldn't be anywhere close to what it is right now. In
my book I proposed a system where you'd have to renew after every five years and you get a
maximum term of 75 years. I thought that was pretty radical at the time. The Economist, after the
Eldred decision, came out with a proposal—let's go back to 14 years, renewable to 28 years.
Nobody needs more than 14 years to earn the return back from whatever they produced.
Roberts: The alternative view is that it's their property. Maybe not exactly the same as physical
property, but isn't the creator entitled to control his or her creation?
Lessig: I think all property is the same. All property should be protected and limited in the public
interest. All property is. You own a house, you can't say, no you can't put a sidewalk in front of my
house—that's an easement that's forced on you by the law. You own a house—there are a million things
you can't do with your house. And how many bits of property sitting around your house are 150
years old? There's a formal sense in which you're allowed to own your property forever, but what
property do we have that's survives more than ten years? Real property naturally limits itself
through its own destruction and limitations so that it's not really a terribly destructive burden to say
that real property goes on forever subject to lots of different restraints.
Copyright has always been understood as a way to create enough incentive for someone to create
something and then to allow that creation to pass into the public domain. The copyright question is
how long do you have the right to control whether people can build upon the ideas you've released
into the culture. You take a bunch of ideas and you bend culture in a certain way. Margaret
Mitchell's work bent American culture in a certain way. I grew up with a Southern mother who had
a vision of the South as informed by Margaret Mitchell's work. If you're going to bend culture in a
certain way, culture has the right to bend back. The idea that the reaction is going to be 100 years
after you've produced your work is crazy.
Roberts: Mickey Mouse's first cartoon, "Steamboat Willie" built upon the Buster Keaton movie, Steamboat
Bill, Jr. and if today's world of copyright had existed then, maybe Buster Keaton would have been
able to stop the creation of Mickey Mouse. That's the road to stagnation. But where do you draw
the line for physical property? Is eminent domain's power unlimited? We can't force you to put up
blue drapes inside your house in the name of the public interest. And even in the case of eminent
domain, political forces often determine the definition of public interest.
Lessig: In both types of property, our legal tradition has said we should define and enforce property
rights that benefit the public good. The difference between copyright and real property was
reflected in the Constitution itself, which says that if the State takes your house through eminent
domain, it must pay you compensation. The Takings Clause says if you take for public purpose, you
must give compensation. And the Constitution says that if Congress gives you a copyright, it must
take it back after a limited time without any compensation at all. There's no "compensation clause"
for the copyright law. I agree that they're both in some sense property, but the law and our tradition
has understood a wide range of property. The legal limitations on this wide range of property are
very different. But the one thing that's clear is that there's a night and day difference between the
limitations built into the property protection under copyright vs. real property. Copyrights are
supposed to be taken back after a limited time with no compensation at all, whereas real property is
supposed to be forever.
Roberts: Let's talk about the Digital Millennium Copyright Act, the DMCA. What is its significance and
why are some people so mad about it?
Lessig: When cyberspace was born, everyone said it would be the end of copyright. And that's because
the architecture of cyberspace made it possible to perfectly copy digital copy and distribute it for
almost nothing. That made it hard for businesses to depend on controlling copies to survive in that
world. Many of us said that's just a temporary phase that cyberspace will go through. There's a lot
of incentive for people to go out there now and to build lots of technologies to re-impose control
over digital objects. And as we've seen in the last ten years, that's exactly what has happened.
There has been an explosion of technologies for controlling copyrighted material. These are
copyright protection systems.
But whenever you have a copyright protection system, there's an incentive to circumvent the system.
So if you lock up your material, people have an incentive to break the locks and get access to that
material. What the Digital Millennium Copyright Act makes it a crime to develop or use
technologies that are designed to circumvent copyrighted material. Now that sounds fine. That
sounds like making it a crime to develop lock-picking devices or to pick a lock and break into
people's houses. The problem is that copyright protection systems can protect the copyrighted
material more strongly than the law does. So for example, the law guarantees fair use. As the Court
said in the Eldred case, this is a constitutional requirement of the First Amendment, that you have
fair use. But if you lock your copyrighted material using a digital wrapper, there's no guarantee that
anyone will be able to exercise fair use with respect to that copyrighted material.
Roberts: But wouldn't creators of content have an incentive to insure that fair use and other uses were
still possible and therefore limit how technology interferes with sharing created material?
