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|Oracle FAQ
|Your Portal to the Oracle Knowledge Grid
Home -> Community -> Usenet -> c.d.o.server -> Installing Apps 11.5.10 & copying data/migrating from Apps 11.5.7 to 11.5.10
We are attempting to load Vision in order to see the default settings, etc. for our migration from 11.5.7.
After installation we installed and entered sysadmin on logon page, received message of "insufficient privileges" - any suggestions ?
2. On our production box we are at 11.5.7 (Oracle Financials), preparing to upgrade to 11.5.10.
We have been unable to find documentation or other customers migrating up or even documentation on metalink.
One major concern is migrating all our production data, settings, etc. to work on 11.5.10.
Must we migrate to 11.5.8, 11.5.9 ???
Any information would be appreciated.
Thanks in advance.
George Lewycky
http://georgenet.net/oracle Received on Wed Jan 26 2005 - 10:47:26 CST
Original text of this message


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Cape Coral, FL
Let's learn nihongo with Barbara40/hour
Hello! My name is Barbara M. I was born in Hamburg, Germany and raised in Japan. I have been tutoring for the past six years in Cape Coral, Florida. I grew up in Japan and came to the USA after I met my husband. Having a Japanese mother and German... read moreSee Tutors Like This

subset: commoncrawl


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A Palo Alto start-up named Shopkick Inc. used Best Buy's downtown San Francisco outlet Tuesday morning to preview a new smart phone application that it believes is the future of shopping.
The app uses a hybrid of geo-location technology to deliver personalized discount offers to a shopper's mobile phone.
The app stands "at the intersection of the mobile and the physical world," said Shopkick co-founder and chief executive officer Cyriac Roeding. "The future of online is offline."
To be sure, that sounds like typical Silicon Valley startup hyperbole. But the year-old Palo Alto firm has already lined up a couple of big-name retailers to help roll out the technology, Best Buy and Macy's. And Shopkick, funded by Kleiner Perkins and LinkedIn founder Reid Hoffman, last month received a new $15 million round of financing from Greylock Partners.
Analyst Susan Etlinger of the Altimeter Group of San Mateo said the app does show how geo-location technology can affect retail shopping in the future.
"This is bringing together the online and offline experience in a way that makes sense for consumers," Etlinger said.
Instead of manually having to check in, as with apps like Foursquare or Loopt, the Shopkick app will automatically check in a customer as he or she walks through the door of a store.
But more importantly for the customer, for every in-store visit, the app doles out electronic reward points – called "kickbucks" – that can be redeemed as discounts on purchases. They can also be accumulated and eventually turned into Facebook credits, Napster songs or discounts from other Shopkick partner stores.
The app will eventually be able to send in-store offers to the phone pointing to specific products. The technology is also designed to detect which section of the store the customer is in and direct them to sales.
The discounts can be personalized so that customers shopping in the same store at the same time might see different offers.
Best Buy plans to test Shopkick in several so-far undisclosed outlets around the country in the coming weeks, part of the Minneapolis, Minn., chain's experiments with new customer service technologies.
Margita Labhard, director of Best Buy's new business customers solutions group, said Shopkick stood out over other geo-location services because it is designed to get customers in the door, not just to tell their friends where they've been.
"This is a shopping utility, this is not a social utility," Labhard said.
Shopkick demonstrated the app using iPhone 4s handed to reporters and analysts. The technology isn't all GPS based. Equipment installed at various points inside Best Buy emitted an inaudible sound that is picked up by the phone's microphone.
The signal supposedly can't be picked up outside the store, so someone won't be able to game the system by just doing a drive-by check in, which is possible with other geo-location apps.
"Checking in is a nice start, but unfortunately, most of them are false," Roeding said. "The only way we get paid is if we produce more foot traffic and more transactions."
The app also allows for the iPhone to scan the barcodes of a particular product to generate kickbucks. But Roeding said that at launch, the app will just award kickbucks for walking in the door.
The app won't be publicly available for a few weeks, but Best Buy and Macy's are Shopkick's launch partners and their Bay Area outlets figure to be among the first.
However, Shopkick has been publicly testing the technology since the beginning of this year with CauseWorld, a subsidiary that donates money to charities.
CauseWorld has attracted more than 500,000 members, who earn "karma" points by checking into various shops, restaurants and other businesses. Those points can then be redeemed as cash donations to charities, with the funds coming from CauseWorld sponsors like CitiGroup Inc., Kraft Foods Inc. and Procter & Gamble Co.


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Plan for Failure
Murphy's Law - you've heard of it, know it, and probably even lived it at one time or another. "If anything can go wrong, it will" is more than a lament; it is a call for managers to think about what can go wrong and how an organization will respond to adversity.
A reminder of the need to plan for a surprise visit by Murphy can be taken away from Southwest Airlines' botched Facebook promotion last Friday. A 50% off fare sale intended to celebrate Southwest reaching 3,000,000 fans on Facebook blew up as a technology glitch caused some customers to be charged as many as 35 times for the same transaction. The company known by many as LUV was not feeling a lot of from irate customers.
What will be the response when Murphy sets up shop in your department or company? Most strategic planning focuses on how to achieve success - meet objectives, reach goals, and advance the business. Planning should include failure, too. The nature of the planning differs as it is not about how to achieve failure but rather how to mitigate it when it occurs. Examples of areas to address in failure planning include:
Customer service response
Public relations response
Social media response
Leadership response
It is impossible to plan specifically for failure as there are so many ways Murphy can invade your organization. But some essential considerations are:
How will a failure situation be handled - Within functional silos or by a cross-functional crisis management team?
Who are the key personnel that should be involved in resolving a failure situation?
What are acceptable benchmarks for delivering a response for each of the four areas (customer service, PR, social media, and leadership)?
Failure is inevitable, so is the need to plan for failure. How an organization responds when things go bad can either build trust with customers or destroy it. In Southwest's case, it appears to be working diligently to refund all affected customers quickly. While relationships with some customers have likely been irreparably harmed, Southwest's response will be a starting point for making amends with impacted customers.
Marketing Daily - "Southwest Facebook Promo Hits Turbulence"
Customer Relationships
Customer Service
Southwest Airlines


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This Monday, May 13th at 1:00pm PDT, Community 2K and Gearbox Software will be livestreaming the release of Krieg, the sixth playable character in Borderlands 2.
Tune in as 2K will be getting all the inside scoop on Krieg straight from the guys at Gearbox Software. They will be answering questions in chat and will have giveaways!
You can view the official tweet below:
Retweet! Tune in Monday at 1PM PT as #2K and @gearbox livestream #Krieg! twitch.tv/2K Click here: 2kgam.es/10xVmqI
— 2K Games (@2KGames) May 10, 2013
Will you be there?


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Big Brother Australia set to return in 2013
The recently revived Big Brother Australia will return for its milestone tenth series next year, its broadcaster Channel Nine has confirmed.
Nine begun airing a new television advert for its 2013 line-up including the show this week, and is expected to make an official announcement next week at their annual 'Upfronts' event.
They first picked up the Aussie rights to Big Brother last November, three years after its original home Network Ten decided to drop the axe following an eight-year run due to falling viewing figures.
It finally returned to screens in August, having heavily borrowed features and ideas from BBUK. The ninth series was a modest ratings success, ending earlier this month with 32-year-old Benjamin Norris becoming the country's first ever gay Big Brother winner.
However, Nine attracted criticism from long-term fans for its 'family friendly' ethos – which resulted in sanitised highlights shows – and following Channel 5's lead by ditching live feed.
Watch the advert for Nine's 2013 line-up below:
2 comments on this article
- Sat 24 Nov !
This is amazing news! I loved BBAU9, even the family friendly edits. Overall it matched the epicness that was the Deana BB13UK run for me personally.
I loved the Nominations chamber and the 5 point system. Hope it makes a grand return and somehow implemented into the UK version as well next summer.
- Mon 26 Nov !
BBAU9 was the best ever Big Brother series I've seen in all the countries together!


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Park Wood Assisted Living Independent Living
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About Park Wood Assisted Living
Residents of Park Wood Assisted Living enjoy an active lifestyle, maintaining their independence, while also accepting assistance with daily tasks when necessary. At our active assisted living community in Surprise we offer a variety of community programs that residents can take part in. Whether you enjoy partaking in the occasional fine dining out experience or taking in a baseball game at nearby Surprise Stadium, there's something for everyone at Park Wood Assisted Living.
Participate in an exercise class, play cards with friends, sit in on a visiting speaker's presentation, attend devotion services, or try your luck at Bingo. The opportunities and community programs are both entertaining and endless at Park Wood Assisted Living. Activities are designed with your interests in mind, and your friends and family are often welcome to participate.
Photos of Park Wood Assisted Living
Features of Park Wood Assisted Living
- Rent Plus Care Fees
- Entry Fee
- Fee Structure Extra: We Offer A Month To Month Rental
Room and housing options
- 1-bedroom apartments
- 2-bedroom apartments
- Companion Suites: We Do Not Offer Companion Suites
- Studio Apartments
Dining options
- In Room Kitchenette
- Dining Room Shared Meals
- Room Service For Meals
- Beauty Barber Shop
- Computer Room
- Resident Transportation
- Party Space
- Tv Room
- Garden And Patio
- Resident Parking
- Features Extra: Library, Fitness Room/Gym
Cleaning services
- Laundry For Linens
- Private Cleaning Services
- Housekeeping
- Laundry For Clothing
Technology and entertainment
- Cable In Rooms
- Internet Enabled Rooms
- Wifi
- Technology Extra: Emergency Call System
Health services
- Hospice Care
- Medication Management
- Physical Therapy
- Pharma
- Offsite Activities
- Music
- Games
- Stories
- Religious Services
- Lectures Discussions
- Tai Chi
- Fitness Room
- Yoga
- Gardening
- Cooking
- Arts And Crafts
- Activities Extra: Computer Class
Financial guidance
- Va Benefits Consultation
Guest services
- Guest Parking
- Guests At Mealtime
- Overnight Guests
- Staff Patient Ratio: 10:1
- Minimum Age: None
- Pets: All Pets Allowed
Range of services
- Physical Therapy
- Licenses: Assisted Living License


