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After three years of restoration by the National Museum of Computing (TNMOC), the world's oldest functioning digital computer has been successfully rebooted at a ceremony attended by two of its original developers.
The 2.5 ton Harwell Dekatron, later renamed the Wolverhampton Instrument for Teaching Computation from Harwell (WITCH), was first constructed in 1949 and from 1951 ran at the USK's Harwell Atomic Energy Research Establishment, where it was used to process mathematical calculations for Britain's nuclear programme.
The system uses 828 flashing Dekatron valves, each capable of holding a single digit, for volatile memory, plus 480 GPO 3000 type relays to shift calculations and six paper tape readers. It was very slow, taking a couple of seconds for each addition or subtraction, five seconds for multiplication and up to 15 for division.
But it had persistence, performing calculations more accurately than human mathematicians and without needing toilet breaks, sleep, or a social life. When a leading mathematician tried to keep pace with the computer, he lasted for around 30 minutes before falling behind and making mistakes.
"The restoration was quite a challenge requiring work with components like valves, relays, and paper tape readers that are rarely seen these days and are certainly not found in modern computers," said restoration team leader Delwyn Holroyd in a statement. "Older members of the team had to brush up on old skills while younger members had to learn from scratch!"
Harwell Dekatron designer Dick Barnes (center) meets the team
After its atomic work was finished in 1957, and with transistorized computers all the rage, the computer was offered to the academic world and ended up at the Wolverhampton and Staffordshire Technical College (thus the WITCH moniker) and ran until 1973. It was retired to the Birmingham Museum of Science and Industry, but was put into storage in 1997 before being rediscovered and rebuilt by volunteers funded by TNMOC
"In 1951 the Harwell Dekatron was one of perhaps a dozen computers in the world, and since then it has led a charmed life, surviving intact while its contemporaries were recycled or destroyed," said Kevin Murrell, trustee of TNMOC, who started the restoration project.
"As the world's oldest original working digital computer, it provides a wonderful contrast to our rebuild of the wartime Colossus, the world's first semi-programmable electronic computer." ®


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Linus Pauling Distinguished Postdoctoral Fellowship
Now accepting applications for the Linus Pauling Distinguished Postdoctoral Fellowship. Candidates need to apply through the PNNL career application site. Applications are due on November 18, 2020.
Pacific Northwest National Laboratory is known for delivering transformational science and technology and accelerating the rate of innovation in energy, environment, and national security.
PNNL's Linus Pauling Distinguished Postdoctoral Fellowship is designed for the next generation of scientists and engineers who will push the boundaries of science to world-recognized discoveries.
Pauling Fellows will be encouraged through active mentoring by internationally recognized scientists and equipped with the resources to carry out a research program of their own design. They will learn cutting-edge approaches, utilize and build state-of-science capabilities, as well as contribute to research efforts that advance scientific frontiers and solve pressing challenges for the nation.
The Linus Pauling Distinguished Post-Doctoral Fellowships at PNNL will provide full funding to its selected candidates on a major research project of their choice.
The position will also include:
- a highly competitive salary
- full medical/dental benefits
- relocation
- plus the availability of extra funding for travel and conferences.
Selected candidates will be hired for a three-year maximum duration to complete their project.
Applicants for 2021
Applications for 2021 appointments are now open and are due on November 18, 2020. The Linus Pauling Distinguished Postdoctoral Fellowship at Pacific Northwest National Laboratory is accepting qualified candidate applications from recent and upcoming PhD Graduates in Science & Engineering, who wish to conduct research on a project of their choice.
Qualified candidates must have completed a Ph.D. in a science or engineering field related to the mission areas of PNNL by 2017 — or no later than summer 2021 — from an accredited college or university. All staff at PNNL must be able to demonstrate the legal right to work in the United States.
Candidates will be required to apply through the PNNL career application site and submit the following items as a single PDF uploaded attachment when applying to this position:
- Cover Letter
- Current CV
- Statement of Research Interests (including reasoning on why PNNL is a good place to carry out your studies)
- Written Response to each of the following questions (please include views from your own research interests as well as a wider scope across your field):
- What is the most interesting/challenging problem in your field today? What intrigues you most about this problem?
- What do you think it will take to solve that problem (do we need to invent new tools, new algorithms, push the bounds of detection limits)? What will it take and how would you propose to engage or participate?