Lessig: We haven't seen that. The technology has gone in the opposite direction. And that's because fair
use isn't a rational thing for individuals to choose, it's a rational thing for the system as a whole. I as
an individual author would like to say you can't quote my work unless you promise to say something
nice about it. Or you can't quote my work in a negative review. So individuals always have an
incentive to avoid fair use—
Roberts: Some fair use.
Lessig: Yes, but the point is that the law guarantees fair use and the technology takes it away. The
Digital Millennium Copyright Act comes in and says if you circumvent the technology, you've
violated the law. And the strong complaint against that statute is that even if you violate the
technology for a purpose that would have been completely legal under copyright law, you've
violated the law. So for example, if you wanted to get access to a copyrighted work to enable it to
be read aloud to a blind person, that's fair use. If you circumvent to enable that, that itself should be
a completely protected circumvention. But tools to circumvent for that purpose are banned by the
Digital Millennium Copyright Act.
It's not even clear you needed the law to back up the technology because the technology is very
good. But if you needed the law to back up the technology, the law should only have backed up the
technology as broadly as copyright law extends, not broader. But instead it has expanded the scope
of copyright protection beyond anything that was originally intended by the Copyright Act.
Roberts: You've written eloquently about threats to the creativity of distribution of material over the
Internet that come from what we've been calling "publishers," people who control content ex post.
In The Future of Ideas you talk about emergent order, the spontaneous order that is the Internet and
the creativity that order engendered. That book was really an alarm bell to wake people up and say
there's a lot of creativity that emerges from this uncontrolled Internet, but the people with an
economic stake in the old order are going to try and guide that system in various ways. Are you still
as pessimistic as you were when you wrote that book a few years ago?
Lessig: I've written two very pessimistic books and after each book, someone has said to me, your
book's too pessimistic. And in both cases those people have come back to me later on and said they
weren't pessimistic enough. There are no good signs right now in the context of the issues we're
talking about. Things are actually much worse than I imagined they would be. I expected the
Supreme Court to step in with the Eldred case and set a tone that would help us achieve some sort of
balance. But the Supreme Court has absolved itself of any responsibility. So it's now just a
political battle where all the money in the world is aligned on one side of these issues. The stakes
are clearly strongly tilted against the positions that we've taken.
Roberts: And by "we," you mean?
The interested reader can find more information at these sites covering the Eldred U.S. Supreme Court decisions and dissents:
Eldred v. Ashcroft
Majority Decision (Ginsburg)
Stevens Dissent
Breyer Dissent
Lessig: People who want to preserve a platform for innovation and growth. That should include the
technology industries and more and more they're getting it. Intel for example, has been very good at
understanding the threat to its business if the systems to control things are expanded and developed.
So there has been some recognition on that side. But look at Hollywood. An extraordinary lobbying
campaign has been waged in Washington for forty years to get them to see Hollywood's view of
what content protection should be. And Hollywood's view does not maximize the incentive for
innovation and creativity. It's a view that maximizes the power of existing industries of creativity.
History has taught us that when we have this conflict, we should let the underdogs compete and not
use the law to crush the underdogs.
Roberts: But isn't there evidence for a more cheerful and optimistic outlook? I understand your concerns
and yet content today is still profuse—an extraordinary array of creative material is being created
across every form of human creativity—movies, books, art, music, technology, medicine and so on.
You could argue that it could be even more extraordinary or that future creativity will wither. But
the world around us looks pretty good. And even if it does wither, isn't there always the possibility
of an "end run" where the market responds to these alleged straitjackets and offers alternative forms
of distribution?
Lessig: There's been this bizarre inverted set of trends. You're right. On the one hand, as technology
makes it easier for people to be creators, there's been an explosion of types of creativity. But my
question and focus has been, to what extent is creativity allowed into the mainstream of distribution.
In 1970, 10% of the films run in major first run theaters were foreign films. That number is now
down below half of one percent. Is that a product of foreigners not knowing how to make films
anymore? Or is it a product of the increased concentration of distribution that favors a certain types
of films over others? As the market structure of major media distribution has changed, the flavor of
the content has changed. More creative work is being produced, yet the major channels won't allow
it in.
One thing I talk about in the beginning of The Future of Ideas is this bizarre world of copyright
clearances you need in order to do a film. It sounds almost trivial. But the consequences of this is,
if you've produced a film that hasn't gone through this copyright clearance, you just won't be
released for major distribution.