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30 Rock Season 4 Quotes
Oh, the fiddle's in the creek and the frog's in the kitchen — I apologize ma'am that is not a song, you make me very nervous.Kenneth
You must have me confused with someone else, I have never been to Chicago. [whispers] I sexually assaulted Scottie Pippen in 1997.Verna
Liz: I know this is a difficult time for you, but word of advice: if the will says that you have to spend the night in a haunted house, you better hope that everyone else there are black people or sluts.
I'm the luckiest sh/man in the world.Paul
[reading Tracy's letter] I will always be your ... oh no, I'm white, I can't read that word.Liz
[on Argus] He's become listless, and he won't eat any of the food I got at the crazy rich person's pet shop.Jack
[on Geiss] We'd sit on his veranda talking about politics, business, how not to get paper cuts when making love on a pile of money.Jack
Peacocks can live up to 40 years. Longer if they're not part of Mike Tyson's zoo.Jack
I'm guessing already married cat strangler.Pete
We really were the Sam and Diane of this place.Grizz
[to Jenna] What's going on? Why are you being so happy and nice? Are you soaking your tampons in vodka again?Liz
We have to tell Jenna that we can't do her Kardashian sketch because Jack is bro's with Lamar Odom.Liz


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Photo: Bryan R. Smith / AFP / Getty Images
Drake has announced the lineup for his Houston Appreciation Weekend.
Related: Is Drake Planning a 'Take Care' Sequel?
Drizzy's pop-up "ballet" will feature host Lil Wayne along with models Miracle Watts, Lira Galore and Maliah Michel. The event is black-tie, and the dress code will be strictly enforced.
Speaking about the "ballet" concept when it debuted in Houston over Super Bowl weekend 2017, Drake said "There's a culture out there of dancing and it's not about no strip club s—. It's about these amazing women that we've got in one spot, the music that we've got, and the Houston culture that we got. I just wanna let you know that I'm going to bring it to you in the most honest and genuine way possible."
Check out all the details below.


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About the book (from the publisher):
The Dog Who Was There by Ron Marasco (Thomas Nelson, 2017)
No one expected Barley to have an encounter with the Messiah.
He was homeless, hungry, and struggling to survive in first century Jerusalem. Most surprisingly, he was a dog. But through Barley's eyes, the story of a teacher from Galilee comes alive in a way we've never experienced before.
Barley's story begins in the home of a compassionate woodcarver and his wife who find Barley as an abandoned, nearly-drowned pup. Tales of a special teacher from Galilee are reaching their tiny village, but when life suddenly changes again for Barley, he carries the lessons of forgiveness and love out of the woodcarver's home and through the dangerous roads of Roman-occupied Judea.
On the outskirts of Jerusalem, Barley meets a homeless man and petty criminal named Samid. Together, Barley and his unlikely new master experience fresh struggles and new revelations. Soon Barley is swept up into the current of history, culminating in an unforgettable encounter with the truest master of all as he bears witness to the greatest story ever told.
My Thoughts:
When I first heard about this adult novel, I loved the unique premise that the story would be told through the perspective of a dog wandering about first century Judea.
The first several chapters move very slowly with quite a few flashbacks, dreams, and "had been" moments rather than immediately drawing the reader in to current action. Much of the writing could be tightened and more active phrasing employed. (Perhaps this was a voice choice, though.) I also noticed several inconsistencies within the first half of the book (ie: a character calling the time "first century AD" when I'm not sure someone living during the time of Christ would have called it that). Also, at times Barley is portrayed as only understanding certain words, yet at other times, he is shown as understanding full conversations. The book also is a bit of an Americanized version. For example: one of the characters in the first chapter has the more culturally appropriate name of "Duv," but his wife says it rhymes with "love," which is an English word, of course, and wouldn't have been used in ancient Judea. Though the book is pitched as told in Barley the dog's point of view, readers are tossed between Barley's perspective and several other characters' perspectives throughout the book, which breaks the flow of reading.
Barley himself is a wonderful character. The author does a lovely job of showing the dog's instincts and natural desire to be in a 'family' group and love and protect. Those traits are (in my animal-adoring experience) God-given, which plays well into the themes and plot of this novel. The last third of this book picks up in action, making it a quicker read. Many of the violence scenes are graphic, just as a note to readers who prefer not to read such. Barley (and the readers) only see Jesus in his last few days as he reaches Jerusalem, so you can imagine the intensity of those chapters. The ending, though, is satisfying and offers redemption to the many, many trials Barley endures throughout the book. It winds together Barley's experiences in a way that offers an example of how God works in our lives.
Read more about the book and the author at the Litfuse page.
What biblical or historical event would you find interesting as 'viewed' from the perspective of an animal?
Disclosure: I received a free copy of this book via Litfuse. This is an honest review, and all opinions expressed are my own.
I am an affiliate for Amazon Associates. If you click on an Amazon link and then make a purchase, I receive a small commission. This does not affect your final cost at all. Thank you for supporting this blog and my family!
This site is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com.


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Italy, Rome, Early Imperial period
bronze with silver and copper inlays, Overall: 14.5 x 8 cm (5 11/16 x 3 1/8 in.). Purchase from the J. H. Wade Fund 1987.2
Half-human, half-divine, not very bright but amazingly strong, this hero was the most popular of all mythological figures. Ordinary people could identify with his intellectural weakness, while his persistence in undergoing great trials gave them hope in their own earthly struggles. Roman artists often portrayed Hercules as middle-aged, as though greater maturity increased his power and virility.
In his most famous adventure, Hercules slew a monster lion--the scourge of Nemea (near Corinth)--by strangling it and beating it with his olive-wood club. Forever after, he wore the beast's pelt as a trophy.
This statuette's right hand once held a club.
Basel Antiques Fair, April 1985, Bard College, NY, Spring 1986, Herakles, Passage of the Hero.The Cleveland Museum of Art (08/26/2017-12/31/2017): "Gods and Heroes: Ancient Legends in Renaissance Art"
To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.


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For The Love Of Money
Indie feature For The Love Of Money is an ambitious attempt to bring a personal story to the screen. It is extremely well shot, well directed, well acted, and if those were the only aspects of a film that mattered, this would be an amazing film. The real hurdle here is the story itself. And while the story is very good, it's just a bit too episodic.
Very fine actress Jenna Mattison is credited with having written and co-produced the film. She does an admirable job, and the characters and dialogue ring true. It's more that there are a large number of characters to follow and the episodes just a bit too short, so by the time we are just getting the feel of one story, we are whisked away to another. This is where television shows its strength – when episodes are shown in small doses, such as hour-long television, it becomes easier to put the pieces together. When the episodes are combined into a film, often the length of the film does not allow enough time for the episodes to register with the audience. And remembering all the various elements leading up to a moment can get lost in the shuffle.
Director Ellie Kanner-Zuckerman does a great job with a very large array of locations and actors. While I'm sure many of the establishing shots may have been stock footage, the director – and editors Eric Strand and Karl T. Hirsch – are to be appropriately commended for assembling a massive amount of footage into a strong, cohesive film. and some of the talent gathered here prove once again how competent and capable they are; Jeffrey Tambor, Steven Bauer, Oded Fehr, James Caan, Paul Sorvino, Edward Furlong are among the recognizable names. Among the younger and less recognizable are some talented individuals; Yuda Levi, Delphine Chaneac, Joshua Biton, Jonathan Lipnicki and Richard Gunn. All of the performers do a fantastic job with their parts and help to make the episodic segments work. The biggest complaint this viewer has is in wanting time to get to know some of these characters better, to be given the opportunity to feel more for their individual stories.
For The Love Of Money scans over two decades and follows the purportedly true account of an Israeli immigrant searching for his place in the American landscape. The story begins in 1973, when a young Izek is raised in a seedy, gangster-filled casino that operators behind the family bar. Over the next few decades we watch as he or his family become more involved in the criminal underworld which pervades his community. When he gains the opportunity to escape to the United States and the dream of starting over beckons as a new hope, the sins of his past prove they will not be ignored.
Writer Mattison and director Kanner-Zuckerman utilize a voiceover at various times in the film and, to some extent, it helps the viewer to follow Izek's arc. The use of known music from the various eras helps to follow the chronology. In spite of the episodic nature of the story, For The Love Of Money is an engaging and intriguing glimpse into an aspect of a culture rarely seen in this country, and should prove enjoyable for anyone who loves a good indie feature.