- If that problem were already solved, what would the impact be on you? On science? On society?
- Unofficial Transcripts

subset: commoncrawl


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Climate change and global warming continues to change the fishing environment around the world and right here in Rhode Island. Green house gas (GHG) emissions create global warming, which is an …
Climate change and global warming continues to change the fishing environment around the world and right here in Rhode Island. Green house gas (GHG) emissions create global warming, which is an increase in the average temperature of earth's near-surface air and oceans. Global warming has been occurring since the mid-20th century and is projected to continue. The Intergovernmental Panel on Climate Change (IPCC) said that most of the observed temperature increases since the middle of the 20th century was caused by increasing concentrations of greenhouse gases resulting from human activity such as fossil fuel burning and deforestation.
GHG emissions and climate change have a direct impact on Narragansett Bay and nearby coastal waters and fishing. Climate change can have a positive, negative or neutral effect on species with different tolerances. URI Bay temperature studies confirm that Narragansett Bay has warmed approximately two degrees Fahrenheit depending on time of year in past 45 years, and there are signs of a rising ocean in Rhode Island with beach erosion occurring along our coastal shore.
How are fish being impacted?
Last week Dr. Jonathan Hare, director of the National Oceanographic & Atmospheric Administration's (NOAA) Narragansett Laboratory, spoke about climate change and marine fisheries at a Rhode Island Saltwater Anglers Association (RISAA) meeting. Dr. Hare spoke about ocean water warming along the northeast continental shelf and said, "That since 1854 ocean temperatures have risen 1.3 to 2 degrees Fahrenheit." This is proof that the water is warming.
Dr. Hare said, "We have had peaks and valleys over the years with a decade of warming water (like in the 1940's and 50's), and then decades when the water was on the cool side. However, long term over the course of time (since 1854,) there is no doubt the water is warming."
Dr. Hare shared a time lapse illustration that showed how yellow-tail flounder and summer flounder (fluke) are actually migrating north toward Rhode Island and other northern coastal states as the water warms. This time lapse illustration showed fish leaving waters to the south and moving northward. So in addition to much anecdotal information about cold water fish moving out of our area and warm water fish moving into the area, Dr. Hare's work provides proof of warming water and species movement in and out of our region.
Another study by NOAA related that rising water temperatures are also helping to drive many of New England's fish populations farther from shore and into deeper water.
In this study NOAA biologists analyzed water temperature trends from North Carolina to the Canadian border off Maine from 1968 to 2007. They then looked at fish survey data collected each spring and assessed where the fish were caught and how abundant they were.
Some fish species experienced a lot of movement while other species exhibited little movement to the north, but rather they moved to deeper waters where temperatures are lower.
Fishermen in Rhode Island and Massachusetts used to catch most of their haddock, flounder, and cod in waters close to shore. Nowadays, fishermen often have to travel as far 100 miles offshore to find those same fish.
At the same time, we are catching more fish here that are traditionally found in warmer southern waters like Atlantic croaker which is caught off Virginia and North Carolina, or Cobia (a warm water fish) which migrate along the Atlantic coast on a seasonal basis. In spring, they move from southern Florida, to the Carolinas as water temperatures rise. However, they are being caught more often in our waters in the past couple of years.
This year Mason Sherman, a URI engineering student from North Kingstown, RI, caught a 32 pound, 46 inch cobia when he was bottom fishing for fluke (summer flounder) just south of the Jamestown Bridge. Greg Vespe of Tiverton landed a 17 pound cobia fishing north of the Newport Bridge this summer when fishing with Atlantic Menhaden chunks for striped bass.
A technical report prepared for a 2013 National Climate Assessment for NOAA relates that the nation's ecosystems and marine resources are being affected by a changing climate. The report titled Oceans and Marine Resources in a changing Climate, produced by sixty-three experts from NOAA and other federal, academic and non-governmental organizations, concluded that marine ecosystems will likely continue to be affected, in most cases negatively, by anthropogenic-driven climate change and rising levels of atmospheric CO2.
As fishermen, we know the water is warming and I believe we need to do everything we can to curb global warming.