That separates the market between independents who can't afford this sort of absurdity when they
produce a film, and people within this traditional system who can afford to have a gaggle of lawyers
follow them around watching what they do and clearing all the rights. The legal system is creating a
barrier for independent non-mainstream creators to get their work passed easily into the
mainstream. I'm not saying it will never happen. You take a video camera and do something about a
haunted event on a mountainside. That movie can be released. But you want to do a critical
commentary on some issue in popular culture today?
Todd Haynes did this amazing movie called The Karen Carpenter Story. Karen Carpenter was a
bulimic who basically starved herself to death. So Todd Haynes did this movie, the Karen
Carpenter story as played out through Barbie dolls. It's just Barbie dolls in the whole movie with
Karen Carpenter music in the background. He wasn't allowed to release that movie. He was sued
into silence because of the use of the Barbie dolls and the use of the music.
The First Amendment limits the ability of law to be used by powerful people to protect themselves
against criticism. It's bizarre that when we switch channels to the copyright channel people use the
law to stop criticism.
Roberts: You could argue there's a distinction between Barbie dolls and a powerful politician, but our
culture's an important part of our political and economic system.
Lessig: I gave this talk once and someone said, you don't understand. You're always free to make a
movie as long as you don't use popular culture in the movie. You look around and we live in a
world which is completely suffused with popular culture. You're not allowed to talk about it unless
you get permission of the culture owners? It's a kind of slavery over culture.
The next book I'm writing is called Free Culture and it's meant to evoke a link to the free labor
movement, the first effort to express limits on the power of people to exercise control through
private contracts over how other people create and express their creativity. People who were in
favor of free labor were not against labor contracts, they were not against being paid for labor, they
were not against the market-they were against extremes in all three of those cases. It's the same
thing with the free culture movement. It's against extremes, especially when it stifles the opportunity
for people to be critical. Especially right now.
We live in a time when our culture is increasingly tone-deaf to legitimate criticisms around the
world. If there's ever a time when we have to open up the opportunity for people to be critical and
spread their creative message it's now. Yet, just at this time, there's this copyright war that's shutting
down channels of communication in the name of defending property rights. But in defending those
property rights what you're also doing is disabling an extraordinary system of expression that could
be doing our democracy an extraordinary bit of good.
To post or read followups to this essay, see "Lessig on Copyright" in EconLog.


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Why are documents pertaining to ME being locked up for 75 years?
My guess is that they are being buried to protect the reputations of the authors (and their institutions). The perpetuators of this crime against humanity will all be dead in 75 years - but their legacy, CBT and graded exercise therapy, will live on.
[The only "myth" in Sonia's article which is not an actual myth is that ME is not catching. ME got its name from the Royal Free outbreak. There have been 60 documented outbreaks of ME (including the one that saddled us with the name CFS). The word "outbreak" means that there is contagion.]
All in the mind? Why critics are wrong to deny the existence of chronic fatigue
By Sonia Poulton
Published: Mail Online. 10:15 Est, 8 May 2012, updated:16:49 EST, 8 May 2012
This week is Myalgic Encephalomyelitis Awareness Week or, as it's more accessibly referred to these days: M.E. That may not mean a great deal to you. Certainly, it didn't to me.
Oh wait, yes it did.
Based on no personal knowledge whatsoever - fortunately neither I or my loved ones have M.E. - my judgement was gleaned from how the world has portrayed the illness.
Like millions of others, I have seen M.E. through the eyes of the medical establishment, the Government and the Media. The picture has not been good.
Here is what I have previously understood about M.E. and those who have it.
M.E. sufferers are workshy malingerers. They whine, constantly, about feeling tired. They are annoying sympathy seekers.
Damn it. We're all tired. Especially those fools like me who work all hours God Sends (and even some he doesn't) to support the type of people who say they are too tired to work.
Oh, and mostly, importantly, M.E. is 'all in the head' and can be overcome with a bit more determination and a little less of the 'poor me' attitude.
That, generally, is what I thought about M.E.
Until, that is, a reader sent me a DVD of a British-made film about the illness titled 'Voices From The Shadows'.
I receive dozens of clips and films each month, and I try and see as many as I humanly can, but there was something about 'Voices...' that stopped me in my tracks.
One of the reasons the film had such an impact is because it challenged my deep-seated preconceptions about M.E.
Through 'Voices...' - and the subsequent research I have conducted - I have come to realise that what I thought I knew about the illness was a fallacy but, more importantly than that, was actually detrimental to those affected.