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Treehouse Bed
We've been building A. a new bed. We wanted it to be a bed of dreams! It had to be a place for her to tuck in and hide. I remember cubby holes and hiding places being the best when I was small. The bed area would double as her bedroom in the corner of […]
Ocean is lonely because you were hungry…
Brooklyn based filmmaker and animator Akiko McQuerrey has a new film called Papa Cloudy's Restaurant. Papa Cloudy, a mustached stuffed cloud, is known for putting his heart into everything he does, including running a restaurant focused on serving a sustainable menu. McQuerrey's lovable Papa Cloudy character is moved to change the restaurant's […]
Things We Make with Ada
We love building things with our daughter Ada. Sometimes we use typical crafting materials and sometimes we use whatever we find around the house. Lately, it's been cold outside and we have been indoors making a lot of things with her. She can learn about tactile materials with simple projects and power tool […]
Super Secret Behind the Scenes…The Alphabet Tower
We are here getting ready for the opening of Household Ecologies #5: The Alphabet Tower at Flensborggade 57 on Saturday afternoon and snapped a super, secret shot of The Alphabet Tower being packed up.
Come out on Saturday to see the whole thing in action.
Household Ecologies #5: The Alphabet Tower
We would like to invite you to our upcoming exhibition: Household Ecologies #5: The Alphabet Tower , May 25 from 14:00-17:00 at Flensborggade 57.
Household Ecologies #5: The Alphabet Tower
Exhibition dates: May 25-June 23
Opening Saturday, May 25th 14:00-17:00 | Flensborggade 57
afternoon opening with a grill party and interactive art for kids.
Radio Aktiv Sonic Deep Map (2013)
SUPERKILEN – Extreme Neoliberalism Copenhagen Style
Read Brett's essay about the park.
DANSK: Superkilen: Park med ekstrem borgerinddragelse!
Download our guide:
This is our guide to how-to books from the counterculture of the 60s and 70s. Click to get the download page.
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Video interview:
Watch our interview of SeedBroadcast, a mobile project that is part seed library and part seed-saving-story-collecting machine-recording the stories of seed saving, farming, and food sovereignty work being done around the US.
BOOK: Deep Routes
Bonnie co-edited this collection of essays that reflect on who gets to define a region and what the struggles are in relation to being in a place and demanding social justice across many issues and terrains.
Download a poster Bonnie made about biodiversity in a vacant lot in the Amager borough of Copenhagen, in collaboration with biologist, Inger Kærgaard, ornithologist, Jørn Lennart Larsen and botanist, Camilla Sønderberg Brok: A BRIEF TAXONOMY OF A LOT
We made and installed a network of bat houses in Urbana, Illinois, to support the local and regional bat population, but also to begin a conversation about re-making the built environment.
We write often about artists and art groups that work with putting 'culture' back in agriculture. Here is a new favorite: myvillages, a group of three women based in Germany, the Netherlands, and the UK. Read more...
Post Revolutionary Exercises
We really admire the dedicated hard work of Kultivator who seeks to fuse agriculture and art in their work. Click this sentence to get a PDF of their poster collection called "Post Revolutionary Exercises."
Cultural Practices Within And Across
This amazing book networks urban and rural resilience and sustainability projects around the world. Deeply inspiring projects in Romania, Paris, San Francisco, and elsewhere.
• Read our review of the book.
• Buy the book.
• Download the book.


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The "Wireless Charging Market to 2025 – Global Analysis and Forecasts by Technology, and Application" report provides a detailed overview of the major factors impacting the global market with the market share analysis and revenues of various sub segments.
The role of wireless charging in various fields is to eliminate the hassles of a wired charger that gets tangled while carrying. The wired charger often gets degraded on excessive usage of it. Also, many times it becomes difficult to find a charging socket at public places further increasing the problems of wired charging methods. A resilient wireless charger is operable even in the harshest conditions without much difficulties and therefore is expected to imprint a stamp in the market.
The report aims to provide an overview of Global Wireless Charging Market along with detailed segmentation of market by application, technology and five major geographical regions. Global wireless technology market is expected to witness steady growth during the forecast period due to growing number of smart devices such as laptops, tablets and smartphones. Also, insufficient availability of charging ports at public places and its malfunctioning due to excessive usage are creating a huge popularity for wireless chargers.
Request Sample Copy @ http://www.theinsightpartners.com/sample/TIPTE100000327
The objectives of Wireless Charging Market report are as follows:
Inquire about discount on this report @ http://www.theinsightpartners.com/discount/TIPTE100000327
Some of the important players in wireless charging market are Verizon Wireless Communications, Texas Instruments, Inc., Qualcomm Inc., WiTricity Corporation, Energizer Holdings Inc., Anker, Fulton Innovation LLC, Convenient Power HK Limited, Integrated Device Technology, Inc. and Evatran LLC.
About The Insight Partners:The Insight Partners is a one stop industry research provider of actionable intelligence. We help our clients in getting solutions to their research requirements through our syndicated and consulting research services. We are a specialist in Technology, Media, and Telecommunication industries.
Media ContactCompany Name: The Insight PartnersContact Person: SamEmail: Send EmailPhone: +1-646-491-9876Address:Hadapsar City: PuneState: MaharashtraCountry: IndiaWebsite: http://www.theinsightpartners.com/


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Charnoch History, Family Crest & Coats of Arms
Anglo-Saxon culture of Britain. Their name comes from having lived in Charnock. It was established there in a pair of townships in Standish in the county of Lancashire. This surname is derived from the Old English Charnok which means one who lives beside the pile of stones. Often times this pile of stones served a primitive marker to establish borders for villages or counties.
Early Origins of the Charnoch family
Lancashire where they held a family seat from very ancient times, some say well before the Norman Conquest and the arrival of Duke William at Hastings in 1066 A.D.
Early History of the Charnoch family
This web page shows only a small excerpt of our Charnoch research.
Another 159 words (11 lines of text) covering the years 1526, 1581, 1588, 1645, 1614, 1587, 1648, 1624, 1628, 1680, 1630, 1693, 1656, 1690, 1663, 1696, 1696, 1670 and 1734 are included under the topic Early Charnoch History in all our PDF Extended History products and printed products wherever possible.
Charnoch Spelling Variations
Until the dictionary, an invention of only the last few hundred years, the English language lacked any comprehensive system of spelling rules. Consequently, spelling variations in names are frequently found in early Anglo-Saxon and later Anglo-Norman documents. One person's name was often spelled several different ways over a lifetime. The recorded variations of Charnoch include Chernock, Charnock, Chernick, Chernocke and many more.
Early Notables of the Charnoch family (pre 1700)
Distinguished members of the family include Thomas Charnock (c.1526-1581), an English alchemist and occultist who devoted his life to the quest for the Philosopher's Stone; Roger Charnock (1588-1645), an English politician, Member of Parliament for Newton in 1614; Thomas Charnock (1587-1648), an English politician, Member of Parliament for Newton in 1624...
Another 107 words (8 lines of text) are included under the topic Early Charnoch Notables in all our PDF Extended History products and printed products wherever possible.
Migration of the Charnoch family to the New World and Oceana
Thousands of English families boarded ships sailing to the New World in the hope of escaping the unrest found in England at this time. Although the search for opportunity and freedom from persecution abroad took the lives of many because of the cramped conditions and unsanitary nature of the vessels, the opportunity perceived in the growing colonies of North America beckoned. Many of the settlers who survived the journey went on to make important contributions to the transplanted cultures of their adopted countries. The Charnoch were among these contributors, for they have been located in early North American records: John Charnocke, who came to Virginia in 1643; Captain John Charnock of Bedford, who settled in Boston in 1710; Mary Charnock, who settled in Georgia in 1732.
The Charnoch Motto
The motto was originally a war cry or slogan. Mottoes first began to be shown with arms in the 14th and 15th centuries, but were not in general use until the 17th century. Thus the oldest coats of arms generally do not include a motto. Mottoes seldom form part of the grant of arms: Under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added to or changed at will; many families have chosen not to display a motto.
Motto: Soyez content
Motto Translation: Be happy
Charnoch Family Crest Products
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BiT Evolution is a journey into the past that draws inspiration from all of your favourite titles from the 70s, 80s, and 90s. Travel through video game history with BiT, as he transforms from a simple 8 bit hockey puck, into a mob boppin', platform jumpin', pixel collectin', pixel LEGEND!Read full description
"BiT Evolution is great fun! We enjoyed playing it and if you like retro style gaming with challenging stages, then this game is for you." - GamingCypher
"...a game that respects every aspect of retro gaming in a fun and unique way" - Indie Retro News
"How refreshing it is to find an Early Access game that not only plays well, but reaffirms your belief in an entire genre niche." - Gizorama
BiT Evolution is a journey into the past that draws inspiration from all of your favourite titles from the 70s, 80s, and 90s. Travel through video game history with BiT, as he transforms from a simple 8 bit hockey puck, into a mob boppin', platform jumpin', pixel collectin', pixel LEGEND! Along the way BiT discovers how to travel back and forth between the real world and the realm of Code, a dark foreboding dimension lurking between game levels. Through this realm lay the secrets to accessing new worlds and new adventures, each compiled of memorable bits from video game platformers of the past!
Key Features:
Innovative Dual-World Mechanic
The Realm of Code is a binary duplicate of the Rendered World. BiT travels between them to get past obstacles, collect hidden pixels, and experience adventure in a whole new way!
Narrative Platforming
Experience a unique storyline every bit as unique as BiT! (Yep, there's puns, lots and lots of puns)
Evolving Gameplay
As BiT evolves and grows in power and pixels, he's able to visit new worlds inspired by not only games of yesteryear, but their historic platforms as well. The final version of the game will feature 60 fast paced and challenging levels, four incredibly fun and distinct worlds, 2 uniquely contrasting dimensions all in 1 game.
For more information, check out the official website at http://www.bitevolutiongame.com
2015 Major Games, Incorporated
BiT Evolution is a platformer game, sadly there are not enough content for my taste as the main game can be finished within two hours or so it's not a very long game. Luckily there are pixels to collect in each level that can make the game a bit longer. All in all the game is a bit generic for my taste, luckily the price is quite humble, still, I don't recommend.
Simply addictive. I'm not typically one for platform puzzlers, however, this game through sheer nostalgia and simplicity has not only managed to grab my attention, but it incites my drive to complete it. Also, the disccount is absurdly good
BiT Evolution is basically what Evoland is for rpg genre: a game in which you will face several stages of platformer's timeline. The idea is really cool and even well realized, with the ability, similar to Giana Sister, to switch your plan of existence in order to progress. The game is very funny and really worth a play, so consider it if you are a nostalgic videogame fan.
Simply rate this game out of 5 stars and submit
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The strong points of the Athena controls are comfort and safety. The brake levers with double curvature and the hoods design based on the ergonomics of the hand make these controls the absolute benchmark on the market.
Ultra Shift ergonomics
This ensures a firm grip on the handlebars and fast, precise control of the levers. The special ergonomic design makes it possible to assume three different hand positions on the levers compared to the two traditional ones.
Make sure the gear levers you choose are the correct ones for your rear cassette - either 8/9 or 10 speed. Also check that the integrated brake levers (if fitted) are cable or hydraulic to suit your brake calipers. Most SRAM shifters are only compatible with their own derailleurs.
Besides distinguishing themselves for their unparalleled quality and performance, Campagnolo products have also become the benchmark of design. This is testified by the prestigious Compasso d'Oro award granted by the Associazione Design Italiano in recognition of the Veloce groupset, Ergopower integrated controls and Shamal high-profile wheels. Campagnolo is not only involved in the cycling world, but dedicates itself to all sports in general. In fact, it was named by the Wall Street Journal as one of the most prominent sports brands in the world. A reputation earned not only as a result of the countless successes achieved in racing competitions, but also by virtue of the attention given to quality and to service that sets this company apart from all others.
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The Community Needs Your Leadership. When one person stands to protect a child, they must know that all of us stand, shoulder to shoulder with them.
Child Abuse Prevention
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Join Today – One-Circle organization is a non-profit leading communities forward in a proactive human rights movement for abused children.
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J-prof hears from angry Iowans
University of Iowa journalism professor Stephen Bloom says he's getting "frightening" emails and phone calls from critics of his Atlantic magazine piece, "Observations from 20 Years of Iowa Life," and he fears for his family's safety. Bloom, who is a visiting professor at the the University of Michigan this semester, wrote:
Those who stay in rural Iowa are often the elderly waiting to die, those too timid (or lacking in educated) to peer around the bend for better opportunities, an assortment of waste-toids and meth addicts with pale skin and rotted teeth, or those who quixotically believe, like Little Orphan Annie, that 'The sun'll come out tomorrow.'
Des Moines Register columnist Kyle Munson says one of his biggest complaints about the piece is that "if you're going to skewer the population of an entire state for a publication other than the Onion, please be precise."
What I think has upset so many Iowans isn't the notion that Bloom offers a starkly different opinion, but that much of it is a stereotypical one riddled with inaccuracies.
He adds, though:
Any Iowan who would entertain the thought of harming Bloom for his (arguably mean-spirited) prose is stupider than the worst characterizations in his Atlantic article.
I asked Munson for more about the threats. He tells me: "I asked Bloom about the scope of the threats against him but haven't heard back. But I thought it was fair to cite his concerns even without more details."
I've left a phone message for Bloom at the University of Michigan — a receptionist there tells me that Tuesday was the last day of classes and he may not be around — and for Atlantic editor James Bennet.
* UI journalism professor's article causes uproar (Daily Iowan)
* For squawking at Iowa, journalism prof now has to duck (DM Register)