Fishing with live bait, March 19
The Aquidneck Island Striper Team will hold a seminar titled "Fishing with Live Bait" on Wednesday evening, March 19 at 500 Anthony Road, Portsmouth, RI. Capt. Blaine Anderson of Anderson Guide Services, Connecticut, will be the guest speaker. Capt. Anderson fishes the Connecticut River and Long Island Sound for stripers, bluefish, fluke, blackfish, false albacore and bonito. Members admitted free, guests are asked for a $5.00 donation. Contact Richard Laurie at email@example.com for information.
Environmental bond
issues deserves
our support
Last week an environmental bond referendum came before the Rhode Island House Finance Committee and this week it was scheduled to go before the Senate Finance Committee. The bond issue addresses clean water, open spaces and healthy communities. Last week DEM director Janet Coit and representatives from the Audubon Society, the Rhode Island Saltwater Anglers Association, Save the Bay and a host of other conservation and water quality advocates testified on behalf of the bond referendum. Of particular importance to fishermen are funds for marine infrastructure, including a fishing pier at the new Rocky Point State Park. I testified on behalf of the bond issue and believe it deserves the consideration and support of fishermen.
Where's the bite
Fresh water ice fishing is taking place on select ponds and lakes that are frozen to safe standards. Visit www.dem.ri.gov for ice safety standards and call your local police department to make sure ice is safe before going out on it.
Cod fishing slowed this week but is expected to pick up once weather conditions improve. Reservations are important so captains can plan their trips. Three boats sailing include the Frances Fleet at www.francesfleet.
com, the Seven B's at www.sevenbs.com, and the Island Current at www.islandcurrent.com .
Captain Dave Monti has been fishing and shell fishing on Narragansett Bay for over 40 years. He holds a captain's master license and a charter fishing license. Contact or forward fishing news and photos to Capt. Monti at email@example.com.


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In the Coen brothers' movie "Inside Llewyn Davis," opening Friday, Oscar Isaac plays a folk singer barely making a living in Greenwich Village in the early '60s, sleeping on the couches of downtown friends, presumably unaware of a singer from Hibbing, Minn., who has just hit town and will change the world — but not quite yet.
The universe inhabited by Llewyn Davis — who is loosely based on the musician Dave Van Ronk — is a hermetic one, composed mostly of traditional music purists like himself, occasionally branching out to the cultural cognoscenti of the Upper West Side. But although the early 1960s folk scene in New York was just that insular, the city around it was in the midst of larger cultural ferment, its myriad subcultures in jazz, art, dance, film, theater and journalism undergoing their own seismic shifts.
On a single night in New York in 1961, it's possible to imagine Bob Dylan, Barbra Streisand and Miles Davis playing clubs in and around the Village, while Gloria Steinem and Robert Benton traded newspapers at Jim Downey's Steak House uptown. James Earl Jones was starring in Jean Genet's "The Blacks" at the St. Mark's Playhouse, while Edward Albee, having already galvanized off-Broadway with "The American Dream" and "Zoo Story," was writing "Who's Afraid of Virginia Woolf?" Stephen Sondheim might have been noodling ideas for "A Funny Thing Happened on the Way to the Forum." Andy Warhol might have been preparing Marilyn Diptych or 100 Cans and other works for his first solo pop art show the following year.
During an era that ran roughly from 1960 through 1963, those worlds were known to overlap in fascinating, felicitous ways. It wasn't uncommon for Steinem — then an emerging journalist working at the humor magazine Help! — to call up an emerging comedian named Woody Allen, inviting him to contribute to the satirical fumetti the magazine specialized in. Robert Redford, having recently left art school and beginning to work as an actor, saw a young Streisand while she was playing Village clubs like the Blue Angel and the Bon Soir, never dreaming they would be acting together on screen a little more than 10 years later.
Meanwhile, Jean-Luc Godard's "Breathless," Michelangelo Antonioni's "L'Avventura" and Ingmar Bergman's "The Virgin Spring" were introducing a new cinematic grammar to American filmgoers. Journalists absorbed the spontaneous rhythms of those films while documentary filmmakers internalized the raw, confrontational intimacy of new off-Broadway productions. Painters went to hear jazz, playwrights went to see modern dance and Beat poets went to the folkie coffeehouses — a cultural cross-fertilization that's briefly reflected in "Inside Llewyn Davis" when a character played by Garrett Hedlund tells Davis that he acted in the off-Broadway play "The Brig."