So, as a naturally curious individual (I'm not a journalist by mistake) I began to question why I had been furnished with one version of events - and inaccurate ones at that.
The more I began to delve into the subject the more curious it all became.
Like for example, why are records pertaining to ME locked away in our national archives in Kew for 75 years? The normal period would be 30 years.
75 years, the period generally used for documents of extreme public sensitivity and national security, is excessive.
The reason given, that of data protection, is a nonsense as it is perfectly acceptable, and easy, to omit names on official documents. The excuse, supplied in Parliamentary questions by the Department of Work and Pensions, didn't wash with me.
Why, I thought, were they making such an exception?
It got me thinking about what information the files actually do contain. And, seeing as the topic of M.E. is still beset with misunderstanding, we could all benefit from some enlightenment on the subject.
So, to this end - and seeing as it M.E. Awareness Week - here is my personal guide to shattering the myths and blatantly-pedalled untruths about M.E.
Myth No. 1: ME is a mental illness
Not so. It is a neurological one. It is not a case of 'mind over matter' despite many GP's and health professionals still thinking it is. Psychiatrists have bagged it as 'their thing' and the General Medical Council has been somewhat remiss in suporting it as a physical condition.
I spoke with one ME sufferer, who asked to remain anonymous for fear of upsetting the medical professionals who are currently treating her. She said a new GP at her practice had suggested she take up meditation to help her combat her decades-old condition.
Thankfully there are some doctors, few and far between admittedly, who really understand the physical nature of M.E.
Dr. Speight, a medical advisor for a number of M.E. charities does. Commenting on the wide-ranging debilitation of the illness, he has said:
'The condition itself covers a wide spectrum of severity but even the mildest cases deserve diagnosis and recognition because if they are given the wrong advice or don't handle themselves correctly they can become worse.
'At the more severe end of the spectrum there's a minority of patients who are truly in a pitiable state...some of them in hospitals, some of them at home...and this end of the spectrum is really one of the most powerful proofs to me of what a real condition this is and how it cannot be explained away by psychiatric reasons.'
Sadly, there are still many health professionals who buy into the notion that M.E. is a psychological disorder and should be treated as a form of insanity.
In Denmark, only last week, The Danish Board of Health sought to remove a 23-year old woman, Karina, from her family home on the grounds of mental illness despite the fact that what she really has is M.E.
Karina, bed-bound, light and sound sensitive and too weak to walk is considered to be insane, rather than physically sick, and her family has been repeatedly told by Danish doctors that the diagnosis of M.E. is not recognised.
Myth 2: ME is just extreme tiredness, right?
Wrong. Despite falling under the Chronic Fatigue Syndrome category - as does Fibromylgia which has its own Awareness Day next week - it is entirely wrong to assume that M.E. is merely about lack of energy.
This confusion arose over the past 20-odd years and is due to the condition being re-classified as a Fatigue Syndrome.
The result of this has been to trivialise the illness which has served as fodder for ill-informed public commentators who have used M.E. and Fibromylgia to talk about 'scroungers' in the benefits system who are 'too lazy' to get out of bed.
For those who know about the illness, this type of commentary is viewed as dangerous rhetoric that deserves to be classified as a form of hate crime.
Myth No. 3: M.E. is just like a bad flu
Oh, if only. M.E. is a complex, chronic, multi-system illness that affect the body in similar ways to Multiple Scelerosis. In addition, inflammation of the neurological system can lead to heart disease, extreme muscle pain and other debilitating and life-threatening conditions.
As one doctor put it, comparing M.E. to an illness like flu is like comparing Emphysema to a chest infection. It seriously undermines the truth extent of M.E.
Myth No. 4: M.E. sufferers should just 'pull themselves together'
Many sufferers have found themselves abandoned by health professionals, struck off of registers and even rejected by their own families when they have failed to respond to 'tough love'.
Too many people assume that M.E. can be overcome with the right mental attitude. This consequently leaves M.E. sufferers even more vulnerable to issues like depression as they are further isolated.
M.E. is not a case of the mind being able to heal itself with determination.
M.E. breaks the body down and that also includes the brain.
Myth No. 5: Only adults have M.E.
Children have M.E. and their childhoods are destroyed as a consequence.
Margaret Rumney of Allendale, Northumberland.watched as her 11-year-old daughter, Emma, was reduced to a shell of her former self when she was struck down with M.E. nine years ago.