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Office: Dietrich & Assoc. Real Estate
Courtesy Of: Provided by ValleyMLS
Priceville is located in Alabama.
Priceville, Alabama 35603 has a population of 3,179.
The median household income in Priceville, Alabama 35603 is
The median household income for the surrounding county is $45,341
compared to the national median of $53,482.
The median age of people living in Priceville 35603 is
37.5 years.


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Currently, the major museums in the world are undergoing a profound change as they have identified the importance of reaching for a global audience. With this, however, the museums' management necessarily becomes more complex and multiaspec t. This essay will focus on this new goal, and particularly on the use of digital museum experiences as a way to achieve it. It will discuss why the digital museum tends to be a trend of museum development, how the art institutions use digital media to increase their influence to the public, and the problems derived from this new trend.
The Internet and the spread of art
In the age of information explosion, science is developing and knowledge is renewing itself rapidly. Already in 1992 the Global Information Infrastructure Plan recognized that "the information society has become a major objective of worldwide public interest" (Takahashi, et al.). Now, with the expansion of the Internet, this objective is a reality, at least in developed countries. According to the World Bank (2010), Australia's percentage of Internet users went from 5% in 1992 to 75.9% in 2010. With this new tool, people gain access to knowledge that was previously unreachable, and those interested in spreading it have become much better equipped to do so. Steven Zucker's, principal of Smarthistory.org and Ddean of the School of Graduate Studies at the Fashion Institute of Technology (FIT) describes this transformation in information as going "from Acropolis—that inaccessible treasury on the fortified hill—to Agora, a marketplace of ideas offering space for conversation, a forum for civic engagement and debate, and opportunity for a variety of encounters among audiences" (Proctor, 2010). Even if it is clear that Australia is changing much more rapidly than the rest of the word, it can be seen in the graph below that this is, in fact, a global trend.
Fig: Internet users as percentage of population
Furthermore, not only has the Internet grown exponentially, it has also replaced traditional media as the main source of information for many sectors of the population. Roy Morgan Research points out that while the percentage of people that use TV as the main source of information has been consistently decreasing to only 52% in 2007; the percentage of people who use the Internet to inform themselves has been increasing, reaching a level of 9.5% . But, more importantly, if these trends continue the Internet will become the main source of information for 50% of Australians in under ten years. (Roy Morgan, 2007). These figures are even more extreme among the young (15 to 25 years old) where 79% of them already depend solely on the Internet to inform themselves (Wattenberg, 2011). This evolution of the media is so clear that most newspaper reproduce the entirety of their daily prints on their website and most major TV networks are starting to rebroadcast their contents online. It not only allows them to keep up high visibility but it also provides an extremely high return of investment since the costs of entry are relatively low and the audience is constantly increasing. Under these considerations it is can be seen that the common phrase "if it exists, it's in Google" is no exaggeration.
Museums have caught up with this trend and are starting to have a stronger presence on the Internet. For example, in its strategy for 2012, the British Museum recognized that Internet exposure is central to increasing the interests in the museum's collections. It even went to state that "by 2012, the Museum's physical presence in London will be complemented by a globally accessible media resource […] as a result, visits to the Museum's main web site should double to over 14m by 2012" (The British Museum, 2012). The importance of achieving this goal cannot be overstated. It has at least two main advantages.
First, by giving relevant information to the visitor before they reach the museum he should be able to put the content of the actual museum in a better context and make a more informed observation of what he sees once he arrives to the analog museum. Stuer (2001) argues that achieving this can produce a more comprehensive and enjoyable experience for the visitor, making it more likely for him to later on return to the museum or simply become more interested in the art he has seen.
Second, by increasing the presence museums have on the Internet they are targeting a key sector of the population. Internet users is a group dominated by young people, mainly in the range of 16 to 19 years old, which is also a sector that museums have a hard time appealing to because it this groupis normally misinformed or has preconception that it is not compatible with its theirinterests (Veirum& Christensen, 2011). Digital museums open an opportunity for art to become more visible among the youth, and for disabling false preconceptions of museums as esoteric and uninteresting places. Furthermore, Veirum& Christensen also argue that, due to the social nature of museum visits, "targeting teenagers with digital technologies could be the way, not only to reach a new young audience, but also to engage current, older, visitors at a higher level" (2011).
The Australian Powerhouse Museum is another example of a museum that is adapting to this new trend of digital museums. This case in particular is interesting because of its use of crowdsourcing. In 2009 the Powerhouse Museum published the vast majority of its collection online but not all records were complete. Since then, outside experts have been contacting the museum offering help in completing their records without requesting payment in exchange . Similarly, Tate Britian used Flickr to crowdsource the contents for the photographic exhibition How We Are: Photographing BritianBritain. (Proctor, 2010) These are typical examples of how the Internet is creating cooperation systems that can be superior to the traditional institutional models.
To better understand the possible impact that crowdsourcing can have on museums it is useful to analyze the case of Flickr. As with most models of cooperation, Flickr is dominated by a very steep power-law distribution, where the top contributors give hundreds of times more than the average contributor. Specifically in Flickr, the top 15% contributors account for 60% of the photos. (Shirky, 2009) Normally, institutions, such as museums, could hire how?this 15% and receive a very good return on their investment. However, crowdsourcing allows Flicker to not have to give up on the other 40% of the contributions because everybody is able to freely contribute. Digital museums, such as the one created by the Powerhouse Museum, could potentially achieve the same thing. For example, museums could hire professionals to tag the contents of their digital versions so people can find what they are looking for in an easier way. However, it is much easier, and cheaper, to crowdsource this function, so that every contributing visitor of the digital museum is able to tag what they see without increasing the institutional costs for the museum. Another example of how powerful this could be is that visitors to the digital museum can easily make use of tools like Twitter and Facebook to publicize what they liked to a degree that is likely to surpass the efforts of the hired museum employees. In Shirky's terms (2009), digital media and crowdsourcing allows us to take the collection of museums to the individuals, instead of trying to make the individuals go to the museums.
Crowdsourcing and the social networks really do bring a qualitative change to the potential consequences of digital museums. Digital museums by themselves are only an alternative way to access specific collections; and, just like analog museums, they are likely to be ignored by those who are not already interested in arts or sciences. However, Twitter and Facebook are likely to expose uninterested people to these new contents. For instance, someone may not be interested in art and is following on Twitter a colleague of his. If that colleague "retweets" an iImpressionist work he really enjoyed during his visit to the digital museum then the uninterested follower will be forcibly exposed to that particular piece, raising the opportunity for him to gain interest on the impressionist school. In sum, digital museums, in combination with social networks, not only create new ways to access art and science, but they also expose new, previously uninterested audiences to them.
It is worth noting that crowdsourcing has gone beyond digital museums, and is now also a part of traditional ones. The Torrence Art Museum in California accepted project proposals by the general public, effectively turning the public to potential curators (Proctor, 2010). This allows the museum to respond to the demand of new expositions efficiently and within a small budget by not having to depend on a limited amount of staff or contractors. Moreover, it brings a strong degree of diversification to the way museums present their collections so they can attract a wide variety of visitors interested in different things.
This trend on has not been met without resistance however . Neal Stimler, of the Metropolitan Museum, states: "I do not share the view that using social media makes everyone a curator. Curators are the most trusted expert's whose aggregated knowledge […] defines the meaning and value of art" (Proctor, 2010). Nevertheless, the defense of art expertise is a concern that seems to be diminishing more and more. Angelina Russo suggests that many voices are critical to the interpretation of culture that museums are creating, and that the participation of the audience is paramount to achieving a genuine collaborative deconstruction of culture. More in the line of what
Russo suggests, the Milwuakee Art museum developed the American Furniture/Googledexhibition. On this exhibition, the traditional labels for each object were replaced by computer screen where each visitor was able to explore in specific related websites, to get more information about the piece that they were observing. This allows for a much more personal interpretation of what is being seen and arguably could produce a more engaging experience. Likewise, Proctor(2010) argues that the job of the curators is shifting from a focus on the reproduction of knowledge to the generation of new sensations by using more temporary exhibitions. It then seems like the collaboration between outside experts and curators that social media allows are a response to a previously existing demand of democratizing the control and the access to art.
In a similar line of thought, De Bruyne and his colleagues argue that digital museums can provide unprecedented help for education purposes in schools, and even outside the classroom, since it's not only much easier to use the digital museums than to arrange a school visit, but also because they can expose the students to a wide variety of collections that they would normally only be able to see in textbooks (Stueret al, 2001). Nevertheless, their most compelling argument is a different one. They argue that while museums can only appeal to one kind of visitor at a time , digital museums offer a wide variety of tools for different kind of publics. They argue that the regular "Search" function can give visitors that are already familiarized with the art they enjoy a very accessible and fast way to find what they are looking for, but it is not particularly useful for someone who is just starting to get interested in art. In such cases, the digital museum can offer traditional "Theme Packages" where all related pieces are presented together, so the visitor does not have to know beforehand what he would like to see. The disadvantage of theme packages, according to the authors, is that they present everything in a prearranged order, acquiring an inheritable exclusive nature and leaving little room for personal discovery. They suggest that a third approach, called "Theme Generator", where the visitor is assisted by tools that limit or suggest certain results to his query's can give a middle ground between the other two models, which allows for gratifying personal discoveries without overwhelming the visitor with an entire catalog. Therefore, digital museums don't have to change exhibitions when trying to attract a specific kind of visitors like analog museums do, allowing for a much wider audience to take full advantage of the collection.
As it can be seen there are many museums that are starting to take advantage of some of the potential of the Internet as a platform for art. However, most of them are focusing in just one use. Google, however, is trying an integrated approach that takes advantage of the Internet as a whole. Its main project, called Google Art Project, is in many ways synthesizes all that is possible when using the Internet in an efficient, multidimensional, way.
Google Art Project
The Google Art Project is without a doubt the most successful digital museum to date. It started in February 2011, under the direction of AmitSood. As one of the most powerful companies in the world, Google seems to understand the power of "numbers", just as what they have in Google Books. Since 2011, The Google Art Project has added 134 new museums to its site from around the world. Just like Amit said: "The Art Project is going global. " (Brown, 2012). The project includes many of the major museums around the world. People around the world could be able to see the many of the masterworks that are collected by the Tate London, the Metropolitan Museum of Art, the Uffizi, the Van Gogh Museum, the Museum of Islamic artArt, the Hong Kong Museum of Art, and the Freer Gallery of Art. Of course such a massive collection would usually bring logistical impossibilities if it were a physical collection. For example, all the artworks online is provided with brief context detail and artist background, they also have links to external information. If that was not enough, all pieces have tags to identify them with others that share a common denominator with it. Achieving this requires an amount of human resources that are impossible to hire for one institution. However, Google uses the Internet to crowdsource this task, removing the institutional costs of doing the task. Of course this means that some of the descriptions may not be accurate, but that seems like a reasonable price to pay for being able to do something that was not really an option with traditional hiring.
Another example of the great potential of that the Google Art Project is that it gives is about crowdsourcing. This can be and an integral approach to the possibilities that the Internet offers is throughtheir incorporation of social media. It is interesting that this is one of the revolutionary aspects of this project because it is its extremely simplicitye. All that it requires is an interface that allows the visitor to easily share what they see on their Twitter and Facebook accounts. Doing so allows to crowdsource the generation of the museum's publicity to the thousands that visit it every day . This not only extremely reduces publicity costs, but, as it has been said, it's probably a better publicity because it actually reaches to people that are not already interested in the arts. Another feature of the Google Art Project is that it currently provides a virtual tour for 46 museums. This "Street View" technology provides 360-degree images for the interior and exterior of the selected galleries. Theis "Walk through" function can help visitors to observe the main buildings of museums, digitally walk through the galleries' corridors, stand in the the exhibition halls, and even look around from the windows. This means, internet visitors not only look at artworks, but also enjoy how the curator has set up each exhibition. This is especially helpful if the art works rely on a special installation, such as ceiling and wall installation or group sculpture . Visitors have complete information; they are able to find anything inside the real exhibition room. Unfortunately, there are still some limitations as to the specific locations the visitor can put his camera in, which greatly reduces the mobility and the sense of immersion that the visitor can experience. However, the giga-pixel camera that Google uses to digitalize its material can give extremely realistic pictures, where even the texture can be discerned; which somewhat compensates for the limitations of the virtual tour.