That's a moment of poetic license: In actuality, that play didn't open until 1963. In 1961, when "Inside Llewyn Davis" takes place, Kenneth H. Brown — who wrote "The Brig" — was tending bar, hoping for a break in the theater. That same year, D.A. Pennebaker, who would go on to make the Dylan documentary "Don't Look Back," was making films with Robert Drew and Richard Leacock at Life magazine, where they had invented a portable, lightweight camera with synchronized sound that would give rise to a new kind of nonfiction filmmaking some would start calling "cinema verite."
In 1961, a 24-year-old named Dustin Hoffman was rooming with another emerging actor named Robert Duvall, taking classes, working odd jobs and getting small roles on TV and Broadway. Michael Kahn, now artistic director at the Shakespeare Theatre Company in Washington, was preparing to graduate from Columbia University and exploring the new world of off-Broadway theater. Robert Benton was the art director at Esquire magazine, where Norman Mailer — soon to be joined by Tom Wolfe, Terry Southern and Gay Talese — was beginning to invent the subjective, self-consciously literary writing style that came to be known as New Journalism. He was also dating Steinem, who was working at Help! and sharing an apartment with an artist and illustrator named Barbara Nessim.
In 1961, the folk and blues producer Sam Charters and his wife, the future Beat biographer Ann Charters, had just returned from Europe to New York, where they occasionally visited Van Ronk, Sam Charters's former roommate on MacDougal Street. A teenager named P. Adams Sitney was working with Jonas and Adolfas Mekas at Film Culture magazine; a year later the Mekas brothers would form the Film-Makers' Cooperative, which distributed films by avant-garde auteurs Stan Brakhage, Kenneth Anger and Jack Smith.
An aspiring magazine designer named Walter Bernard was living in a Weekhawken, N.J., rooming house, studying at night with the legendary magazine designer Henry Wolf, and saving up enough money to move to Manhattan. The future art historian and critic Barbara Rose — a Washington native — was working as an archivist for the composer Edgar Varese that summer. Shortly she would depart for Europe on a Fulbright scholarship and marry the artist Frank Stella, whose work had been part of the pivotal "Sixteen Americans" show at the Museum of Modern Art two years earlier.
Each of them was a part of the vibrant New York world outside "Llewyn Davis." Here are some of their voices.
'A totally different New York'
P. Adams Sitney: There was so much going on, in any area you want to mention. Paul Goodman published "Growing Up Absurd," John Cage published "Silence," and Grove Press brought out an anthology called "The New American Poetry." It was as if the world had turned upside down with those three books. At MOMA there was a big Rothko [retrospective] and they had the "Sixteen Americans" show around that time. . . . Up in a townhouse on the Upper East Side, Leo Castelli was showing Jasper Johns and Robert Rauschenberg. You could see Merce Cunningham at the Judson Memorial Church. . . . It was a wonderfully exciting time. And of course, we believed that cinema would change definitely and dramatically forever, which turned out not to be the case.
Kenneth H. Brown: Merce Cunningham's studio was right upstairs from the Living Theatre at 14th Street and Sixth Avenue. I used to go up and sit in the corner and watch rehearsals. I thought it was magnificent, and he thought we were great.
Walter Bernard: Between 1960 and 1963, before the reality of tragedy hit everybody, there was a lot of energy concentrated on the arts and that kind of thing, because it wasn't about protesting yet. Things were bubbling up about civil rights and feminism, but not Vietnam. So it was a very fertile period.
Barbara Rose: The art world was still very, very small, very experimental. One pole was organized around John Cage and Merce Cunningham, the other pole around the critic Clement Greenberg. . . . Samuel Beckett, whose plays were being produced in New York at the time, was very important. Cage's music and philosophy and Buddhism were very important. Cunningham's choreography and philosophy were very important. . . . It was a totally different New York City. Things were much more open and less planned and strategized. It had to do with how much energy or talent or commitment you had. It didn't have anything to do with money at all.
