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The following explanation of weirs for damming, fishing, and other purposes and their development into locks on river and canals comes from H. R. Robertson's Life on the Upper Thames (1875). Since much of Robertson's book covers life and sport on the Thames, particularly fishing, he introduces weirs by pointing out that although they unfortunately rid the river of salmon, they encourage the growth of trout. He next cites the mention of weirs in literature from Chaucer to his day and then explains the development of weirs into river (and canal) locks. I have omitted most of the quoted poetry, in part because Robertson often focuses on the misuse of terms. In what follows I have both added headings and omitted long passages. [Click on images both to enlarge them and obtain additional information.] George P. Landow.
NO invention, however great an improvement it may be, ever seems to bring about a state of things better in all points than that which it supersedes. Accordingly there are reasons why inland waters, as a medium of conveyance, are in many cases preferable to railways. They are especially adapted for those goods which are very heavy, very bulky, or which cannot well bear any rough carriage. For the reason last mentioned, bricks are, if possible, always transported by water; it being found, from the smooth and easy motion of a boat, that the load is seldom damaged, while by rail the percentage of bricks that get broken is very large. To those persons residing near a river the expense of sending goods by it is frequently less than by any other mode of conveyance.
Two ways of crossing a river without bridges. Left: The Ford. Right: A rope-ferry.
Inland navigation by means of rivers and canals is obviously at a disadvantage when compared with the road or the rail as regards rapidity of transit. The decided preference that rivers seem always to manifest for a circuitous route often renders the distance between two towns on the banks half as much again as the direct road between them. Besides, the regularity of the water-traffic is liable to be interfered with by drought in the summer, and floods or frost in the winter. It is no wonder, then, that the railway should have drawn away most of the traffic from the Thames. The towing path along the side of the river was formerly valuable property, certain farms having a prescriptive right to supply the use of horses to the barges while passing. In one instance, to our personal knowledge, a path of this description which twenty years ago realised £200 a year, now scarcely repays the expenses of keeping in repair.
The Weir as a solution to the problem of shallow, fast-moving water in a river
Left: Hart's Weir. Right: Weir paddles -- the equivalent of gates on a modern dam. Both images from the Halls' The Book of the Thames from its Rise to its Fall.
The chief difficulties that exist in the navigation of rivers are owing to the irregularity in the depth of the stream at different places, and the varying velocity of the current The great obstacle, therefore, to be surmounted may be described as a shallow extending the whole width of the stream with a considerable rush or fall of water over it. This state of things naturally occurs with greater frequency the farther one penetrates inland towards the source of a river.
The most primitive way of overcoming the difficulty has been to erect a movable dam all across the river, below the shallow; the boards of the dam being, of course, high enough to keep back sufficient water to enable a boat to float over the shallow. By this means a boat descending the stream meets with no impediment till it reaches the dam, or "weir" (pronounced "wire" by the riverside people), as it is technically called. The boards composing the dam are then removed, and the boat proceeds for some time with great rapidity, owing to the increased volume of water by which it is carried along. The temporary depth thus produced while the body of water descends enables the boat to pass over many shallows below the weir. This removal of the boards is called "flashing" a weir, and is "the tide in the affairs" of bargemen, the neglect of which lands them "in shallows and in miseries." Of course it is in the summer and autumn that these artificial aids to navigation are most employed, there being at other times enough and to spare of the then precious fluid. We first thought that the word "flashing" was a vulgar corruption from "flushing," but as it appears in the printed orders of the Thames Conservancy we suppose it is correct. The suddenness with which the pent-up water rushes away, and its glitter and white foam, may not improbably have suggested the word. When the water is low, the river is flashed twice a week by the regularly appointed keepers of the weirs, each of them waiting till the water from the weir next up the stream has reached him. By this means a continually augmenting volume of water descends, on the flood of which the whole of the traffic is carried. Sometimes the bargemen are sorely tempted to draw a flash on their own account, when they may have been unusually delayed, or are from any reason particularly anxious to proceed. However, the Thames Conservators are severe, and have issued handbills stating that all persons ofiending in the above case render themselves liable to a penalty of;^ 20, and the strict observance of the regulations is considered so essential that the prosecution of ofienders is deemed by them an imperative duty.
The parts of a simple weir
The different parts of the most simple weir are first the sill or fixed beam, laid securely across the bottom of the stream; then, directly over this, but considerably above the surface of the water, is placed a second but movable beam. Against and in front of these parallel beams a set of loose boards is placed upright and close together like a door. These loose boards are called paddles, and the long handles with which they are ftimished rest against the upper beam, the pressure of the stream serving to hold them in their places. Between the paddles are placed upright supports termed "rimers; " and when a second set of paddles is employed over the first to obtain a greater depth of water, this set is called the "overfall."
Uses and effects of a weir (1): waterpower
Two watercolors by Mortimer Menpes of the Thames: Left: Hambleden with its weir. Right: Streatley Mill, whose waterpower comes from a weir.
A weir, though constructed for the purpose of facilitating the navigation, is incidentally of considerable use in other ways. The damming up of the water renders any side stream that may happen to leave the main current above and rejoin it below a weir available for turning a water-wheel; consequently we find a mill of frequent occurrence in its neighbourhood. The picturesque appearance of the spot is thus often greatly enhanced, for if the miller's dwelling should chance to be an old building, it is sure to be pretty; if a new one, I am afraid we must say it is pretty sure not to be so.
Uses and effects of a weir (2): functions as a bridge
Two kinds of weirs that also function as bridges: movable and fixed forms.
As the largest barge is far from occupying the full width of the stream, it is practically found that only a portion of the bridge is required to be movable. In our illustration to this chapter the man who is putting down the paddles is standing on the movable part, called the "swing-bridge." It revolves on a pivot close to the edge of the water, and the weight is balanced by the increased thickness of the beam at the landweird end, on which is often placed a great stone or other heavy substance. The upper beam and hand-rail across that part are, of course, removed before the bridge is swung round, and it is for this purpose that the two handles which may be noticed are added. . . .
Uses and effects of a weir (3): provides a fixed bridge
"Shall Thames be barred its coarse "with stops and locks.
With mils, and hils, and gravell beds and rocks,
With weares, and weeds, and forced Hands made,
To spoil a publike for a private trade?" — John Taylor (the Water Poet, 1640).
OUR explanations of the preceding drawing apply in a great measure to this, modified, as the name implies, by the fact that in this case the whole structure is permanent. Thus, instead of paddles with long handles that are removed bodily, we have them here made to slide in grooves. They are raised by means of the chains which are coiled round axles placed just below the upper beam. The axles are caused to revolve by inserting 'nto them a staff with a square end, for which purpose the square holes are made that may be observed near either extremity of the axles. A short chain, suspended from the upper beam and finishing with a hook, is used to retain the paddle at whatever height may be thought desirable, by attaching the hook to a link in the chain first, alluded to. Some of the paddles are represented as left down, so that the mode of raising them may be the more readily understood by noticing the different positions of the chains in either case.
One of the incidental uses of these weirs is that the framework erected may be with very little trouble utilised as a bridge. In the thinly populated districts of the Upper Thames regular bridges are few and far between, so that these slight foot-bridges save the poor people many a weary mile in their walk to the nearest market-town.