"Since then it has been a continual rollercoaster of emotions and has been one fight after the other," says Margaret. "It is very hard for my daughter being ill, she is virtually housebound, often reliant on a wheelchair, and to have to cope with disbelief and ridicule on top of this makes this illness even harder to bear.
"Our experience of my daughter's school was an awful one. When my daughter was receiving home tuition organised officially by the Education Welfare Officer we were threatened by one professional that if my daughter didn't return to school that it would be classed as a psychological issue and social services would get involved."
Threats and intimidation of this nature at the hands of the authorities are a constant feature of those in the M.E. community, and particularly those caring for children with the illness.
Naturally, this pressure merely adds to the overall anxiety that sufferers are already experiencing. Education is key. Bullying is not.
Myth No. 6 - You can 'catch' M.E.
A hotly contested issue. Data suggests it's possible but the true cause is still subject to much debate among the more knowing professionals. What appears clear, however, is that ME seems to follow on from various viral infections, including meningitis. More research is needed.
Myth No. 7: Real M.E. sufferers are few and far between
There are currently 250,000 recognised cases of ME in the UK. That's 1 in 250 so that's hardly an insignificant number, is it?
Myth No. 8: Only severe cases of M.E. are worth acknowledging
Terrible misconception. M.E. ruins people's lives even if the patient is not entirely bedbound.
The media tend to concentrate on the worst case scenarios but this does not help the full situation as it leaves others, who are still able to move at times, with the stigmatisation of 'not being ill enough'.
Claire Taylor-Jones, a mother of one from Rhyl in North Wales, has been unable to pursue her ambition of becoming a solicitor after she was diagnosed with M.E.
In common with other sufferers, Claire has good days and bad days but she is not consistently well enough to pursue her goals and she is left in a type of limbo land. Her plans are on hold.
Myth No. 9: Children with M.E. have neglectful parents
There's the notion that children with M.E. are actually victims of mothers who have Munchausens by Proxy – the illness where parents act as if the child is sick to further their own need for attention.
This is a particularly dangerous belief system as it leaves the true M.E. sufferer without sufficient support and diagnosis and the carer is treated as the problem.
Myth No. 10: Physical exercise will benefit M.E. sufferers
Absolutely not true. Worse, still, enforced 'graded exercise' can escalate the condition to dangerous and irreparable levels for the patient.
During the research of this subject, I have watched footage of hospital physiotherapists literally bullying M.E. patients to stand and walk. It is pitiful to witness.
The physios say things like 'Come on, you can do it. You just have to put your mind to it' and, at worst, 'You're not trying hard enough.'
Julie-Anne Pickles, who has had M.E. for the past seven years has experienced a serious deterioration in her condition as a consequence of wrong diagnosis and ineffective medical response. She is now 90 per cent bedbound and has been diagnosed with depression, diabetes and Angina.
She told me:
"Cardiology phoned me with an appointment the other day and they told me to wear trainers because they want me running on a treadmill while on an ECG! I said: 'You do know I have M.E.?' They said they did but not to worry as I won't be running for more than five minutes! Running? I crawled on my hands and knees to the loo this morning!"
This idea among some of the medical professional that enforced exercise will help the condition of a M.E. belongs to a darker time in our history. A period when we thought that autistic children were a result of being born to cold and detached women or 'refrigerator mums' as they were heinously and immorally labelled.
Myth No. 11 - M.E. is not life-threatening
It is, although the true mortality rate of M.E. is mired in great confusion.
Recently, Labour MP George Howarth asked Paul Burstow, Minister of State for Care Services, to supply details of deaths to arise from M.E. Mr. Burstow replied that 'this information is not available and is not collected centrally'.
As with so many issues regarding our sick and disabled, the Coalition had this wrong, too.
According to figures obtained from the Office of National Statistics, there have been five deaths listed as the cause of M.E. in recent years.
For campaigners this is nothing less than a fudge of the true scale.
Figures are easy to massage with M.E. because it triggers so many other illnesses, such as heart disease. Given that many health professional still deny that M.E. is a physical condition, they are unable to list it as a cause of death even if it is.
Myth No. 12: M.E. is an excuse not to work
Despite recognition from the World Health Organisation in 1969 that M.E. is a neurological disorder, many Governments - including our present Coalition - have chosen to ignore this.
Consequently, M.E. sufferers are subject to a battery of controversial fit-to-work assessments. The anxiety and physical exertion this requires generally worsens the condition.