'It was all underground'
Kenneth H. Brown: I was an ex- Marine, I went to Columbia on the G.I. Bill. I wrote "The Brig" while I was a student at Columbia. And I passed it around from hand to hand for several years, from 1957 to 1962. Then one day I was working behind the bar in a very elegant French restaurant right off Sutton Place called La Popotte, on East 58th Street, and [Living Theatre co-founder] Julian Beck calls. He had called my parents to try to find me and they gave him the number at the bar. My customers were like the Kennedys and the people who owned the New York Times, those were the people who ate there. And I'm behind the bar in this very elegant setting and this guy calls me and says he wants to do "The Brig." I'd never heard of him, and I'd never heard of the Living Theatre.
Michael Kahn: I was a kid. We were all kids. I was still at Columbia and I was directing at Barnard. I remember I directed the French Club's production of "Orphee" by Cocteau, and I was a friend of Andy Warhol's at that time, so Andy did the set. At that time he was still working at I. Miller doing shoe advertisements.
Caffé Cino [was owned by Joe Cino], a fat Italian guy who loved theater, so he had a coffeehouse and had plays in the evening. . . . And a lot of them dealt with subjects that hadn't been dealt with before, like incest and madness. At La MaMa, Ellen Stewart began bringing in theater at night, people would come to see the play and have coffee. I don't know if it was a coffeehouse during the day or not, but I did a whole bunch of things there. Ellen just scraped by, but she was a major figure. She was a swimwear designer and her job paid for the [theater]. She was a wonderful character. When I first met her, I don't think she had a Caribbean accent, but somehow she got one.
P. Adams Sitney: Down in an off-Broadway theater, Jean Genet's "The Blacks" opened. People like Roscoe Lee Browne, Cicely Tyson, James Earl Jones — everybody was in it. I think I went three or four times. Every time I had a date I wanted to impress and I had some money in my pocket, I went to "The Blacks."
Barbara Rose: It was all underground. There was a very big wall between the practitioners, who were their own audience, and the civilians.
'You'd argue about movies more than you would argue about painters'
Robert Benton: From my point of view, the most interesting thing was this sudden influx of films from France and Italy and Sweden and Japan. They changed our notion about film. An art form which wasn't thought of as an art form suddenly blossomed. . . . You'd have dinner and you'd talk about movies more than you would talk about books. You'd argue about movies more than you would argue about painters.
Michael Kahn: American movies were not giving us anything interesting to look at visually, whereas European movies were. Like Antonioni, who had a whole new language and way of looking at things and also a very different tempo. Antonioni was the most important filmmaker to me. There was something about the vision of the world and the anomie of the world. . . . Even though we were eager and busy, there was something very attractive about anomie.
Barbara Nessim: We would go to "Jules and Jim," all those French films, and the Italian ones. You know, they were all existential. You came out and said, "What happened?"
Robert Benton: David Newman and I wrote "Bonnie and Clyde" in 1963. I had been fired from Esquire, so I left and began to try to find out what I was going to do with the rest of my life. I loved movies, I spent most of my time talking about movies, along with David, and I had told him about the glamorous life of screenwriters, which was totally made up of whole cloth. . . . Of course in those days the world was much smaller. We read a treatment to Helen Scott, who was a close friend of Truffaut's, and we wanted it to be a New Wave movie. Truffaut gave us help with it, although he didn't end up doing it because he had other commitments. Then it was turned down by everybody until Warren Beatty showed up.
Barbara Rose: Kenneth Anger's "Scorpio Rising," I'll never forget it. It must have been at Film-Makers' Cooperative. We were all interested in experimental film, anything that was outside the boundaries, transgressive, anything that wasn't your normal gray flannel-"Mad Men" thing. This was a moment in which there was still extreme revulsion against bourgeois culture, and it's the last moment in which there was.
D.A. Pennebaker: When we did "Primary" [in 1960], [Robert] Drew told the magazine that this was going to be a breakthrough behind-the-scenes film, but [none of Life's television stations] would run it. They were making so much money, they didn't need it. But filmmakers saw it and saw right away that this was where film was going to go. . . . A lot of this kind of filmmaking comes out of theater, oddly enough, because you'd watch a play and you'd watch people come out onstage you've never seen before, they're usually not well-known actors, and they talked the play through. It all had to do with recognizing the drama within the spoken word, within the reactions of people.
'Everybody was emulating Miles'
Sam Charters: [It was] the great golden, shining moment of modern jazz. We went to a little cafeteria on Greenwich Avenue, pay a buck for a beer and there was the original Miles Davis Quintet. Charlie Mingus was playing at the old Five Spot, it was just everywhere in town. Jazz musicians were hanging out with folk musicians, folk musicians were hanging out with painters, everyone was drinking a lot and we felt that we were in this damn thing together.