The noisy rush of water that continues for an hour or so after the flash is drawn is enough to terrify a child, for whom the railing is at too great a height to be much protection. There is a considerable trembling of the old timber, with a tumble-down air pervading the whole thing, that may well justify the timidity of the little girl we sketched while being carried over by her father, and looking the picture of alarm.
One of the effects of sending down the head of water is to cause the big trout to show himself at the surface, rising first at one part of the pool and then at another; but, as we believe, more in wantonness than for food. We fancy it is his way of testifying that the boiling and eddying state of the water is his idea of the correct thing in the way of a trout-stream, and a protest against man's endeavour to improve the river to a dead level. Visitors to the Crystal Palace or Brighton Aquarium will have noticed how fish of many kinds seem to revel in the bath of air-bubbles that enters with their fresh supply of water. Mention of the trout reminds us that one paddle is frequently left up when the rest are down, for the sake of putting a net in the passage thus made, in which any fish carried down by the stream or trying to descend may be entrapped. As this description of weir is a permanent structure, provision is made for the passage of boats by means of an ingenious arrangement called a " lock," which is described and explained in our next chapter. . . .
Pre-nineteenth-century confusion of terms "weir" and "lock"
Before even the invention of what we now call a "lock," the word was common enough, and is found in many old authors when speaking about the river. The context invariably shows that it was used for what, at the present day, is called a "weir;" . . . . Chamberlain's "Survey of London," published in the year 1770, mentions the existence of many "locks" on the Thames, which are thus defined: "Machines of wood placed across the river, and so contrived as to confine the current of water as long as is found convenient — that is, till the water rises to such a height as to allow depth enough for the barges to pass over the shallows; which, being effected, the water is set at liberty, and the loaded vessel proceeds on its voyage, till another shoal requires the same contrivance to carry it forward." This, it will be seen, answers precisely to what we have defined a "weir" to be. At that date the expense to a barge for passing through all these weirs amounted to nearly fourteen pounds. This was, however, only during the summer, when the water was low, these weirs at all other seasons being [48] removed; and the same authority adds that "from London Bridge to Bolter's Lock, which is a distance of fifty-one miles and a half, there is no lock on the river."
Opening a lock
Two locks on the Thames: Osney Lock Left: The Ford. Right: Lechlade seen from the First Lock.
That, drawn off sideways, smooth and still,
The pent-up flood may go
To where the lock doth fall and fill,
"With gate-checked ebb and flow.
"Like subtle counsel, that supplies
A safe and sidelong way
To round whatever barriers rise
Across the forthright way." — Tom Taylor.
LOCK, or pound, as it is sometimes called, is an enclosure between two pairs of gates, and is usually large enough to admit several barges at the same time. It is the necessary accompaniment of the fixed weir, alongside of which it issometimes placed, though more frequently on a side-stream, or "cut." The level of the water above and below the lock corresponds with that above and below the weir; but in the lock itself the water level can be varied at pleasure, between the two extremes, by means of valves in the gates. These permit the water to enter through the upper gates and to escape through the lower ones. When it is necessary to pass a boat upwards through the lock, she is first floated in at the lower gates, previously opened, and which are next to be shut. Water is then admitted through the valves of the upper gates till it has filled the lock-chamber to the level of the water above the weir, and has, of course, raised the boat along with it. The reverse of this process will obviously conduct a boat down through the lock, which is said to be empty when the water in it is at the lower level, although it has still the same depth of water as the lower river.
Left to right: (a) Old Windsor Locks. (b) Sunbury Locks. (c) Teddington Locks.
The tendency of the age to substitute the mechanical and the ugly for the simple and picturesque is noticeable on the Thames as well as everywhere else. Hideous turret-ships on the sea have their counterpart in the horrid little steamers that one now encounters high up the river. The number of these nuisances increases yearly at a greater rate than would be believed, and are fast robbing the river of its peaceful beauty. But have we not heard that even Venice, throned on her hundred isles, has had her hitherto silent thoroughfares invaded by one of these screeching little monsters ? The reflection most often forced upon our mind while engaged on the present work has been that, in whatever direction our study may have lain, "the old order changeth," and that had we delayed our task much longer there would have been left comparatively little of interest that an artist would select for representation. So, in the case of the locks themselves, the quaint old constructions of irregular wood- work that were a pleasure to look upon are gradually making way for successors of "improved" modern style. With side-walls of square blocks of concrete, and smooth gates as black as pitch can make them, they lose all charm of appearance. The action, too, of opening the gates by leaning the back against the swing-beam, that we have depicted, is fast becoming obsolete, giving way to a mechanical apparatus with wheel and axle.
Uses and effects of weir and lock (4): Locks as toll-gates
The locks also serve the purpose of toll-gates, the sum to be paid being regulated by the size or ft-eight of the boat passing. The proceeds are devoted to the necessary expenses connected with the navigation. There used to be considerable difference in the charges at the different locks under the old regime, some few of them, however, being free. At the present time all are under the management of the Thames Conservators, who have issued by-laws with the following scale of tolls for pleasure-boats. Class I.— For every pair-oared row-boat, skiffi outrigger, randan, dinghy, punt, canoe, or company-boat, id. Class II. — For every four-oared row-boat (other than the boats enumerated in Class I.), bd. Class III. — For every row-boat, shallop, and company-boat, over four oars, 9^1 For every house-boat, is. bd. The above charges to be for passing once through the lock, and returning the same day. In lieu of the above tolls, boats may be registered on the annual payment to the Conservators of the under-mentioned sums, and may, in consideration of such payment, pass the several locks free of any other charge : — Every rowboat in Classes I., II., and III. to pay respectively 20J., 30J., and 40J. per annum; and every house-boat, loos. per annum. . . .
The occupants of pleasure-boats frequently have a dread of passing through a lock, from an exaggerated idea of the danger of the proceeding; quite as often they are not aware of what danger there actually is; and hence many a day's pleasure has been marred. The safe position for a boat in a lock is to be parallel to and close by one of the side-walls or another boat. She should be held to the side with a boat-hook by the oarsman in the bow-seat when ascending the river^ and by the steerer when descending. When this rule is attended to, the pressure of the current itself keeps the boat in its proper position alongside, and prevents it swinging across the lock. The only case in which, to our knowledge, the above rule admits of any modification is when so strong a wind is blowing up the river as to counteract the pressure of the stream. In ascending, it is necessary to look sharply that neither a row-lock, nor any other part of the boat, gets caught under any projection, such as a beam, at the side of the lock, as in this way a boat will be first held by the rising water, then soon filled and swamped. Should, through carelessness, a boat become fixed in the way we are speaking of, the lockkeeper should be instantly shouted to, that he may let down the valves or paddles, and so prevent any more water coming in. While descending the [54] river, the danger is so slight that we have never known any case of an accident happening in a lock. If there should happen to be any gpreatly projecting ledge — a very rare occurrence — care must be taken that the boat do not rest at all upon it while the water is subsiding.
It is supposed, and with considerable probability, that the casual position of two weirs near each other may have originally suggested the invention of the lock. A number of locks on a river changes the naturally inclined plane of the water into a series of comparatively level surfaces, separated by abrupt descents; a somewhat parallel case on land would be to alter an easy slope into large flat terraces with a single step down from each successive terrace. Barge. [S5]
Related Material
Robertson, H. R. Life on the Upper Thames. London: Virtue, Spalding, and Co., 1875. Internet Archive version of a copy in the Harvard College Library. Web. 29 April 2012.
Last modified 30 April 2012