When the M.E. sufferer is unable to work, because of their illness, they are removed from disability benefit and are plunged into poverty.
So, for M.E. Awareness Week, let us be clear. M.E. is comparable to AIDS and cancer and all the other vicious and uncompromising diseases that savage the body and, in some extreme cases, kill it completely.
The fact that it is still so widely misunderstood is a modern day travesty that must be addressed without further delay. Or is it convenient that we still view M.E. as being 'all in the mind'?
I believe that we, as a nation, deserve to know the truth. Not only for those still battling the disease, but for those poor souls who have already been lost to it.
* For further details on Voices from the Shadows:


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Cary, N.C. & Los Altos, C.A.—May 31, 2012— North Carolina-based game studio and technology provider, Icarus Studios, and Silicon Valley-based game studio, Zabu Studio, today announced a signed agreement to combine the two companies to create MFV, majority owned by leading entertainment conglomerate, National Entertainment Collectibles Association (NECA). The merger forms the world's most innovative development studio dedicated to combining physical merchandise with interactive technology on new platforms.
As a result of the merger and combination of both studios' seasoned teams with NECA/WizKids' extensive catalog of intellectual properties, MFV's portfolio, assets and capabilities position the new company to lead the way in the growing market integrating physical products with interactive content.
Icarus Studios, led by games veteran Phil Hall, CEO, has developed and published several leading MMO, social and mobile games since 2001, including the award-winning MMO, Fallen Earth, acquired in 2011 by K2 Networks, using the studios' proprietary game engine and tool suite, the xScape Platform.
Zabu Studio, founded in 2010 by industry veterans, led by CEO Milton Soong, specializes in next-generation social and mobile games, taking well-known board and card games from the physical world to the digital.
"The formation of MFV creates a very strong alliance, combining a veteran team with cutting edge technology and intellectual property licenses," said Soong, CEO at MFV. "MFV is ready to take gaming into new directions, focusing on physical product tie-ins, emerging technology and cross platform integration."
In addition to NECA's diverse gamut of licenses, WizKids Games, also majority owned by NECA and led by Justin Ziran, President, provides further properties, with popular hobby games such as HeroClix, Quarriors! and MageKnight.
MFV will continue operations in their California office, with headquarters in Cary, North Carolina. The company's first announced project is HeroClix TabApp™, an extension of the HeroClix Online platform designed specifically for iPad.
For more information on MFV, visit mfv.icarusstudios.com. Visit MFV on Facebook and Twitter for updates.
Visit NECA/Wizkids at Licensing Expo 2012, June 12-14 in Las Vegas, NV. To discuss business opportunities or schedule an appointment to meet in person, please contact firstname.lastname@example.com.
About MFV
MFV is the world's most innovative development studio dedicated to merging physical merchandise with interactive technology. MFV combines an extensive catalog of intellectual properties, proprietary game development engine, xScape Platform, and veteran team with offices in Los Altos, CA and Cary, NC.
About NECA, INC.
NECA Inc. operates as a media and entertainment company in the United States and Internationally. It now operates in three segments: Consumer Products, Filmed Entertainment and Online Retailing/Digital Distribution. The Consumer products segment is a leading manufacturer and distributor of Entertainment related products, dominating the specialty market. Utilizing its position, NECA has for many years worked with its IP partners to ensure maximum success in movie, DVD and game role-outs. The filmed entertainment segment is investing in existing and producing and distributing new theatrical projects that will benefit from NECA's unique and proprietary distribution model. The online retailing/digital distribution segment leverages NECA's properties and brands to extend our reach while providing an immersive, cross platform entertainment experience through subscription and individual transaction models.
About Wizkids/NECA, Inc.
A wholly-owned subsidiary of the National Entertainment Collectibles Association Inc. (NECA), WizKids/NECA is a New Jersey-based game developer and publisher dedicated to creating games driven by imagination. The HeroClix brand is the most successful collectible miniatures games on the market today, with over 250 million miniature game figures sold worldwide. For additional information, visit www.wizkidsgames.com.


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Manufacturers place pumps and blowers in a standard location that works best for most customers. Each tub has a standard location which is listed on the manufacturers spec sheet.
Pumps and blowers may also be placed in a custom location if it works better for your project. A drawing is required for a custom location. Please note drain location on spec. We are happy to contact you after your order for this information.
Soaking and soaker tubs do not have pumps or blowers. For these tubs choose Tub only (No pump and/or blower).