D.A. Pennebaker: Folk music, I had no idea about it. Because we were much more sophisticated. We were listening to Bunny Berigan and Benny Goodman. . . . So in 1965 when Albert Grossman asked me to come make a film about Dylan, I didn't know much about Dylan at all.
Kenneth H. Brown: I used to go to the Cafe Bohemia on Barrow Street and I heard the best jazz ever made in there. That's where the Miles Davis Quintet played with Coltrane. Everybody was emulating Miles, so you had to wear dark suits and you never sat down because you didn't want the crease to go out of your pants.
D.A. Pennebaker: There were a couple of places downtown, one called Nick's [Steakhouse] and the Stuyvesant Casino. And jazz bands from New Orleans would appear there and everybody would go. You bought a pitcher of beer for a dollar-and-a-half and you danced all night.
Sam Charters: The folk scene was a way of approaching our society. Yes, we sang folk songs, but it was part of an opening to what made life exciting at that moment.
Barbara Rose: If Thelonius Monk was playing, I was going. And of course Larry Rivers played jazz saxophone. [The jazz world] was a black world. Just being with a black person was avant-garde. The Village [folk] scene seemed sophomoric, like a bunch of white kids. Very square.
'It was always political'
Sam Charters: We were all committed in one way or another. How many demonstrations did we do to get Pete Seeger on TV? It was all part of the view that America should change. We didn't sing "On Top of Old Smoky" because it was a great song, we sang it because we wanted change.
Kenneth H. Brown: We were always out in the street demonstrating and getting arrested. . . . We were always putting on a play, going to a demonstration or getting someone out of jail.
Ann Charters: It was always political. And politics included sexual liberation and contraceptive advice. We're talking about a repressive and puritanical society that was denying contraception advice unless you were wearing a wedding ring. . . . Dave [Van Ronk] had a huge glass jar filled with diaphragms of all sizes, so take your pick. In the cold water flat on MacDougal Street that he shared with Sam [in 1958], I was astonished to visit them and see this huge jar very prominently displayed on the sink.
Barbara Nessim: I was one of the few women illustrators working in 1960. When I went out with my portfolio in the beginning, guys would want to know, "Why aren't you getting married?" They couldn't believe that this was something I really wanted to do. And how you deflected it was important, because you still wanted to get work.
P. Adams Sitney: For my gay friends, it was like the beginning of the universe. Because suddenly, [we saw] openly gay artists like Warhol and Jack Smith and Cage and Cunningham, Johns, Rauschenberg.
'She started to sing, and I started to cry'
Robert Redford: John Hubley was doing things in animation, Charlie Byrd I went to see. . . . I didn't see Dylan. I missed him. But [I did see] Barbra, she was before Dylan. What was the name of that place down in the Village? It started with an 'S,' a small little club. And she was just a kid. We'd just go out to see new people and so forth, and there she was. And I said, Wow. New York was fabulous in those days.
Dustin Hoffman: Streisand was going to the same acting school I was, and I was [dating] her roommate. And she said, Barbra's going to be on TV this Friday, she's going to be on this local show with Mike Wallace. I turn it on, and I remember Wallace is interviewing her and she was kind of aggressive. She was sitting on a stool chewing probably five wads of gum. And I thought she was playing the Brooklyn accent more strongly than usual, she was going for an image, and kind of trashing the whole idea of the show. And finally he says, "Are you gonna sing something?" And she takes this wad of gum, I remember she put it underneath the stool. And she started to sing, and I started to cry. It was magical.
'It was a great time to be poor'
P. Adams Sitney: For many of us, the cheapest place to eat was the Belmore Cafeteria, at Park Avenue South around 28th Street. Vegetables were 15 cents apiece, you could get a heaping plate for 45 cents and make your own lemonade by squeezing lemons into seltzer water and putting the free sugar into it.
Robert Benton: In the early 1960s, I lived on 56th Street between First and Second avenues, then on 82nd between Park and Madison. Right across from me was Lillian Hellman, and next to that there was a home for unwed mothers. . . . There was a sense of romance about living in New York. There were less billionaires per square foot. And that changes the atmosphere of a city.