subset: commoncrawl


text:
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Scout Wrap
The Scout Wrap is made with crystal beads and etched metal findings. It can be worn wrapped 6-7 times for a bracelet and 1-3 times for a necklace. Displayed on beautiful cards and personalized with inspiring quotes they make a great gift!
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– New York Times
– Another one bites the dust:
(Sorry for those who have a narrow screen and don'-t see the right part of this big chart.)
According to InTrade, here are the banks that could fail next:
– Bank United Financial
– Downey Financial
External Links About The Big Bailout:
– Reason magazine have collected opinions from the leading free-market economists on the Bailout issue.
There is no reason to expect the correct solution from the same people who created the crisis in the first place and who until very recently thought the economy was strong and that there was little or no chance of recession. [Mark Thornton]
This is a financial coup d'-etat, with the only limitation the $700 billion balance sheet figure. [Yves Smith]
– Mike Linksvayer has some additional good links…- and some strong words, too.
– Arnold Kling:
UPDATE: Paul Krugman
UPDATE: The Manhattan Institute on financial crisis and the Bailout


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The American Redbone Coonhound is a breed of dog that was bred specifically for hunting cougars, bears, raccoons, and deer. The Redbone is an alluring handsome dog breed that registers a high level of appeal with the American Kennel community. Discover more about our Redbone Coonhound puppies for sale below!
Breed History
Breeding of the Redbone Coonhound commenced in the late 18th century. European hunting dogs were imported into America from Scotland, France, Ireland, and England. These regions played a vital role in the ancestral lineage of the Redbone Coonhound.
Dogs like the Bloodhound, Beagle, Welsh hound, English Foxhound and Harrier were among these. Sometimes, these dogs were used for Foxhunting. Later on, selective breeding was done by Southerners to create dogs that possessed high levels of stamina, that could hound their prey tirelessly and unhindered till they were cornered.
The red-colored foxhounds imported by Scottish immigrants formed the pivotal base of the breeding of Redbones. Afterward, in 1840 an addition was made to the bloodline through Irish-bred Bloodhound and Foxhound.
After some time, selective breeding was done to create a breed that could face the obstacle of climbing to hunt small and larger prey. This selective breeding led to the creation of the Coonhound bloodline.
The Redbone Coonhound has a very strong will to please its master. They're very gentle and full of affection; However, they can be very distinct with their loud "drawling barks." This "drawling bark" is usually referred to as a Bay.
Puppies and adolescents are often very active. In the absence of physical training or activity, they tend to Snoop around trash cans, destroy furniture and shoes by chewing them. The Redbone Coonhound can be stubborn and sensitive at the same time, so it's important to avoid treating them harshly during training. Once they've reached their full potential, they can easily jump into a pool of water to play with children.
The ideal environment for training a Coonhound should be in a fenced area, this prevents the hound from wandering off and getting lost. The Suburbs or country is a convenient environment for the development of Coonhounds. Urban settings usually pose more obstacles, but that can be compensated for through regular daily exercise.
The Redbone Coonhound needs a daily exercise regimen of walking for an hour or an hour and a half. Swimming is also a good exercise regimen. The bulk of their exercise regimen comes from hunting for prey, However, great care should be taken to prevent the dog from wandering far from its master, as they are often adept to the pursuit of prey and seldom fail to heed the calls of its master.
The Redbone Coonhound has a unique hound odor. They're required to take baths regularly to lockdown this unique odor. Regular grooming like brushing their short smooth coats weekly is required. They don't shed a lot, so this is a plus for its owner. They have long ears, so an owner must ensure that areas "in and around" the ears are cleaned properly. Owners must endeavor to groom their nails to prevent tears and splitting.
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- Do Redbone Coonhounds like to swim?
A large number of Redbone Coonhounds are natural swimmers and love swimming. Their swimming abilities are further enhanced by their webbed. Although they love swimming, great care and supervision must be adhered to when they're in the water.
- What two animals were bred to form Redbone Coonhounds?
The Redbone Coonhounds are descendants of Bloodhounds, Foxhounds and there is a high probability that they're Irish hounds' descendants. A pioneer who put in a lot of work to breed the Redbone was George E.L. Birdsong.
- Where do Redbone Coonhounds come from?
Redbone Coonhounds are from the United States of America.
- Are the Redbone Coonhounds hard to train?
Quite the contrary, Redbone Coonhounds are very easy to train. Their tendency to bond well with the family, to be gifted, loyal and loving makes them quite easy to train. Some stubborn traits might creep up sometimes when it does, the owner should recognize that this is not the usual behavior associated with them. They must endeavor to provide the dog with love and care and not speak to them harshly.
- Why do Redbone Coonhounds whine?
Redbone Coonhounds are highly energetic, they're primarily bred for chasing prey. This makes them whine when they're lacking physical activity, they whine in order to get attention from their owners.
When this happens, it is advised that you don't give it the attention it needs by yelling to it to "keep quiet." What you're required to do is to instruct it to perform a small physical activity, this action deescalates the situation while imparting knowledge on the hound.
- What are Redbone Coonhounds uses for?
They're excellent retrievers, so they are used for hunting, Cougar, Raccoon, Deer, and Bear.
- Are Redbone Coonhounds intelligent?
Unless they're well trained, Coonhounds don't bode well as leashed dogs. They can be stubborn, still, that doesn't take anything away from their smartness.
- What is the lifespan of a Redbone Coonhound?
The average lifespan of a Redbone Coonhound is 11-12 years.
- Are Redbone Coonhounds good pets?
Redbone Coonhounds bond well with children, they are very affectionate companions. Although they possess these traits, they're naturally born to track and hunt. So, around the house, you might notice them chasing after rats and smaller animals.
- Are Redbone Coonhounds loyal?
Yes! Redbone Coonhounds are very loyal, this is greatly enhanced through training.
Redbone Coonhounds are highly loyal, gentled mannered dog breeds. They're excellent hunters and can be used to track prey. As pups, Redbones tend to be stubborn, so great care should be taken to avoid treating them harshly or screaming at them.


text:
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Buganda, powerful kingdom of East Africa during the 19th century, located along the northern shore of Lake Victoria in present-day south-central Uganda. Buganda's insistence on maintaining a separate political identity contributed to Uganda's destabilization after that country reached independence in 1962.
Buganda was one of several small principalities founded by Bantu-speaking peoples in what is now Uganda. It was founded in the late 14th century, when the kabaka, or ruler, of the Ganda people came to exercise strong centralized control over his domains, called Buganda. By the 19th century Buganda had become the largest and most powerful kingdom in the region. The local chiefs of conquered areas ruled as personal appointees of the kabaka, who had a sizable army at his disposal.
Foreign influences, including the Islamic and Christian religions, began to reach Buganda in the 19th century, especially during the rule of Mutesa I (1856–84). After his death the kingdom was riven by a number of politico-religious factions. In 1894 Buganda became part of the British sphere of influence, and in 1900 the Buganda Agreement made it formally a British protectorate. The Ganda people subsequently played a major role in assisting the British administration in East Africa.
When Uganda achieved independence in 1962, the Buganda kingdom was given considerable autonomy and was accorded special federal status within the new nation. Buganda's insistence upon its separate political identity generated worsening tensions with the central government, however. In 1966 open conflict broke out between the Bugandan ruler, Mutesa II, and the prime minister of Uganda, Milton Obote, who in 1967 abolished Buganda and the country's three other traditional kingdoms. The Buganda kingdom was not restored until 1993.


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The video of VFW Post 879's Memorial Day Ceremony from 2012 has been posted to YouTube. Please share it with friends and family as we remember those service members that have gone before us.
Thank you to all of the men and women that volunteered their time and efforts to make this a success. A special thank you to Phil Stebler, VFW Post 879 Chaplain, for his efforts in organizing this event.
Memorial Day Ceremony, 2012


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The World has got its share of Black Fridays as well as the latest one necessitates the online gambling industry. For a long time, the gambling operators usually make their lucrative amounts by opening up their sites to all players. Sometimes the squad win, but overall the House ends up on the winning side most almost daily. This possibility of winning keeps all sides excited and in the business. To encourage players to come back, the operators consistently offered great endless bonuses. The other thing they diid was pay affiliates to send them traffic. This is very lucrative for bargain. However, the fate of affiliates referring players to online gambling sites that accept players from the american has taken huge hit since a newbie Black Friday entered the world.
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Illustration Friday: POLAR
An oldie...but a goody
(I've posted this before )This polar bear was part of our homeschool Christmas decorations.
It was created with cutout sandblasted 3M plastic self adhesive film,
that I drew directly on the window.
You can see the whole set of windows I created if ou click here.
I will be making a new illo for this week's theme later this weekend.
Have a beautiful day everyone!
Thanks for visiting my blog.
Labels: IllustrationFriday, watercolors