Taron Floor-Mounted Bathtub Filler with Hand Shower (WC-AT102340P11)
Height overall 37-3/8" Height to base of spout 31-1/8" Spout Length 9" Bathtub Filler - Max flow rate 6.3 GPM Hand-Shower - Max flow rate 1.75 GPM Includes installation accessories and hoses Solid brass core construction Dripless German cartridge View Spec Sheet View Installation Guide
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The Atlas 7242 tub is completely customizable. The configuration shown here is just the beginning. Review the list of options to create the tub that is perfect for you. The possibilities are truly endless! Contact us with questions on how to create your ideal bathtub. The Atlas 7242 Tub is made in the USA. Hand-built using the highest quality acrylic materials, the Atlas features a 20 Year Residential Warranty*. Please note, custom orders may not be returned. More information regarding the return policy of your custom-built Americh product is available here. Available in a range of sizes to fit any bath.
Note: Americh Andrina, Atlas, Contura, International, Lex, Odessa, Rianna, Roc, Sirena, tub surrounds, and ADA tubs ship in 20-30 business days. Please allow an additional 2-3 business days for order transmittal and verification.
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Product Ratings & Reviews
the tub is beautiful and really SOLID. the price is high but this tub seems thicker than most.
this is a solid tub from a reputable manufacture. we had it installed with one long again against the wall and filled it with an axor wall spout.
this tub is very clean and stylish. the material is very thick and we got a much better price at modern bathroom. thanks Mike.
the tub has sharp lines and is very substantial.


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Living Through History
Tuesday, June 11th, 2013
My name is Michelle Myers, and I am a summer intern at the Oberlin Heritage Center through the Leadership Lorain County Internship Program. This is my second summer here. I was born and raised in Elyria, and I am currently working on my bachelor's degree in psychology at Swarthmore College. This is why I have come to the Heritage Center for my second summer: because I love learning about and talking to people.
History, as I have come to learn it, is not facts. History is stories. History is the light in someone's eyes when they recall an event that made headlines. History is a grandfather telling his grandchildren about the war at a family event. The past is what connects us all together. It is all of our stories interwoven in a conversation where people recall the good old days, the not so good days, and feel less alone. History is not the history of individuals, but of a common humanity who has been through and seen it all. History is what makes us live forever.
This is why I love giving tours of the three buildings at the Oberlin Heritage Center. I love when a visitor recognizes an item in one of the historical houses and says, "My grandmother has one of those in her house." Someone else says, "I used to use one of those when I was a kid." Then a conversation starts. People talk to each other. A human connection is made. Meaning is made out of washboards and rug beaters.
When a woman and I talk about the hardships a mother with her child could have faced trying to find freedom from slavery, and the visitor is nodding her head, her eyes deeply concerned, I feel as if something beyond our words is being fulfilled. She understands what it means to work hard, to face destitution. Both women understand. It is all three of us in this conversation. We live through each other's thoughts and words. This is what history looks like.
But history is also the amazement and hilarity that ensues when first graders realize what a chamber pot is. They get on their hands and knees on the wooden, creaky floors; look under the rope-wrung bed; see the white, shiny bowl; and cry "People would poop in that?!" Maybe they imagine a life, long before televisions and video games, without bathrooms. They have something to go home and tell their parents about. They gave me something to remember. They fill these buildings with laughter and excitement. They keep these buildings and the Oberlin Heritage Center alive. Thank you to all of you, past and present, who keep this place alive.


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The Ranger 2.5l Water Jacket is fully seam-sealed and waterproof. It offers a performance-focused feature set usually found in much higher priced jackets. The 10k waterproof and 3k breathability build will keep you protected in the elements. The jacket is lightweight, packable and features an over-the-helmet hood design which keeps your head dry and comfortable. The Ripstop material on the main body adds durability to this essential piece of trail gear.
- Advanced weather protection for a wide range of weather conditions
- Lightweight 10,000mm/3,000gm 2.5-Layer waterproof breathable main body fabric
- Durable Water Repellent finish sheds moisture, dirt, and debris
- 2 zippered front hand pockets
- Draw cord cinching at hem and elastic cuff provide customized fit
- Helmet compatible hood fits over most helmets
- 100% polyester Ripstop
Part Numbers
Option | UPC | MPN | Store SKU |
Black / Medium | 191972282225 | 24064-001-M | 210000011689 |
Black / X-Large | 191972282249 | 24064-001-XL | 210000011690 |
Steel Grey / Small | 191972320880 | 24064-172-S | 210000011691 |


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TCP/IP: The Interface Layer
3.1 Introduction
This chapter starts our discussion of Net/3 at the bottom of the protocol stack with the interface layer, which includes the hardware and software that sends and receives packets on locally attached networks.