P. Adams Sitney: Robert Moses was going to build the [Lower Manhattan Expressway]. His plan was to destroy what is now called SoHo. So all the businesses that could afford to, got out. Everyone knew it was doomed, so artists and various weirdos began to move into very cheap spaces. . . . I could have bought a Johns drawing if had 25 bucks. I could have bought a de Kooning drawing for 50. There was a set of [Josef] Albers prints that I loved, but it cost 60 bucks at the time.
Barbara Rose: We lived in Frank's loft at 84 Walker Street on the first floor. We had no heat and no furniture — we slept in a sleeping bag. Everyone lived illegally in their lofts. They'd sleep on a mattress and put a platform on top of it, so when the police would come you'd say, "It's my model stand." Nobody had any money at all. So you had to be together, because somebody [might have] enough money to cook chili one night. It was just crazy.
P. Adams Sitney: It was a great time to be poor. You could get a meal at Hong Fat's for under a dollar. There was still Horn & Hardart [Automat], where you could sit all night with a cup of coffee. We did a thing we called "midnight knocking." There was a rule that you couldn't leave a sandwich more than 24 hours. So at exactly midnight they'd throw all the sandwiches away. If you stood in front of your favorite, about 30 percent of the time, the guy on the other side of the window would give it to you instead of throwing it in the garbage.
Kenneth H. Brown: Larry Rivers, Amiri Baraka, Kenneth Koch, Allen Ginsberg — they were all downtown people. Uptown people like Susan Sontag and Gloria Steinem and the guy who wrote "The Paper Lion" [George Plimpton], they were the uptown scene. And they had money. I think they were kind of like the Ivy League. And we were the CCNY people, even though I went to Columbia.
P. Adams Sitney: We had nothing to do with the people uptown. Except occasionally, a guy named Doc Humes, one of the founders of the Paris Review, had a salon on Sunday so you could go up there and eat and stick food in your pockets. [You could] get meals for a week by going to Doc Humes's salon.
'Sit in a booth and just read the papers'
Walter Bernard: [Henry Wolf] became art director at Esquire in the late 1950s. He'd do these covers where he signed his name if he did it completely. So I knew there was this guy Henry Wolf. It was in 1961 that I started to look for an art school to get my portfolio together, so I went down to the School of Visual Arts to enroll, and there was a brochure [announcing] that Henry was teaching. So of course I wanted to take that course.
Robert Benton: This was before fashion magazines became catalogues. They presented extraordinary short stories in every issue, they weren't just one outfit after another. And the design of those magazines, whether it was Harper's Bazaar or Vogue or Seventeen or Esquire, was about a certain sort of style. It was a shift away from the American magazines of the '40s and early-'50s towards a more European design sensibility.
Barbara Nessim: Henry was pure. He believed in white space. He believed in simple design to tell a story. He did Harper's Bazaar and tilted the 'a.' And really understood words, and pacing.
Robert Benton: It was also a time when magazines were still a viable thing. I don't know how many magazines there were in New York but there were a lot. And newspapers. The Herald Tribune hadn't folded, so there was the Times, the Trib, the Wall Street Journal, the Mirror, the News, the Post and one other paper. We would go over to Jim Downey's around 8 o'clock and sit in a booth and just read the papers and pass them back and forth and talk and have dinner. It was a lovely, lovely time.
Barbara Nessim: I did commercial jobs for girlie magazines. "Gentleman," "Nugget," "Swank." I started in 1960 when I was still living at home [in the Bronx], and I also did work for little advertising agencies drawing handbags for $3 apiece, whatever I could get. For "Nugget" I illustrated an article by Terry Southern and people of that ilk. That's who was writing for these magazines.
'I took everyone to the Peppermint Lounge, and taught them how to dance'
Robert Benton: We played croquet in Central Park on Sunday mornings. I don't know who had the croquet set, but a group of us — Gloria, Tom Jones and Harvey Schmidt, who wrote "The Fantasticks" — would meet and have this murderous croquet game and then go off and have breakfast somewhere. . . . Gloria also invented a game called Spoons, a wonderful, lethal form of double solitaire.