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Born: October 28, 1909
Dublin, Ireland
Died: April 28, 1992
Madrid, Spain
English painter and artist
The English artist Francis Bacon was one of the most powerful and original figure painters in the twentieth century. He was particularly noted for the obsessive intensity of his work.
Francis Bacon was born in Dublin, Ireland, on October 28, 1909, to English parents. Raised with three siblings, Francis Bacon is a descendant of the sixteenth-century statesman and essayist of the same name. He left home at the age of sixteen and spent two years in Berlin, Germany, and Paris, France. In Paris he saw an art exhibit by the painter Pablo Picasso (1881–1973). Though he had never taken an art class, Bacon began painting with watercolors. He then settled in London, England, with the intention of establishing himself as an interior decorator and furniture designer. However, he soon turned to painting exclusively.
Bacon began oil painting in 1929. The few early paintings that survive (he destroyed most of them) show that he began as a late cubist (a twentieth-century movement that used geometric shapes). By 1932 he turned to a form of surrealism (using fantastic imagery of the subconscious) based partly on Pablo Picasso's works from about 1925 to 1928. Bacon began to draw attention in 1933 with his work Crucifixion, and the same year he took part in exhibitions in London.
Bacon exhibited very rarely until 1945. It was only after World War II (1939–45; a war in which British, French, Soviet, and U.S. forces fought against Germany, Italy, and Japan) that his paintings became known outside his immediate circle of friends. At this time he also began to paint the human figure. The pictures that made his reputation are of such subjects as a melting head in front of a curtain and a screaming figure crouching under an umbrella. These extremely original works are impressive not only as powerful expressions of pain, but also for the magnificence of their presentation and professional quality.
By the early 1950s Bacon had developed a more direct treatment of the human figure, working almost always from photographs rather than from real life. Images taken from newspaper clippings or from the photographs of humans and animals by the nineteenth-century photographer Eadweard Muybridge were sometimes combined with images from the well-recognized paintings of the old masters. For instance, a series of paintings inspired by the portrait of Pope Innocent X by the Spanish painter Diego Velázquez (1599–1660) also uses a screaming face and eyeglasses that came from a close-up of a wounded nurse in Sergei Eisenstein's film The Battleship Potemkin. Such a combination of images drawn from completely unrelated sources is characteristic of Bacon's work.
From the 1950s through the end of Bacon's painting career and life in the early 1990s, the consistent theme of his work was the isolation and pain of the individual, with a single figure (usually male) seated or standing in a small, windowless interior, as if confined in a private hell. His subjects were artists, friends, lovers, and even himself. His painting technique consisted of using rags, his hands, and dust along with paint and brush.
Bacon consistently denied that his paintings were used to explain his own life. The facts of his life, however, have tempted art critics and historians to draw links between his personal life and the subject matter of his paintings. One of the great tragedies of his life was the death of his longtime lover George Dyer, who apparently killed himself. Dyer's death occurred just before the opening of Bacon's major retrospective (a collection of the artist's work) in Paris, France, in 1971. Bacon's famous and moving Triptych (1973) was a three-paneled work of his dying friend hunched over a toilet, shadowed in a door frame and vomiting into a sink.
In a period dominated by abstract art, Bacon stood out as one of the few great representatives of the figure-painting tradition. During the last decade of his life major retrospective exhibitions were mounted at such sites as the Marlborough Gallery in New York, New York, in 1984, Moscow, Russia, in 1989, and the Museum of Modern Art in New York City in 1990. Bacon died of heart failure in Madrid, Spain, on April 28, 1992.
The year 1999 saw the release of the book Francis Bacon: A Retrospective, which analyzed the work of the artist. The book coincided with a national tour of many of Bacon's paintings.
Farson, Daniel. The Gilded Gutter Life of Francis Bacon. New York: Pantheon Books, 1994.
Peppiatt, Michael. Francis Bacon: Anatomy of an Enigma. New York: Farrar, Straus, and Giroux, 1997.
Schmied, Wieland. Francis Bacon: Commitment and Conflict. Munich: Prestel, 1996.


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Tobi is a world quick-trend online retail destination serving younger women in over a hundred international locations worldwide. This contains curating new designs, styles and categories along with all the fashion information occurring worldwide. A luxurious procuring vacation spot, Matches Trend is dwelling to over four hundred established and emerging designers from Balenciaga and Gucci to Saint Laurent. India's Most Trendy Online Procuring Web site, , Brings You the Best Traits of the Season.
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Regular, Efficient nationwide purchasing with cash paid for designer office furniture in
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[This article was contributed by the SQL Azure team.]
Good news – the Windows Azure Platform Introductory Special offer (which includes the SQL Azure Free Trial) has been extended through March 31, 2011! This promotional offer enables you to try a limited amount of the Windows Azure platform at no charge. The subscription includes a base level of monthly Windows Azure compute hours, storage, data transfers, AppFabric Access Control transactions, AppFabric Service Bus connections, and a SQL Azure Database, at no charge.
Included each month at no charge:
- Windows Azure
- 25 hours of a small compute instance
- 500 MB of storage
- 10,000 storage transactions
- Windows Azure AppFabric
- 100,000 Access Control transactions
- 2 Service Bus connections
- SQL Azure
- 1GB Web Edition database (available for first 3 months only)
- Data Transfers (per region)
- 500 MB in
- 500 MB out
Any monthly usage in excess of the above amounts will be charged at the standard rates. This Introductory Special offer will end on March 31, 2011 and all usage will then be charged at the standard rates.
Please visit to see additional details on the Introductory Special (aka SQL Azure Free Trial) as well as other offers currently available for the Windows Azure platform.


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Dunhill Desire Red For Men
Dunhill Desire Red For Men
Regular price
Rs4,900.00 NPR
Regular price
Rs6,100.00 NPR
Sale price
Rs4,900.00 NPR
Unit price
Dunhill Desire for a Man is a perfume introduced in 2000, in the beginning of the new millennium.
With its very red bottle this brand tries to attract attention of the customers, namely new generation from 25 to 45. It is addressed to self-confident and the men who want to be in the center of attention. The Desire perfume opens with the notes of apple, orange blossoms, fresh, sweet bergamot and sparkling lemon. The heart brings notes of rose, patchouli and teakwood in. The base acts with the accords of vanilla, musk and labdanum. With its attractive and modern design, Dunhill Desire is made of ruby-red glass which conquests with its woody-oriental composition. It was designed by Michael Almairac.


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Parker Hannifin Acquires Sporlan Valve Co.
Parker Hannifin Corp., the Cleveland-based manufacturer of motion and control technologies and systems, recently completed its acquisition of Sporlan Valve Co., the Washington, Mo.-based manufacturer of refrigeration and air-conditioning components, controls, and systems.
Sporlan is now a division of Parker's Climate and Industrial Controls Group.
Andover and TAC Merge
Tour Andover Controls is the new company formed from the merger of TAC (once known as Tour & Andersson Controls) and Andover Controls.
Arne Frank is the CEO.
ARI Elects Chairman
Geraud Darnis, president of Carrier Corp., was elected chairman of the board of directors of the Air-Conditioning and Refrigeration Institute.


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It іs іn this realm thаt the psychopath comes closest to thе psychotic. While seemingly in full possession of hіs reasoning capability, bу аll thе means оf clinical psychology to test аnd assess thеm, thе psychopath demonstrates an inability tо realize thе meaning аnԁ importance оf hіѕ behavior for othеr individuals, anԁ to judge theіr achievable reactions tо hiѕ behavior. He iѕ at all times astounded tо uncover thаt individuals arе upset bу his exploits.
The genuine danger abоut psychopaths іs thаt a couple of girls, in certain, actually hаvе а psychological predisposition towards forming attachments tо thеm. They even fall іn true love with thеm. These ladies, at all times of а hysteric оr histrionic personality, feel empowered whеn attached to the psychopath, regardless of thе truth she has bееn told abоut him, or regardless of whаt hе himself has told hеr. Some оf thеse women hаvе аn underlying fantasy tо think that thеy are іn manage with the psychopathic male.
We've heard of the extreme circumstances, such aѕ the ladies who fell in love with thе Night-Stalker, Richard Ramirez, nevertheless іn common, you will obtain psychopaths іn very innocuous places, anԁ thеy normally know hоw tо spot а vulnerable woman whо will feed their self-image of grandiosity. Of course, great looks help іn thеsе matters. The reason so lots of females fell for Ramirez, haѕ been speculated, waѕ quite possibly as well intensified since оf hіѕ brooding, handsome looks аnԁ the fact thаt he coulԁ look vulnerable, "which include а small kid," said one admirer.
The truth іs, аn attractive psychopath іs almost certainly mоrе hazardous than а less attractive 1, bу аll means.
For a great deal of ladies, thе attachment to a psychopath goes beyond mere Freudian analysis — numerous conveniently deny thе reality, blindly trusting аnd ignoring fact. Some, even when presented wіth the cold hard information, will in spite of this admit that thеу cаnnоt stop loving thеіr psychopathic partner, even аftеr thеy've bееn discarded bу hіm. This concern iѕ both а psychosexual 1 (girls wіth personality disorders themѕelveѕ who come to be obsessed wіth psychopaths), or females whо simply will not admit tо thе truth оr arе ignorant аbout thе situation. It can even be a mixture of аll variables.
Regardless, thе psychopath knows whоm to select.
Anyone can bе conned anԁ taken іn bу the psychopath.
Psychopaths select оn anyone, no matter whether wealthy оr poor, intelligent оr not sо bright. Although іt ԁoes appear that the mentally ill arе mоrе susceptible, aѕ well аѕ the elderly, or victims wіth borderline personality disorder.
When needing to manipulate a female, thе psychopath consistently targets females who аre whаt iѕ constantly called the "dumb blonde" kind, thе kind of woman who exudes naivete, continually unconscious of hеr оwn sexuality, vapid innocence, normally nоt tоо bright — theіr personalities often border on the Pollyanish, аnd they continually see а silver lining іn each cloud. Not that thеrе is anything basically wrong wіth innocence оr optimism, still as soon as dealing with a psychopath, that can prove a bad mixture. Psychopaths seem tо be attracted to thіѕ kind оf woman іn specific. She іѕ nurturing and all-giving, whilе hе іs closed-off and retentive.
They hаve an uncanny capacity tо spot аnd use 'nurturant' girls — that is, thоѕе who have a productive need to have tо help or mother others.
Psychopaths also for instance to attach to ladies оf greater social status, a woman whо represents what hе wоulԁ like tо bе. Then when hе іѕ finished wіth hеr, he can destroy her аnd kill 2 birds with 1 stone.
However, regardless of what personality kind theу go right after, any individual iѕ still а target.
Like the narcissist, the psychopath hаs an arrogant, disdainful, anԁ patronizing attitude; however, often іn thе 1st stages of charming somebody new, thе true character іs kept hidden, needless to say. That іѕ whу, whеn а woman warns one more woman аbоut а psychopathic man, hіs most recent victim will not be able tо think the bad stories around hіm. "But hе's sо charming, so kind, ѕo nice…" аnd so forth will bе her reply. Yes. Exactly. He iѕ playing a game wіth уоu tоо.
Psychopaths hаvе a grandiose self-structure whіch requires "a scornful anԁ detached devaluation оf other people" in order tо ward off envy toward the very good perceived in people. They react towards perceived or present attachment capacities with ambivalence аnd consistently aggression. Most оf them transfer the attachment tо "complicated objects" such aѕ weapons, knives, [magical practices] etc. The grandiose self iѕ represented onto thе weapon оr object аnd іѕ а projection of thеmѕеlveѕ. This оf course iѕ mоre in depth investigation of thе psychopath. Not аll psychopaths havе а gun collection оr a favourite knife or sword, then again a outstanding deal оf thеm dо tend tо be fond оf weapons and such symbols оf aggression and dominance.