Finally, an aspect that needs to be mentioned about The Google Art Project is its powerful ability to search with conveniencet. Using the most advancedof the technical aspects of the regular Google search engine, this ability of search allows people to find their favorite artists and artworks, regardless of them being in different collections and museums. This model is especially useful for those looking to expand their preexisting knowledge and experiences, because with the ability to search all collections for the same tag it is very possible that the visitor will end up discovering new pieces he did not know about that are related to his favorite artist or genre . This of course comes with the disadvantage of all search models but Google seems aware of that.
Google's Cultural Institute is pursuing its goal of 'help preserve and promote culture online' through other means too. Google has very recently announced a new platform that will also focus on providing cultural institutions with more ways to reach to a global audience. Similar to the theme packages model that Stuer mentions, this new platform will try to narrate the stories behind key moments of human history in the last century, such as the Holocasut, the D-Day, etc. To do this it will put 42 online exhibits with the help of 17 cultural institutions such as the Auschwitz-Birkenau State Museum (Crossan, 2012). Like stated above, this kind of exhibitions can create an emotionally engaging experience for visitors that do not have previous knowledge of what they are seeing. Yet, what makes this project particularly interesting is that, with the power of Google sponsoring it, it does it in a magnitude that no individual museum could hope to rival. Therefore, it is an example of how the digital media allows for a kind of inter-museum cooperation that was previously not possible. It is worth noting that this also creates new challenges for curators since they will most likely have to create a collective view of this kind of cooperative work .
The Controversies
Despite these various benefits of employing digital museums, there have been two main controversies surrounding them. First and foremost, there has been an increasing concern when it comes to the copyright infringement they can potentially allowoccur. While not all material is restricted by copyright, contemporary pieces cannot be freely distributed. This has actually been one of the main obstacles that digital museums have had to face, because coming to a legal and financial arrangement between them and the owner of the piece can be a very expensive and logistically troublesome. This is not only because of the usual impediments but also because it is, in fact, very difficult to protect the copyright of a specific piece once it goes online. It is difficult to measure how serious is copyright infringement on the Internet, and even more to have a clear idea of art copyright infringement, however there is some data available that should be considered. For example, the Recording Industry Association of America (2012) calculates that only of all the music that is acquired globally only 37% is obtained legally. Likewise, in the video games industry, the piracy rate can go from 40% to 80% depending on the country (Svensson, 2012). Even though these are entirely different markets, this data shows just how difficult it would be to restrict the illegal reproduction and commercialization of art once it reaches the Internet. Therefore, the potential of art piracy seems very real and there is no clear answer to what could be done to prevent it.
In addition to the copyright concerns, the rise of digital museums has spurred the debate about the possibility of them being detrimental, or even replacing, ordinary museums. Some experts worry that people will be satisfied by looking at the artifact online and lose interest in an ordinary museum to observe the real one. At first this concern would seem reasonable; after all going to the museum can be physically draining and the higher digital resolutions offer much more vivid images than before. Most of these controversies, however, seem to be based on a general disinformation about what is the use of digital museums. With this in mind Marty (2008) developed a nationwide survey to the users of seven different museums in Australia. His results showed that the typical online museum visitor that completed the survey visit museums approximately four times a year, visits museum websites approximately once a week, and considers it very important for museums to have museum web sites. In addition to this, possibly the most important result he found is that digital museums seem to complement, rather than replace, traditional ones. For example, 61% of the responders thought that digital museums were particularly good for accessing research materials and for educational actives; while 67% of them agreed that analog museums were the best alternatives for exploring the collections. Consequently it is not surprising that 74% disagreed with the statement that websites could come to replace the regular museums. Overall it would seem that the piece itself, the curatorial job, and the academic floor talk are irreplaceable.
A final concern with digital museums is that they might not be able to keep up with the changes in the analog exhibitions in traditional museums. Curators frequently change what is being shown and the way that it is being viewed, and the process of digitializing that experience is costly and takes time. Therefore, it would be true that digital museums would have a very hard to incorporating these changes. However this is only a problem because it is being assumed that digital museums should imitate the contents of analog ones. As it has been already shown, people use digital and analog museums for different purposes, so it is illogical for both of them to offer the same thing. This controversy, then, disappears when it is realized that digital museums should not imitate analog ones.
What remains to be done ?
Even though the advantages of digital museums, social media and the Internet in general can bring to museums are plenty, there are still more room to grow in terms of how efficient these new tools are being used. According to Adhikari , a consultant in the field of social media, one of the most common mistakes that museums are making in their expansion towards social media is not tailored to the demographics of the Internet, instead their messages have remained the same that are used to attract usual museum visitors. This, however, is not an inherent problem with the Internet as a platform but a consequence of an overall lack of familiarity with it by the museum authorities .
Additionally, the interaction is limited to accessing the information that the museums have put online (like watching a video on YouTube). Therefore in order to keep the interactions going the museum needs to keep producing all its content, which end up consuming a lot of the available resources. This is a severe appears to be a bigobstacle because there is no obvious way of solving it. However, as Chirs ChrisMilk and AronKoblin showed with their The Exquisite Forest project (2012), it is entirely possible to create contexts where it is not necessary for the museum to create all of its content, similar to the crowdsourcing efforts that were mentioned earlier. Moreover, it is an example of how creative efforts can produce worthwhile pieces regardless of technical ability thanks to the use of new technology only available through the Internet. Adhikari also argues that it is important to break certain social media stereotypes that the mainstream media has been trying to create. Particularly, some institutions are still reluctant to participate in the digital platforms because of the preconceived notation , often prevalent on the senior management members, that doing so will "dumb down" the content. Even though at the beginnings of the Internet as a platform for arts and sciences this might have been true due to lack of knowledge of how to use it properly, all of the examples quoted in this text can prove the falseness of that conception.
In sum, museums need to recognize that the Internet is more than just a marketing tool. They are about creating an infrastructure that allows for everyone who is interested in art or museums?to participate in the production of content, so that this production is sustainable, collective in nature, and diversified.
At the beginning, this paper analyzed the rise of the Internet as a global trend that is the special acute in Australia. It is no exaggeration to say that this is causing a change in the nature of human communication: persons who have access and who wish to collaborate with others can now do so much easier and efficient, the spread of knowledge and information is unprecedented, and so is the access that institutions have to the opinions of their audiences. This raises challenges and opportunities in all industries on the planet, and museums are starting to be heavily influentiated influencedby this change of context.
It was shown that museums such as the British Museum are starting to embrace the possibilities offered by the Internet to make the experience of art something that transcends its walls; where people can now stay in touch with their artistic and scientific interests before and after visiting the museum. The Powerhouse Museum's experience with crowdsourcing,has also mentioned, and explored to realize that Digital Museums can have access to an amount of human resources that no single traditional museum can hope to rival, and do so at minimal costs. This Thesenew human rescoures have not been applied to administrative tasks, they have also been applied to new activities exclusively to digital museums. The best example of this, as it was said , is how every visitor to a digital museum potentially means not only that others will hear about what he saw, but will also likely see it; . This bringsbringing the exposure of art to a new level. Crowdsourcing has also been applied to other, more creative, areas. It has even been employed for curating an entire exhibition. The debate about the role of curators has been spared from this, and it seems clear that from now on certain will be a collaborative task.
The incorporation of digital museums really seems like a requirement. Perhaps the single most important reason for this is the capacity that they have to appeal to different audiences simultaneously. Currently it is very difficult for curators to construct an exhibition that will not exclude a segment of the possible audience. However, digital museums, through the implementation of the Search, Theme Package, and Theme Generator models , are able to give experts and novices in art the same degree of quality experience by giving them specifically what they need in order to satisfy their interests. This characteristic alone would seems to justify digital museums as an excellent tool for spreading the art and sciences, and as an efficient way to make institutional finances healthier.
Perhaps the best example of what can be achieved through the Internet as a platform for expanding the arts and sciences is the Google Art Project. Unlike many other digital museums, Google takes an integral approach to the possibilities that the internet can offer. It has created an ecosystem for thriving crowdsourcing, it has incorporated the power of social media so it is extremely easy for anyone to share his(or her) experiences with his(or her) social network, and, most importantly given its global audience an amount of content superior to that of any other museum. The Google Art project does have flaws however. One of them is that is catalog approach has the same issues as the Search model described by Stuert. Fortunately, Google is developing new platforms that will complement the existing weaknesses of the Google Art project. This of course is partially a testament to the power of a multi-billion company but also it is also a testament of the power behind the Internet and its ever increasing user base.
With the rise of digital museums that has been raising concerns too. The main and biggest one is, by far, copyright. It is difficult to measure the magnitude of the problem because it is impossible to get completely accurate data. But from the information given, it can be seen that copyright, as we currently understand it, is unrealistic on the Internet. It seems to be an inherent flaw in the platform itself and, therefore, they are no clear solutions to the problem. Both the music and the video games industry have found palliatives to the issue, and it will be up to the art industry to figure something that works for it. In the meantime it is a problem that cannot be underestimated, especially in terms of what it does to rising artists.
Another concern that some people also have is that digital museums will prove to be so superior to traditional ones in terms of giving the audience what they want that eventually all museums will be digital. This is an unjustified concern. It was shown that people will decide which kind of museum to attend depending on their specific needs. For some things digital museums are definitely a better and preferred option; but for exploring art traditional museums are still overwhelmingly preferred. This point illustrates one of the main conclusions of this paper very well, and that is that digital museums function better when they do not try to imitate analog ones; and the physicality of traditional museums make them irreplaceable when it comes to leaving the contents of it. Digital museums specialize in some areas, and traditional ones in others; therefore these two kinds really should seek to complement each other instead of engaging in a false competition. Finally, as fast as the rise of digital museums is, there is still much unfamiliar with how to best use the Internet. The main challenge for now is for the art industry to realize that it can be much more than just a marketing tool, and start using it as a way to create an environment where the production and the communication of art is self sustainable through the use of crowdsourcing.
Word Bank, World Bank Database.
Proctor, Nancy. (2010). 'Digital: Museum as Platform, Curator as Champion, in the Age of Social Media.' Curator, January 2010, 35-43.
Proctor, Nancy. (2011). 'The Google Art: A New Generation of Museums on the Web?' Curator the Museum journal, 2 February 2012
Brown, Mark. (2012). "Ten more UK galleries join Google Art Project's virtual culture tours", guardian.co.uk, Tuesday 3 April, 2012,
Veirum, E. N., and Christensen, F. M. (2011). "If it's not on the Net it doesn't exist", Museum Management and Curatorship, 26:1, 3-9.
Takahashi, J. "Global Digital Museum: Multimedia Information Access
Wattenberg, M. "Is voting for young people?" USA: University of California, 2001.
Peter StuerTheHyperMuseum Theme Generator System in Bearman, D. and Trant, J. (eds) Museums and the web 2001: Selected papers. Archives & Museums Informatics, 2001, pp. 127, 137)
Steve Corrsan, Collections Link.
Milk C and Koblin A. The Exquiste Project [Website]
Marty, P (2008) "Museum websites and museum visitors: digital museum resources and their use" Museum Management and Curatorship. 23:1,81-99