We use the term device driver to refer to the software that communicates with the hardware and network interface (or just interface) for the hardware and device driver for a particular network.
The Net/3 interface layer attempts to provide a hardware-independent programming interface between the network protocols and the drivers for the network devices connected to a system. The interface layer provides for all devices:
a well-defined set of interface functions,
a standard set of statistics and control flags,
a device-independent method of storing protocol addresses, and
a standard queueing method for outgoing packets.
There is no requirement that the interface layer provide reliable delivery of packets, only a best-effort service is required. Higher protocol layers must compensate for this lack of reliability. This chapter describes the generic data structures maintained for all network interfaces. To illustrate the relevant data structures and algorithms, we refer to three particular network interfaces from Net/3:
An AMD 7990 LANCE Ethernet interface: an example of a broadcast-capable local area network.
A Serial Line IP (SLIP) interface: an example of a point-to-point network running over asynchronous serial lines.
A loopback interface: a logical network that returns all outgoing packets as input packets.


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President Obama Meets with President Thein Sein of Myanmar
Today President Obama welcomed President Thein Sein of Myanmar to the White House for a bilateral meeting, the first visit to the United States by a leader of that country in almost 50 years.
"During this period in between there have been significant bilateral tensions between our countries," President Obama said. "But what has allowed this shift in relations is the leadership that President Sein has shown in moving Myanmar down a path of both political and economic reform."
But as President Sein is the first to admit, this is a long journey and there is still much work to be done. And during our discussions, President Sein shared with me the fact -- the manner in which he intends to continue to move forward on releasing more political prisoners; making sure that the government of Myanmar institutionalizes some of the political reforms that have already taken place; how rule of law is codified so that it continues into the future; and the process whereby these ethnic conflicts that have existed are resolved not simply by a ceasefire but an actual incorporation of all these communities into the political process.
"We very much appreciate your efforts and leadership in leading Myanmar in a new direction," President Obama told President Thein Sein. "We want you to know that the United States will make every effort to assist you on what I know is a long, and sometimes difficult, but ultimately correct path to follow."
President Obama's historic visit to Rangoon last November marked the first-ever trip to Myanmar by a sitting U.S. president. Learn more about his trip here.
January 18, 2017
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Here is some surprising yet worthwhile advice you might be hearing for the first time: Brushing after a meal can be incredibly bad for your teeth if you do it after eating certain foods.
Enamel is an extremely hard mineral on the exterior of each of your teeth. It's actually the hardest substance in the human body: It's even stronger than your bones! Its only weakness is that acids in the food we eat can easily destroy enamel.
Healthy teeth thrive in an environment that has the proper pH balance. That ensures your mouth doesn't start the process of demineralization. That's what happens when alkaline turns into acid, which attacks and softens the enamel on the surface of your teeth. Pores and fissures form, and that's when the harmful bacteria go to work.
Our mouth's pH level fluctuates depending on what we eat throughout the day. Examples of the most common highly acidic foods include citrus fruits, soda, and sugary foods. Highly acidic foods tip the balance of pH in your mouth from a healthy alkaline to a dangerous acid.
Can brushing your teeth immediately after a meal lead to even more damage? The answer is yes!
Eating highly acidic foods causes your teeth to be more susceptible. If you brush your teeth when they have been weakened by acids, even more destruction can happen to your enamel. Your toothbrush's bristles will actually wear away some of your enamel. So it's healthier to wait at least an hour after eating or snacking to brush.
Good preventive measures to take instead of brushing after you eat include:
- Rinsing or drinking water
- Chewing sugarless gum
- Consuming dairy or non-acidic foods to conclude your meal
These practices help produce saliva, which in turn restores a healthy pH level in your mouth and coats the teeth with minerals they need.
Once you've allowed time for your mouth to be restored to a healthy pH level, you may brush your teeth as you normally would. Keep in mind that acidic foods can weaken the enamel on your teeth and take the right measures to prevent spiking pH levels.
Most important, don't forget to wait to brush at least one hour after you eat!
Still have questions? Call our Guelph, office and schedule an appointment with the doctor.