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Like any other insurance policy, life insurance has many variations to meet different users' needs. Thus, before choosing one, you must determine what you need in a life insurance policy.
The best way to determine the best policy is by evaluating your needs, premium costs and terms of service.
The answers to these questions can help you determine the policy that suits you best.
1. What Do I Need From My Life Cover?
We all have varying needs and wants, depending on each one's unique circumstances. So, you must identify your needs to avoid buying the wrong policy.
For example, you need a whole life policy if you want to leave an inheritance or to protect beneficiaries from debt after your death.
This information can help you know the right life insurance type and amount.
2. How Much Life Insurance Is Enough?
Your insurance cover may not fulfil its purpose if you underestimate the amount you or your beneficiaries need. So, you must factor in everything you expect the insurance benefits to cover.
For example, you must consider your current and anticipated debts and assets if you want a policy to clear your debts.
3. What Life Insurance Policy Should I Choose?
You can choose your life insurance policy from the available types. Below are the four main types of life insurance policies.
Term Life Cover
This type of insurance cover only matures when you die. Your beneficiaries will receive a lump sum after your death.
Total and Permanent Disability Cover
This cover pays out a lump sum if you get a permanent disability that hurts your ability to work.
Trauma Cover
This policy covers any short-term expenses resulting from an injury or illness.
Income Protection
This cover pays monthly sums for the period you cannot work due to an injury or illness.
4. What's the Cost of My Policy?
Many factors can determine the premiums you pay for your life insurance policy.
Your life insurance policy provider may consider gender, age and health when determining your premiums. Other factors include your coverage amount and whether your policy is permanent or for a limited time.
Ask for a quote to get a clear picture of how much your policy will cost.
5. What Does My Policy Cover?
You can only identify your policy's terms by reading the Product Disclosure Statement provided. This document explains what your policy covers, plus any exclusions or additions.
Contact your life insurance cover provider if you have any questions about your policy's terms and conditions.
If this article has inspired you to think about your own unique situation and, more importantly, what you and your family are going through right now, please contact your advice professional.
This information does not take into account the objectives, financial situation or needs of any person. Before making a decision, you should consider whether it is appropriate in light of your particular objectives, financial situation or needs.
(Feedsy Exclusive)


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CodeMeter License Models
CodeMeter allows you to apply a comprehensive range of license models that includes both traditional models like single user licenses or network licenses as well as modern consumption and user-based license models. License models are defined through Product Codes and Product Item Options.
The following table shows all licensing models in use.
License | Conduct |
Single User License | The license is stored on a local PC, a local device or a CmDongle plugged into a local PC. The software runs on the same computer/machine. |
Single User License in a Virtual Machine | The license is bound to a virtual machine. If copying the virtual machine, the license becomes invalid. If moving the virtual machine, you decide whether the license will stay valid (high availability) or become invalid. |
Network License | The license is stored on a license server in the network. It is used by PCs as a floating license. |
Feature-on-Demand License | Individual licenses are used to activate specific product features and modules. This allows you to generate extra turnover through the sale of add-ons. |
Perpetual License | The license is issued permanently and never expires. |
Demo / Trial License | The user can only access the features of your software specified by you for a limited time. |
Rental, Leasing, Subscription License | You specify for how long the license is valid. CodeMeter License Central can automatically extend the validity of the license. |
Pay-per-Use License | Billing is based on the number of units used. You can decide whether the billing unit is based on time or function and whether the settlement should take place before or after consumption. |
License with Software Assurance | This is a perpetual license including a maintenance agreement. During the maintenance entitlement period, users have automatic access to updates. Updates that are made available once the maintenance agreement expires cannot be used with this license. Updates that have been made available within the maintenance period can be used even after the expiration of the contract. |
License with Downgrade-Right | The license covers the right to optionally use older versions of a program. With this type of license, a customer can migrate all clients to the new version at a later date, and the software publisher is not required to sell old releases. |
License with Upgrade-Right | The license covers the right to optionally use newer versions of a program. With this type of license, revenues will not drop before the release of a new version. |
Grace Period License | A software that is distributed with a grace period license can be used for a limited time without activation. Once the grace period expires, activation becomes necessary. |
Volume License | The customer, usually a key account, is sent a large number of licenses to cover the many seats needed. Software publishers can define whether each individual computer should be activated or the system needs to be policed by audit. |
High Availability License | The user owns a redundant license server ("2 out of 3" principle). This architecture ensures the availability of software in the event of a license server failure. |
Hot Standby License | The user owns a second license server that automatically comes into use in the event of a failure affecting the main license server. The use of the backup server is logged and can be limited to a maximum duration. |
Cold Standby License | The user owns a second license server or an emergency dongle that can be used in the event of a failure affecting the main license server. The use of the backup server or the emergency dongle is logged and can be limited to a maximum duration. |
Overflow License | The user is entitled to use more licenses than the volume he purchased. The use in excess is logged and can be limited in terms of period of validity and volume. This model allows the billing of the licenses that are actually used. |
Borrowable License | The user is entitled to borrow a license for use on a local computer (CmActLicense) or CmDongle for a fixed period of time. During this time, the license remains allocated to the license server and cannot be used otherwise. When the borrowing time expires, the license is automatically made available again on the license server and can no longer be accessed locally. It is possible to return the license manually to the server or renew a borrowed license. |
Transferable License | The user is entitled to permanently transfer a license to another PC or onto a CmDongle. It is possible to specify whether this can be done online or completely offline. |
Named User License | The license is associated with a user name. |
Computer-bound License | The license is associated with a specific computer. |
Time Zone License | The license can only be used in the specified geographical region (time zone). |
Country-Based License | The license can only be used in the country that the software vendor has whitelisted or did not exclude in a blacklist. |
Interested in a personalized offer for our CodeMeter technology? Just answer a few questions and our team will get back to you with all the information you need.