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Hi there, I'm confounded by the interaction between namespaces and default attributes, where these default attributes have prefixes. I've been hunting the DOM lvl 2 recommendation for information on this, and so far I've not been able to find a lot on this. First the story as far as I understand it: Default attributes are declared in the DTD (often in the internal subset). DTDs are not namespace aware (I realize XML schema are, but I'm not focusing on these for now). You can use prefixes in the DTD however, so you could create the prefixed default attribute myprefix:foo. In the document, there may be a namespace declaration associating 'myprefix' with some namespace URI. The default attribute with this prefix can then appear for some element node in the scope of that declaration and will then be put in that namespace. If a default attribute with 'myprefix' appeared outside the scope of any declaration associating this prefix with a namespace URI, this is an error. The problem: We have some prefixed default argument like: 'myprefix:foo'. Let's say this applies to all 'bar' elements. Now we create such an element. What happens? Is this an error, as 'myprefix' has no meaning in the context of that element yet? What if we did a 'removeAttributeNS' or 'removeNamedItemNS' on some existing document, however? The default attribute would appear, but would it take on a namespaceURI if the prefix was known in the scope? That would introduce a whole lot of namespace scoping rules into the DOM spec which it doesn't need for anything else, as normally namespace URIs are explicitly associated with elements and attributes, so that doesn't seem right. Now to the DOM and some of the clues I found: The 'createElement' method says this: In addition, if there are known attributes with default values, Attr nodes representing them are automatically created and attached to the element. No explanation of what would happen if such an attribute had a namespace prefix, though. 'createElementNS' does not give any further information. The 'prefix' attribute of the Node interface seems to confirm the philosophy of the DOM; the prefixes aren't the real namespaces (as the namespace spec already says), and no scoping rules are necessary, as namespaceURIs are always associated with Nodes anyway, and those don't change if you change the prefix. 'removeNamedItemNS' Removes a node specified by local name and namespace URI. A removed attribute may be known to have a default value when this map contains the attributes attached to an element, as returned by the attributes attribute of the Node interface. If so, an attribute immediately appears containing the default value as well as the corresponding namespace URI, local name, and prefix when applicable. 'corresponding', to what? Corresponding as defined in the DTD or schema, or taking the same namespace URI, local name, and prefix as already defined on the attribute just removed? Will an attribute in a namespace never have a default value in a DTD at all, or is it dependent on prefix and localName in the DTD or perhaps just on localName? If the prefix of the default attribute plays a role on whether something happens, that would pull in a lot of namespace scoping rules, which I presume the DOM doesn't want to do. The same questions apply to 'removeAttributeNS': Removes an attribute by local name and namespace URI. If the removed attribute has a default value it is immediately replaced. The replacing attribute has the same namespace URI and local name, as well as the original prefix. The original prefix of the attribute just removed, or a prefix defined by the DTD? Again, if the DTD just defines the name of the default attribute, would it apply here? You could say that since DTDs don't define default attributes in namespaces at all, they can never appear when creating an Element or when removing existing attributes that are in a namespace. A prefixed default attribute would just get the prefix in the nodeName, just like createAttribute() would do if you fed it 'foo:bar' for the name (would it do that?). Of course that would be somewhat inconsistent with the scenario without DOM that I sketched above, but it seems like a reasonable solution. Is that the real story? Thanks, MartijnReceived on Thursday, 25 October 2001 20:20:32 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 20 October 2015 10:46:09 UTC


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How do you handle your 11 y/o's father's FB request after 9+ years of no communication? Kid is unaware of the "father".
Every child has the right to know his or her father. If the father is belatedly coming to the realization that he should behave like a father...perhaps he should be given a chance.