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Harry Potter Moment of the Week is a meme hosted by Leah @ Uncorked Thoughts and Micheline @ Lunar Rainbows Reviews. The idea is to share a favorite moment, magical item, character, spell, quote, object from the books, films or J.K.Rowling herself! How to join up & upcoming topics here.
~Favorite quote from Prisoner of Azkaban?~
This is such a hard question! I love quotes so much. I have a book of quotes where I write down any quotes that I like. So, it's hard to ask me to chose a favorite quote from one of my favorite books. It was extremely difficult! So I picked a few instead of just one. I'm a rule breaker, I know!
The Prisoner of Azkaban is my favorite Harry Potter book because of so many reasons and the quotes I picked kind of shows that.
"Happiness can be found, even in the darkest of times, if one only remembers to turn on the light."
"Prongs rode again last night... You know, Harry, in a way, you did see your father last night... You found him inside yourself."
"I solemnly swear that I'm up to no good."
"Mischief Managed."
"Mischief Managed."
What was your favorite quote?
Happy Reading


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In the June 1985 issue of Compute! magazine, in an otherwise innocuous editorial about font sizes and page layouts and column lengths, Richard Mansfield casually dropped a bombshell: that the number of companies in the PC industry had shrunk by 80% over the past year. Now, the reality was not quite so apocalyptic as that number (not to mention lots of fevered pundits) would make it seem. Many of the people and companies included within it were doubtless dabblers, who saw a chance to jump on a hot new trend, then saw the money wasn't going to come so easily after all and walked away again. But still… 80%. Let's look at some more numbers to try to unpack what that figure means.
The chart above shows the numbers of actively used computers in American homes between 1978 and 1982. The first big spike came in the latter year, when cheap machines like the Commodore VIC-20, the Texas Instruments 99/4A, and the Timex Sinclair came online in a big way just as the videogame console market began to go soft. Home computers, the pundits said, were the logical successors to that fad, and consumers seemed to agree by almost quintupling their numbers in the space of a single year.
The chart above shows the actual and forecasted installed base of active home-computer users between 1982 and 1987. As you can see, things continued to go swimmingly through 1983 — the peak of the home-computer wars, Jack Tramiel and Commodore's year of triumph. By year's end, following the most spectacular Christmas of the 1980s for the home-computer industry, the number of computers in American homes was over 250% of what it had been at the beginning of the year. With millions upon millions of American homes still unconverted, everyone assumed that this was only the beginning of the beginning, that growth by leaps and bounds was inevitable until the end of the decade at least.
Things didn't work out that way. Not only did 1984 fall short of projections by more than 50%, but sales to first-time buyers weren't even sufficient to make up for those who got bored with their balky toys from the previous year or two and relegated them to closets, first step on their long, gradual journeys to the dumpster. (One research firm would later estimate that consumers threw out 1.5 million home computers in 1985 alone.) I've talked in earlier articles about the many perfectly good, sensible reasons that consumers grew so quickly disillusioned with their purchases, a list which includes a complete lack of killer apps — beyond games, that is — for the average household, the pain of actually using these primitive machines, and hidden costs in the form of all of the extra hardware and software needed to do much of anything with one of them. Home computers just didn't live up to the hype; at least the old Atari VCS really was cheap and simple and fun, exactly as advertised. Most Americans found home computers to be none of these things. Their experience of 1982 and 1983 was bad enough to sour many of them on computers for a decade or more.
As bad as the chart above looks, it took a surprising amount of time for the industry to realize just how far off-track things had gone. 1984 was a paradoxical year of mixed messages in many respects, one that saw for instance the Apple II and Infocom both enjoy their biggest sales years ever. It wasn't until 1984 became 1985, and the industry counted its dollars and woke up to the realization that the Christmas just past had been a deeply disappointing one, that the full scale of the problems set in and the dying-home-computer-industry became as big a media meme as the home-computer-as-social-revolution had been just a year or two before.
Still, some knew long before that something was very, very wrong. The bellwether of virtually any consumer-facing industry has always been — prior, at least, to the Internet age — its magazines. A healthy, growing industry means lots of readers buying at newsstands and signing up for subscriptions, as well as lots of vigorous new companies eager to advertise, to tell the public about all the new stuff they have to sell them. Conversely, when interest and sales begin to flag the newsstands start to reduce their magazine selection to make more room for other subjects, subscriptions are allowed to lapse, and advertising budgets are the quickest and least immediately painful things to cut. And as the first companies start to fold, those with whom they've signed advertising contracts tend to be about the last creditors to get paid. Woe betide the magazine that's let itself go too far out on a limb — like, you know, one assuming it's a part of an industry likely to grow almost exponentially for years to come — when that happens. The carnage in the magazines, those engines of excitement and advice and community, was appalling during the eighteen months between mid-1984 and the end of 1985.
The period was bookended by two particularly painful losses. Softalk, the de facto voice of the Apple II community, simply never appeared again after an apparently business-as-usual August 1984 issue. An even sadder loss was that of Creative Computing, which at least got to say goodbye in a last editorial ("Great While It Lasted") in its last issue in December of 1985. The first newsstand magazine devoted to personal and, well, creative computing, it had been founded by David Ahl, a visionary if ever there was one, in October of 1974, months before the Altair. Ahl sold the magazine to the big conglomerate Ziff-Davis in 1982, but remained on as editor-in-chief right through to that last editorial. Throughout its run Creative Computing remained relentlessly idealistic about the potential for personal computing, always thinking about next year and of what the products they reviewed meant in the context of the ongoing PC revolution as a whole. Just to take one example: in response to the arrival of the first prototype laser-disc players in 1976, the magazine laid out a manifesto for what would come to be known as multimedia computing well over ten years later.
Creative Computing also published books, the best selling, most important, and most beloved of which was titled simply BASIC Computer Games, a compendium of type-in listings featuring games that had been making the rounds of The People's Computer Company and the pages of Creative Computing itself for years. BASIC Computer Games sold a staggering one-million copies in English and in translations to French and German, years before any pre-packaged computer game would come close to such a feat. Many a young hacker pecked out its listings and then started to experiment by changing a variable here or a statement there, learning in the process the wonderful quality that separates computers from game consoles and just about every other form of electronic entertainment: that you can use the same device you play games on to also make games, or just about anything else you want. Creative computing indeed. The voice of Ahl, every bit as much a pioneer as a Steve Wozniak or Steve Jobs, would be sorely missed in the years to come. Ironically, his magazine's end came just as machines like the Macintosh and Amiga were arriving to begin to bring to fruition some of his more expansive predictions of earlier years. (One of Creative Computing's last issues featured a gushing review of the Amiga which called it nothing less than "a new medium of expression.") It's a sign of the immense respect with which Ahl and his magazine were still viewed in the industry that several competing magazines took the time to remark the loss of Creative Computing and offer a warm eulogy — an act of graciousness unusual indeed in the increasingly cutthroat world of computer publishing. As Info magazine noted, "There could be no better history of personal computing than a complete collection of Creatives."
In 1985 the pain spread in earnest to the software industry. Many pioneering companies, including some we've met in earlier articles on this blog, collapsed during the year. Any company that hadn't shed its old crufty hacker's skin and learned to start behaving like professionals was doomed, as were many who had listened a bit too much to the professionals and pundits and over-expanded and over-borrowed in the expectation of the perpetually-exploding industry that had been promised them. Also doomed was anyone whose creations just weren't good enough; those users who had chosen to stick with this computer thing were far savvier and more demanding than the neophytes of earlier years. Muse Software of Castle Wolfenstein fame was amongst the victims, as was our more recent acquaintance Synapse Software, who were shuttered by Brøderbund barely a year after they acquired them. The Carlstons may have been nice folks, but their company didn't survive by throwing good money after bad, and neither of Synapse's principal assets — their expertise with the fading Atari 8-bit line and their Electronic Novel line — were worth much of anything in the evolving industry order.
Indeed, adventure-game makers were if anything hit even harder than the rest of the industry. By mid-1985 it was becoming clear that bookware had been a blind alley; virtually nothing in the category, excepting only Infocom's The Hitchhiker's Guide to the Galaxy, did much of anything commercially. Companies like Spinnaker (owner of the Telarium and Windham Classics brands) and Brøderbund now began to divest themselves of their bookware assets almost as eagerly as they had acquired them. So much for the dream of a new interactive literature. Other expectations were also dramatically tempered. Trip Hawkins, for instance, was finally forced to give up on his dream of game designers as the rock stars of the 1980s and a shelf of games joining a shelf of records inside every hip living room. Electronic Arts now retrenched and refocused on becoming a big, highly respected fish in the relatively tiny pond of hardcore gaming (the only kind of gaming there was in this window between the Atari VCS's collapse and the arrival of Nintendo). Yes, computer games were just computer games again.
Almost unremarked amidst all of the bankruptcies and retractions and cancellations was the collapse of Scott Adams's Adventure International, one of the oldest of all the companies we've met on this site. Whether due to stubbornness or lack of funds or failure of vision or simple loyalty to what had brung'em, Adams had refused for years to upgrade his core technology, continuing to sell the same little 16 K, two-word-parser games he had started writing back in 1978. Their revamp into the SAGA line added crude graphics to the equation, but little else. Thus Infocom had long since stolen Adams's crown as the king of adventure-gaming, not so much by besting him as by Adams not even trying to compete. Adams instead fed — and, for a time, quite well — on the ultra-low-end market, those machines like the Commodore VIC-20 and Texas Instruments 99/4A that weren't a whole lot more capable than the original TRS-80 on which he'd first written Adventureland. These machines, unfortunately, were exactly the ones which found their way into closets and attics with the most frequency after the home-computer boom passed its heyday. Therein lay the root of AI's troubles.
By 1984 much or most of Adventure International's revenue was coming from Britain, thus belatedly justifying the company's name, chosen in a fit of optimism when Adams and his wife were still making packaging out of baby-bottle liners and struggling to grasp the vagaries of wholesale pricing; expansion across an ocean must have seemed far-fetched indeed at that time. With their more modest cassette-based computers, their absolute mania for adventures, and their accompanying willingness to forgive faults and limitations Americans no longer were, Britons offered Adams a more hospitable market all around. An independent quasi-subsidiary, Adventure International UK, offered not just the classic dozen original Scott Adams games and the OtherVentures titles, but also many more games written in Britain by British authors like the prolific Brian Howarth using Adams's engine. Adams himself was a celebrity amongst British adventurers. Everyone knew him for his crazy Afro that made him easy to spot across a crowded trade-show floor, and the magazines jostled for quotes and interviews and the fans for autographs whenever he made one of his occasional trips across the pond.
In late 1983 or early 1984 a tremendous opportunity to improve Adventure International's standing on both continents virtually fell into Adams's lap. Joe Calamari, an executive vice president with Marvel Comics, called Adams out of the blue to propose that Marvel and AI collaborate on a line of games and accompanying comic books starring the Marvel superheroes. While it would take many years for Marvel to catch up to their perpetual arch-rivals DC Comics in bringing their brand to the masses via the multiplexes, Marvel at this time was making a modest but in its way innovative push into trans-media storytelling via deals like this one and the one they inked around the same time with TSR of Dungeons and Dragons fame to do a Marvel tabletop RPG. Their choice of Adventure International for the computer-game license could be read as surprising; AI was hardly at the cutting edge of the game industry, and given the huge demographic overlap between gamers and comics readers the Marvel license would certainly have been appealing to other, slicker publishers. Perhaps AI's support for the cheap low-end machines, not to mention their games' typical price of $12 or so as opposed to $30 or more, led Marvel to consider them a better fit for their generally younger readers. (As with science fiction, the golden age for superheroes is about twelve.) As possible evidence of exactly this thought process, consider that Commodore, who may have suggested AI to Marvel and apparently did play some sort of intermediary role in the negotiations, had been doing very well with cartridge versions of the first five Scott Adams adventures on the VIC-20 throughout the peak years of the home-computer boom.
It's hard not to compare this early, crude experiment in trans-media storytelling with the Marvel of today, whose characters feature in cinematic extravaganzas costing hundreds of millions to produce. We've certainly come a long way. (Whether it's a change for the better is of course in the eye of the beholder.) It's also yet another sign of just how huge text adventures were for a few years there that Marvel chose this format for the games at all. The cerebral pleasures of text and puzzles hardly feel like an obvious fit for the "Wham! Bam! Pow!" action of a superhero comic — not that this marks the strangest mismatch between form and content of the bookware era.
Adams signed a deal to make a dozen games with Marvel, one that gave him a crazy amount of creative freedom. He gave the series its truly awful name, the uncomfortably medicinal-sounding QuestProbe. (It's choices like this that distinguish companies like AI, who couldn't afford PR firms and image advisers or just couldn't be bothered, from companies like Infocom who could. As for Marvel, who knows what they were thinking…) He also got a pleasure that would turn any superhero-loving kid — and more than a few superhero-loving adults — a Hulk-like green with envy: he outlined a story to accompany each game, then gave it to Marvel to be turned into a full-blown comic book to be sold as part of a "Scott Adams/Marvel Comics Limited Series."
Alas, the Marvel deal, AI's last, best chance to live and possibly even prosper, turned into an opportunity squandered. The QuestProbe games are painfully, shamefully bad by just about every criterion. The graphics are crude and ugly, the prose strangled, the situations all but incomprehensible (especially if you aren't lucky enough to have the accompanying comic to hand), and the puzzles a hopeless mix of the inane and the inscrutable. They are, in other words, pretty much like all the other Scott Adams games after the first half-dozen or so, and that just wasn't good enough anymore, even for the patience of twelve-year-olds. After the first game, which featured the Hulk, was roundly panned even by the forgiving gaming press (the making of a game bad enough to achieve that was something of a feat in itself), Adams did begin to include some modest innovations: the next game, featuring Spider-Man, debuted at last a parser capable of understanding more than two words (not that it was otherwise up to much); and the third and as it turned out final game, featuring the Human Torch and the Thing, had you controlling both characters, able to switch between them at will — an interesting idea badly executed. By the time that third game trickled out in mid-1985, AI was already collapsing.
Adams today notes the immediate cause of AI's failure, no doubt accurately, as a rash of returned product from distributors who had over-ordered in anticipation of a big Christmas rush that never materialized. AI, which had never attracted the injections of venture capital and the accompanying professional financial oversight of fellow pioneers like Sierra, found themselves unable to pay back their distributors. With no one willing to extend them credit given conditions in the industry as a whole, there was no viable recourse but bankruptcy. Yet the deeper cause was Adams's inability or unwillingness to change his games with the times. He's stated many times in interviews that he virtually never looked at any of the games produced by his rivals; for instance, he never played an Infocom game after Zork. His logic was that he didn't want to have his designs "polluted" by ideas and puzzles of others. This is, at best, an odd stance to take; try to imagine a novelist who refuses to read books, or a musician who doesn't listen to music. It perhaps does much to explain the time-warp quality of the QuestProbe games. It's strange that the man who had the vision and the technical chops to get viable adventures working on 16 K microcomputers in the first place should prove so unable to further iterate on that first masterful leap, but there you have it. Adams went on with his professional life as a programmer outside of the games industry, and Adventure International passed quietly into history.
One part of the brief-lived AI empire did survive. Mike Woodroffe, head of the still-viable Adventure International UK, disentangled that organization from its erstwhile namesake and renamed it Adventure Soft. The company would go on to a long if only sporadically active life as a developer of graphic adventures, whose biggest games became the Simon the Sorcerer series, The Feeble Files, and two Elvira-themed pseudo-CRPGs. Adventure Soft continues as an at least nominally going concern today, although their website is little more than a storefront for sometimes decades-old titles.
All told, then, 1985 was a brutal year in American software and particularly games software, one that weeded out the weak sisters like Adventure International, Muse, Synapse, and countless others without remorse — not to mention the casualties in publishing and hardware and still other, ancillary areas. Old timers who had grown up as hackers with many of the year's casualties can be forgiven for seeing it in terms as apocalyptic as did the more hyperbole-prone members of the media. David Ahl, from his final Creative Computing editorial:
The personal-computing industry is largely composed of adolescent companies and inexperienced managers being forced to grow up much too fast by market forces that they themselves created. The big guys are sailing in with battleships, and the friendly competition of a few years ago has become all-out war with no holds barred. The media smells blood and death, which makes for interesting reading (and sales). Their alarmist disaster stories have simply exacerbated the situation.
Still, if we're seeking silver linings they aren't that hard to come by. Just to take the obvious: another look at the chart above will show that, if the home-computer user base wasn't growing much, it also — that one brief blip in 1984 aside — wasn't shrinking either. There was still a very viable, even vibrant market there. It was just a market that had reached an equilibrium far, far sooner than anyone had anticipated. The pain of 1985 was the pain of adjusting expectations to match that reality — the reality that numbers of computers in homes wouldn't increase in big jumps again until the arrival of the Internet and cheap multimedia PCs in the early 1990s gave everyone a good reason to own one. The generation of microcomputers sandwiched between those and the old 8-bits — the Apple Macintosh, the Atari ST, the Commodore Amiga, the Tandy 1000 and a rash of other ever cheaper and more capable MS-DOS-based machines — would seldom be sold to complete neophytes. They would rather go to people looking to upgrade their old Apple IIs, Commodore 64s, Atari 800s, and TRS-80s. A tempering of expectations, especially for hardware makers, would be necessary. Not everyone would upgrade, after all, meaning home-computer sales wouldn't come close to their 1983 peak for many years to come. As David Thornburg noted in a perceptive article for Compute! magazine, computers were and would for years remain a hobby, not an everyday home appliance.
If you go to someone's house and see a computer sitting in the den, I'll bet you say, "Hey, I see you're into computers. How about that!"
Have you ever gone into someone's house and said, "Hey! I see you're into refrigerators. Wow! Automatic ice-cube maker too! I was going to get one of those myself — thought I'd get a 16-cube model, but then I heard that the 32-cubers were going to come out soon."
If the home computer was an appliance, we would talk about it like one.
David Ahl offered another comparison to explain why the home computer hadn't yet achieved appliance status and wasn't likely to for some time to come.
People who don't have computers are looking for user friendliness of a sort that just isn't available today. You can rent a car virtually anywhere in the world and in a minute or two be familiar enough with the vehicle and local traffic laws to drive off with a reasonable degree of confidence. When it is that easy to use a computer, then manufacturers can legitimately speak of user friendliness. We are a long way from that point today.
When a reeling software industry proved unable to fill the space allocated for it at the 1985 Summer Consumer Electronics Show, a big chunk was instead given over to pornographic videos, an industry that was thriving on the back of booming VCR sales in exactly the way the software industry wasn't on lukewarm home-computer sales. Game consoles and home computers may come and go, but some interests are eternal.
If you were a committed gamer in for the long haul, however, the outcome of all this chaos was arguably at least as positive as it was negative. With computer owners an ever savvier and more experienced lot unwilling to suffer bad or even mediocre games anymore, with publishers all competing frantically for a big enough slice of a fixed pie to keep them alive, games in general just kept getting better at a prodigious rate. By 1986 developers would be taking the Commodore 64 in particular to places that would have been simply unimaginable when the machine debuted back in 1982. And as for the next-generation machines… well, even more splendid work was in the offing there. Everything was improving: not just graphics and sound but also the craft of design.
But before we can revel too much in the positives we have more pain to address. Next time we'll look at Infocom's disastrous 1985, the year that came within a whisker of cutting off the most beloved canon in interactive fiction at the halfway mark.
(My huge thanks to C. David Seuss, former CEO of Spinnaker Software, who answered my questions about this era, pointed me to a useful Harvard Business School Case Study, and provided the charts shown above and other documents. The usual thanks also to Jason Scott, whose interview with Scott Adams for Get Lamp was also invaluable. Useful magazine sources this time included: Compute! of March 1985, June 1985, and January 1986; Your Computer of November 1985; Creative Computing of December 1985; Computer Gaming World of January 1985; Computer and Video Games of May 1986; Info of December 1985/January 1986. Finally, if you don't believe me that the QuestProbe games are really, really bad, feel free to download them in their Commodore 64 incarnations and see for yourself.)