I would gently ask your child if he or she had ever wondered about their father....and lead in from there.
hiding the truth is uttery wrong-whether or not she wants to see him, aside- she should not be mislead into thinking a man is her biological father--That deception will bite you in the @ss
The truth will aways be revealed so lying about it will only make things worse. It could be that it is time for the truth to be revealed and let the chips fall where they may. The truth will set you free.
this is one of the most horrid of lies told a child
I know a woman whose father similarly abandoned her at a very young age. Her mother died when she was very young and she was adopted by her grand parents. She always knew the truth about everything and at about 35, once her grandparents had passed away, chose to resume a relationship with her real dad. I advised against it but it seems to have been a good thing for her. Everyone is different so I cant say if it would help or hurt for the child to have a relationship. What I can say is that lies always hurt.
Youre child has the right to know her biological roots, that said, she already has a loving father from what ive read. If she is aware her Dad isnt her bio-dad then ask if she would like to meet him. Children are far smarter than many people think. The choice is to continue with the status quo and ensure the weak and errant father is never allowed access or get it over with, why your daughter is still young enough and resilient enough to survive what i guarantee to be a traumatic event. Time to discuss this as a family, you, your partner and your daughter together. Let her decide, as mentioned, resentment has a terrible way of eating away at stability in families.
Maybe ask the kid? i know that sounds rediculous but there always seems to be that point where if you deny him his father later on it causes issues but if his father is imposed on him it would be alot to process
well me personally wud ignore and posibly block but thats just me

whereas i believe every child has the right to contact with both parents. the absent parent need to no they cant not bother for so many ears and expect to just be able to walk back in to the childs life!
Independently of the kid... do you want to reopen communication with your ex?
omg :)
Well, if you don't want to reopen communication with your ex, and if your daughter already has a stepfather... well maybe you can wait that she grows up. In the meantime you can tell her about her biological father... but there's no hurry to make them meet, I guess.
Ignore it. you don't want him to show up and then walk out again that will only bring pain to ur child. when he turns 18 he can decide for himself whether to meet him or not.
Every child has a fundamental human right to his own father. Depriving a child of his father is child abuse.
No, Vixen, that old cowshit doesn't fly. The child has been denied access to his or her father because of the MOTHER's bad decisions and actions.
Yes, blame the nearest man. It does sound like cowshit.
Yep. Just sling more cowshit. That will work. Sorry about the unfortunate child who is being deprived of his human rights to his father.
I am so sorry for the child.
No, Vixen, I would not call her " a good mother" form the information provided. Her decisions resulted in depriving her child of the love and teaching of his father for his first 11 years, and now she's looking for support to keep driving him away and continuing the child's lack of his father. I call that bad parenting.
Your attack the man psychobabble is offensive too.
No the only one that changed is you, after 9 years and everything in your life is settled now with another man in your lives? I would say move on with what you have now.
My 18 year old son saw his "father" for the first time in 15 years- had no memoryof him (my husband raised him)-x came to my home office to p/u work- he's a process server- my son came home early. My son was better than fine- if you raise them with some sense of their origion and they see the life they have without him- there will be no shock. Your son will have a problem because you never told him about the "father" and his entire sense of self can be rocked. The father was a **** to begin with bugging out- but YOU had the responsibility to your son not to have allowed somehting like this to be a surprise- you were the only parent he could trust
Do what you feel is right
Ignore it. Pretty simple I think.
block them...i had the same problem...
she knew about him so slightly different...and yeah all ok...no trouble ...best thing to do i reckon
my daughters father re appeared after 10years and expected her to be ok with that...she told him where to go...lol...he cant deal with it...but its his bed he can lie in it...so long as it comes from your child then they have to deal with it


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This is not a spoiler post, so don't worry if you haven't yet seen the most recent episode of The Walking Dead. Even if you did watch it, you may have missed a hidden tribute to the legendary zombie filmmaker George A. Romero.
Immediately below are two screen grabs from The Walking Dead episode that first aired in North America on Sunday, March 24, 2013. They briefly show an injured bald zombie in a red plaid shirt shambling along. Does it look familiar? Scroll down to see the connection to Romero.
The zombie seen in the top image of this post and below appears in George Romero's classic Dawn of the Dead from 1978, and has remained such a cult favorite that it even has its own action figure.
The creators of The Walking Dead are lifelong Romero fans. Robert Kirkman has even said he modeled his zombies, and the infection they spread, after Romero's original concept. The plaid shirt zombie showing up on TV 35 years after it first made its bigscreen debut is no accident. And we love it!


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BB Pelletier identity leaked! You saw it here first.
You must be thinking it is one of the elite in the airgun community. Is it:
1. Larry "dipshit" Durham
2. Timmy "Larry's bitch" McMurray
3. Tom Gaylord
4. Sonnysan
5. Steve in NC
Let's go through each candidate one at a time.
Dipshit Durham: Pyramid's blog doesn't reference MAC1 enough. On top of this, Larry requested his superiority in the business must be recognized in every other post. As you can see from pyramid's blog, all kinds of guns are referenced. Therefore, he's out of the contest.
TimmyMac: Due to an overinflated ego and short man's complex, McMurray suffers the same fate as Durham. Not enough frequent free marketing nor pedestal elevation. Ass kissing is the name of the game for these two.
Tom Gaylord: Has been know to be contracted to write columns for Shotgun News and cheaper than dirt. He has been in the business for many years. Books include The R-1 supermagnum and airgun publications.
Sonnysan: Is a culimation of the other three. Loves to stir the pot, well educated, and has been know to use alter egos to cloak his identity online.
Steve in NC: Although very technical, his leadership is questionable. Will this gearhead make the cut?
B.B. Pelletier is :
You guessed it, the one and only Sonnysan is the man behind the keyboard. Suck it, airgun community! Now I need to post on the pyramid blog and discredit this place. More information will follow in future posts.


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Update: We have just returned. The organizers really know their stuff. The line moved quickly, and volunteers helped when some toddlers got a little shaky.
I got a Sassy mirror crib toy for $3 that I've seen retail at $20, a few summery dresses, and a few pants including the most adorable jeans you've ever seen. My total bill was $12. Not too shabby.
As you can see from the photo (and this is just the toys area), there's tons more including a handy "infant aisle" that cordons off everything from bottles to blankets and bath tubs.
A colleague and I are about to duck out of work for a couple hours to check out the semi-annual Pass It On children's consignment sale held inside the Albany Academies fieldhouse. If you haven't gotten to one of these lately, drop everything and meet us there!
OK, well, you may have things to do right now, but the sale runs through Saturday. We got numerous items last year before the baby was born at this sale and the one in Ballston Spa. I plan to be a regular for years to come.
(I'll let you know what I see and whether I score anything awesome!)