text:
Departments & Programs
Classical Studies
The Department of Classical Studies (CLAS) offers majors in ancient Greek, Latin, and classical civilization leading to the B.A. degree, as well as minors in ancient Greek, Latin, and classical civilization. The majors and minors in ancient Greek and Latin provide students the opportunity to study Greek and Latin literatures and cultures in the original languages. The classical civilization majors and minors offer students with little or no knowledge of the Greek and Latin languages the opportunity to study the Greek and Roman cultures from which much of our literature and thought and many of our institutions come.
Majors, Minors, and Programs
- Major in Latin or Greek
- Secondary Teacher Certification
- Major in Classical Civilization: Culture and Literature
- Major in Classical Civilization: Art and Archaeology
- Minor in Greek
- Minor in Latin
- Minor in Classical Civilization
- Departmental Honors Program
- Study Abroad
Contact Information
Department of Classical Studies
Indiana University
Ballantine Hall 547
Bloomington, IN 47405(812) 855-6651
classics [at] indiana [dot] edu


text:
HAPPY RELEASE to
Reckless & Real #2
Adult Contemporary
Release: March 3, 2015
After everything blew up on Christmas, Liz walked
away from me, and I let her. She said she needed space and a chance to pursue
her dreams. But we both knew she was running from the mess she made. Now the
political campaign she used as an excuse to leave is bringing us back
together and I'm proving to her what she really needs—not just the hot nights,
greedy hands, and undeniable physical chemistry. What she really needs is
something real. What she really needs…is me.
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iBooks: http://bit.ly/1EgOvJ8
Kobo: http://bit.ly/1zWs6dI
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Goodreads: http://bit.ly/1FaNfVX
Something Real Excerpt
Security had better not have let one of those asshole
journalists from downstairs up to my floor. I swear, those soul suckers would
do anything to get a new detail to add to their nothing stories. I open the
door without removing the chain and feel as if I've been punched in the gut
when I see the woman on the other side.
Liz is worrying her lower lip between her teeth and watching
down the hall. Is she looking for Sabrina or trying to make sure no one sees
her coming to my room? My insides twist at the sight of her—an internal
tug-of-war between conflicting emotions. I want to pull her into my room and
kiss her until she can't see straight, touch her until she promises never to
leave me again, and at the same time, I want to demand that she go back to her
room because having her close makes me hope for things I can't have.
I remove the chain and tug her inside by the arm before
closing the door behind her.
"No one saw me," she says, her eyes locked on the floor. "I
made sure."
"I saw you," I
growl. It's painful to be this close—to
breathe her air, to smell her perfume. I never knew how much it could hurt to want and be denied.
She swallows and avoids my eyes. "Is she here?"
"What do you want, Liz?"
She lifts her head and stares at me. "Is she here?"
"Sabrina's on her way to meet her mom in South Dakota for a
campaign stop."
Her gaze dips to my bare chest and back up. "I'm surprised
they didn't ask you to go with them."
"They did. I declined." I sound like a fucking dickhead, and
I make myself take two steps back so I don't do something equally dickish. Like
kiss her until she melts in my arms and forgets about the other guy, until we
both forget that this is hopeless.
"I'm sorry that video was leaked. You didn't deserve that
invasion of your privacy."
She has red lipstick on, and it matches her shoes. Ever
since I saw her tonight, I've been picturing her on her knees in nothing but
those shoes, those red lips stretched around my cock. I can't help myself, and
I skim my thumb over her bottom lip.
The second I touch her, she draws in a ragged breath. "You
came to my apartment yesterday."
"I did."
I trail my thumb down her neck and over the red strap of her
dress. "Probably for the same reason you came here tonight."
"To talk about Sabrina?"
"You knocked on my door in the middle of the night to talk
about Sabrina?" I follow the strap down and graze my fingers across her
cleavage. "Is this about her, or is it about you and me?"
"There is no you and me," she says. "We both know that."
"There's so much you and me, there's no air left when we
share a room. There's always you and
"Even when you're making sex tapes with someone else?"
"And even when you're keeping warm in another man's arms."
Reckless and Real #1
He wants to tie me up, but I don't know his face.
He turns me on, but I couldn't point him out in a crowd.
I've fallen for an anonymous stranger, and tonight the anonymity ends. Tonight I want more than typed secrets and texted promises. I want something reckless. Heat. Passion. The thrill of being entirely possessed.
Because I suspect this anonymous stranger isn't a stranger at all.
Lizzy Thompson met riverrat69 online through Something Real, a service promising to deliver meaningful relationships by forbidding its users to share names or photos until they've reached a certain benchmark. She was looking for love. He was researching an investment. They hit it off. Talked and flirted, hid behind screen names and cartoon avatars.
Now they're breaking the rules and meeting in person. But Liz is prepared. She's picked up hints and followed clues.
She's ninety-percent convinced she's discovered the identity of her dirty-talking online friend.
She wonders if her ex-lover Sam Bradshaw knows her identity too.
When she rolls the dice on one reckless night, her chance at something real could crumble.
Amazon: http://amzn.to/1AgaZse
iBooks: http://bit.ly/1B1scI7
Kobo: http://bit.ly/18dSSZA
Google Play: http://bit.ly/1rcGtNp
Goodreads: http://bit.ly/1ByJTOL
About the Author
Once a college English professor, I now write full
time. I live in rural Indiana, where, when I'm not writing, I get to hang out
with my husband and two kids--a six-year-old boy and a two-year-old hellion, er, girl. Not surprisingly,
reading and writing remain my favorite activities, though both come in bits and
pieces these days, not the big hunks of time I en- joyed before I had children.
When I'm feeling virtuous, I like to go running (I use that word liberally. I'm
really, really slow) or do yoga. Don't worry, I'm always careful to balance out
such activities with a hearty serving of ice cream or a chocolate martini.
Website: http://lexiryan.com
Facebook: https://www.facebook.com/lexiryan
Twitter: @writerlexiryan; https://twitter.com/writerlexiryan


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