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Podcasting Software
The following podcasting software is available for free on the Internet:
Once you have installed the software, follow the instructions to add podcast feeds to your list. Usually this involves copying and pasting the podcast URL into your podcasting application (for example, iTunes users, go to the Advanced tab in the top menu and select Subscribe to Podcast and paste the URL in the field).
Selected RSS Readers
Google and Yahoo list many of the available RSS readers.
Windows Readers:
Mac Readers:
Web-based Readers:
Podcasts & RSS Feeds
Tavis Smiley on PBS: Daily Audio Interviews
Listen to the latest interviews from the show (updated every weekday).
More podcasts on PBS.org
Browse and subscribe to podcasts from your favorite PBS programs.
What is podcasting?
Podcasting is the latest in on-demand technology. With podcasting, you can enjoy audio or video programs whenever and wherever you choose. Podcasts are media files that are automatically downloaded to your personal computer, and then transferred to an iPod or other portable media player using a podcasting application.
How does podcasting work?
A broadcaster makes digital media files available on the Internet. Listeners "subscribe" to these programs using podcasting software. The listener's computer automatically downloads the files, which can then be played on the computer or transferred to a portable media player.
What equipment do I need?
The requirements for podcasting are a computer (PC or Mac), podcasting software (see list below) and an Internet connection. For portability, an iPod or other portable media player is needed.
Getting started
Download and install podcasting software onto your computer. Podcasting software allows your computer to automatically check for new files and download them once they are posted. Then you can either listen to the programs on your computer or have them downloaded to your portable media player.
News Feeds
Tavis Smiley is available via RSS. With RSS, and a news reader program, you can easily stay up-to-date on the guests and topics featured on the show.
What is RSS?
RSS is short for "Really Simple Syndication." RSS feeds are online files that contains headlines, summaries and links to full stories. These feeds are automatically updated and are viewed through an RSS news reader (also called an RSS aggregator).
What is an RSS Reader?
RSS news readers are software programs similar to Web browsers that allow you to display RSS feed information on your computer. RSS news readers enable you to bookmark and read multiple feeds in a single interface as well as to organize those feeds into groups for efficient browsing. For example, you might want to create a group named "PBS" or "News" - each of which could include multiple RSS feeds. There are a wide variety of RSS readers available on the Internet. Some readers are Web-based while others require you to install a software program on your computer. Many are free to use, and others offer free trial periods.
How do I use RSS feeds?
Each news reader has a slightly different way of adding RSS feeds (also called "channels"). Most allow you the opportunity to add new 'Channels' or new 'Subscriptions' by copying a feed's URL into your news reader program. Once you've added the RSS feed, it will display and regularly update the headlines and descriptions automatically.
Why do I see computer code when I click RSS links?
RSS links are meant to be viewed with an RSS news reader program or RSS online service (listed above). The code you see in your browser when clicking on an RSS link is XML (or eXtensible Markup Language) code. While on the page displaying the xml code, simply copy the URL from your browser's address bar and add the feed to your news reader program (as described above). Click your browser's back button to return to the web page you were previously viewing.
RSS Terms and Conditions
Tavis Smiley's RSS feeds are protected by U.S. and international copyright laws. All rights to RSS feeds originating from Tavis Smiley, including the content and technology included therein, are reserved to The Smiley Group, Inc.. Tavis Smiley RSS feeds are available for personal, noncommercial use only. You may display the headlines, active links and other information contained in the RSS feeds (the "RSS feed content") on your personal Web site and otherwise use the Tavis Smiley RSS feeds for personal, noncommercial purposes, provided that:
- you do not modify or delete any of the RSS feed content;
- you do not redistribute the RSS feeds;
- you do not post Tavis Smiley video or audio files or full-text stories other than as included in the RSS feed;
- the links redirect the user to the PBS Web sites when the user clicks on them;
- the use or display does not suggest that Tavis Smiley nor PBS promotes or endorses any third party causes, ideas, Web sites, products or services.
If you display the RSS feed content publicly, including on your Web site, you must provide attribution to Tavis Smiley adjacent to the RSS feed content, by including "Tavis Smiley Headlines" or "PBS Tavis Smiley" in text, without modification.
Tavis Smiley reserves the right to discontinue providing RSS feeds and to require that you cease accessing or using the Tavis Smiley RSS feeds, RSS feed content, and any company logo at any time for any reason. Please see PBS's Terms of Use for more information before you use our RSS feeds. By using the Tavis Smiley RSS feeds, you agree to be bound by the terms and conditions set forth above, as well as those in PBS's Terms of Use.
Tavis Smiley, The Smiley Group, Inc. and/or PBS may modify any of the terms and conditions contained in this agreement, at any time and in our sole discretion, by posting a change notice or a new agreement on our site. Your continued use of the service following our posting of a change notice or new agreement on our site will constitute binding acceptance of the change. Under no circumstances and under no legal theory, tort, contract, strict liability, or otherwise, shall Tavis Smiley, The Smiley Group, Inc. nor PBS be liable to you or any other person for any indirect, special, incidental, or consequential damages of any character including, without limitation, damages for lost profits, loss of goodwill, work stoppage, accuracy of services, content or results, computer failure or malfunction, damages resulting from disabling of the services provided as part of the RSS feeds.
These terms and conditions only apply to Tavis Smiley produced national feeds. Each PBS station may have a separate Terms of Use for its feeds. Please contact the station to learn more.


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Aviation enthusiasts might want to attend the Amelia Earhart Festival today in Atchison. The festival includes demonstrations, music and fireworks.
On Sunday, a benefit concert for breast cancer is taking place at Abe and Jake's Landing. Here are some other offerings:
Amelia Earhart Festival, all day, downtown Atchison, featuring Lakefest 2002 at 7 p.m. with Brad Paisley, Rascal Flatts and Thunderheart.
Crown Center Weekend of Wheels, 10 a.m.-6 p.m., Crown Center, 2450 Grand Blvd., Kansas City, Mo.
28th Annual National Depression Glass Assn.'s Convention Show and Sale, 10 a.m.-4 p.m., John Knox Village Pavilion, 520 N.W. Murray Road, Lee's Summit, Mo.
"Alice in Wonderland," 2 p.m., Theatre for Young America, Mission Center Mall, 4881 Johnson Drive, Mission.
Americana Music Academy community acoustic jam, 3:30 p.m.-5:30 p.m., Aimee's Coffee House, 1025-A Mass. St.
Poison, Cinderella, Winger, Faster Pussycat, 6 p.m., Verizon Wireless Amphitheater, 633 N. 130th St., Bonner Springs.
Luke Town and Amy Millsted, 6:30 p.m., Glen's Opry, Fourth and Main streets, downtown Tonganoxie.
"Quartet for The End of Time," 7 p.m., Westport Presbyterian Church, 201 Westport Road, Kansas City, Mo.
"Live on the Lot," featuring Delbert McClinton, 7 p.m., across from the Beaumont Club, 4050 Pa., Kansas City, Mo.
"Prairie Fire, Parts I and II," 7:30 p.m., Crafton-Preyer Theatre, Murphy Hall, Kansas University.
"The Taming of the Shrew," 8 p.m., Southmoreland Park, Cleaver Boulevard and Oak Street, Kansas City, Mo.
"Hello Dolly," 8 p.m., Topeka Civic Theatre, Gage and S.W. Eighth streets, Topeka.
"You're a Good Man, Charlie Brown," 8 p.m., American Heartland Theatre Co., Crown Center, 2450 Grand Blvd., Kansas City, Mo.
Dunn/Freeman Mix, 8 p.m., Blue Room, American Jazz Museum, 18th and Vine streets, Kansas City, Mo.
Crown Center Weekend of Wheels, noon-6 p.m., Crown Center, 2450 Grand Blvd., Kansas City, Mo.
"The Wild Side of Kansas History, 1854-1880," 1:30 p.m., Watkins Community Museum of History, 1047 Mass.
"You're a Good Man, Charlie Brown," 2 p.m., American Heartland Theatre Co., Crown Center, 2450 Grand Blvd., Kansas City, Mo.
"Alice in Wonderland," 2 p.m., Theatre for Young America, Mission Center Mall, 4881 Johnson Drive, Mission.
"Breastfest: A Benefit Concert," featuring The Band That Saved The World, Autumn Dog, Vibralux, Captain Overreact, 3 p.m., Abe and Jake's Landing, 8 E. Sixth St.
Alma Whitney and The Whitney Singers, live gospel music, 3:30 p.m., Union Station, Pershing Road and Main Street, Kansas City, Mo.
Elizabeth Egbert Berghout, university carillonneur, 5 p.m., Campanile, KU.
"Quartet for The End of Time," 5 p.m., St. Mary's Episcopal Church, 1301 Holmes, Kansas City, Mo.
Korn, Puddle of Mudd, Deadsy, 7 p.m., Kemper Arena, 1800 Genessee, Kansas City, Mo.
"Prairie Fire, Parts I and II," 7:30 p.m., Crafton-Preyer Theatre, Murphy Hall, KU."
"A Midsummer Night's Dream," 8 p.m., Southmoreland Park, Cleaver Boulevard and Oak Street, Kansas City, Mo.
Topeka Zoo, 10 a.m.-5 p.m. weekdays, 10 a.m.-6 p.m. Saturdays and 11 a.m.-6 p.m. Sundays, Topeka Zoo, 635 S.W. Gage Blvd., Topeka.
Quilt 2001 Contemporary Quilts, through July 28, Mulvane Art Museum, Washburn University, 17th and Jewell streets. Topeka.
"FLASH! The AP Covers the World," through July 28, Harry S. Truman Library, U.S. Highway 24 and Delaware Street, Independence, Mo.
"From Reservation to Corporate Office: A Donation of Southwest Art" and "Early Us (and Them) in Africa," through Aug. 18, Museum of Anthropology, KU.
"Rodin's Obsession: The Gates of Hell," through Aug. 25, Marianna Kistler Beach Museum of Art, Kansas State University, 701 Beach Lane, Manhattan.
"Frederick J. Brown: Portraits in Jazz, Blues and other Icons," through Sept. 1, The Kemper Museum of Contemporary Art, 4420 Warwick Blvd., Kansas City, Mo.
"Fish, Flower and Flying Things: Nature at the Spencer Museum," through Sept. 1, Helen Foresman Spencer Museum of Art, KU.
Copyright 2018 The Lawrence Journal-World. All rights reserved. This material may not be published, broadcast, rewritten or redistributed. We strive to uphold our values for every story published.


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Uranus' Moon Ophelia
Uranus' moon Ophelia — Ophelia is a moon of Uranus. It was named after the daughter of Polonius in William Shakespeare's play Hamlet.
Ophelia acts as the outer shepherd satellite for Uranus' epsilon planetary ring. Its orbit is within Uranus' synchronous orbit radius, and is therefore slowy decaying due to tidal forces.
Discovered by Voyager 2
Discovered in 1986
Orbital characteristics
Mean radius 53,764 km
Eccentricity 0.0101
Orbital period 0.37641d
Inclination 0.09
Physical characteristics
Equatorial diameter ~42 km
Surface area km2
Mass 5.41016 kg
Mean density 1.3 g/cm3
Surface gravity 0.0078m/s2
Rotation period ?
Axial tilt ?
Albedo 0.07