Barbara Nessim: I used to like to go Latin dancing, which I still do. I used to go to the Palladium, where I saw Machito, Tito Puente, Celia Cruz, all the great Latin bands. . . . I liked to go on Wednesday night. Nobody did the Twist, so I took everyone to the Peppermint Lounge, and taught them how to dance.
Barbara Rose: The art world was hip. We liked jazz, and we liked rock-and-roll, which was very tied to pop art. I remember going to the Peppermint Lounge with Jasper Johns to dance the Twist when Chubby Checker was there.
Walter Bernard: We'd see all the foreign movies, obviously, especially French and Italian movies were a big deal. But you could go to off-Broadway and see "The Fantasticks," "Waiting for Godot," Albee. There were still coffee shops where people would read poetry or play music. Even Broadway, you could stand for not very much money. I think first thing I saw was "West Side Story."
'And that was it'
Dustin Hoffman: I remember when I heard Bob Dylan the first time, I didn't think he'd go anywhere. But I heard him when he hadn't found his own voice yet. He was still doing Woody Guthrie. But I was a snob also, because I preferred modern jazz. Duvall and I were kind of the same in [that] regard.
Kenneth H. Brown: There was an actor in "The Brig," Steven Ben Israel, and he was a comic in those cafes on MacDougal like the Gaslight when Dylan was singing there, so he was a friend of Dylan's. So Dylan came to see "The Brig" in '63 and Steve introduced me to him, and he said that "The Brig" was the first play he ever saw. He said, "Are all plays like that?" And we laughed and said, "No, Bobby, all plays are not like that." I don't know if he ever saw another one.
Sam Charters: Bobby was sucking up to everybody. I had published "The Country Blues" in 1959, so I was one of the hot names that Dylan hustled. [When] I started working for Prestige Records, Dylan would show up wanting to play piano. But when he started writing the songs, it was different. Dave and I would drink, we'd hit the Irish whiskey, and around 2 o'clock in the morning, he would start trashing Dylan. But I remember one night he said, "You know, I introduced Dylan at the Gaslight, and he sang "Hard Rain," and I just went outside and stood in the street and said to myself, 'None of us wrote that song. He was the one who wrote it.' And that was it.


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The day intends to remind people of the tragedy of the transatlantic slave trade. It gives people a chance to think about the historic causes and the consequences of slave trade. This year the day has special meaning as 2011 is the International Year for People of African Descent.
In 1998 at its 29th session, the UNESCO Executive Board proclaimed 23 august the International Day for the Remembrance of the Slave Trade and of its Abolition. The observance was first celebrated in a number of countries, in particular in Haiti, paying tribute to the night of 22-23 August 1791 when the uprising of slaves took place in Santo Domingo island (now Haiti and the Dominican Republic), an uprising began which set forth events which were a major factor in the abolition of the transatlantic slave trade.
The United Nations Educational, Scientific and Cultural Organization (UNESCO) reminds the international community abut the importance of commemorating this day. The day also pays tribute to those who worked hard to abolish slave trade and slavery throughout the world. This commitment and the actions used to fight against the system of slavery had an impact on the human rights movement.
The day is not to be confused with the International Day for the Abolition of Slavery, observed annually on 2 December.
Get Involved
Each year the UN invites people all over the world, including educators, students and artists, to organize events.
Educators promote the day by informing people about the historical events associated with slave trade, the consequences of slave trade, and to promote tolerance and human rights.
Schools and youth organizations are invited to organize, promote and sustain activities in co-operation with cultural institutes, historians and other specialists and the media, to increase awareness of the slave trade and slavery, its causes and consequences, including modern forms of slavery, to encourage solidarity with the peoples that have suffered because of slavery and to celebrate the African Diaspora.
* International Day for the Remembrance of the Slave Trade and of its Abolition
* Message from Director-General of UNESCO
* Permanent Memorial in Honour of the Victims of Slavery
* Visit UNESCO's Slave Route project
In 1994 UNESCO launched the "Slave Route Programme" which mostly aimed at highlighting the economic, social, cultural and demographic transformations resulting from the transatlantic slave trade.
Additionally, it sets the stage for analysis and dialogue of the interactions which gave rise to the transatlantic trade in human beings between Arica, Europe, the Americas and the Caribbean.
* 2011, International Year for People of African Descent
The Year aims at strengthening national actions and regional and international cooperation for the benefit of people of African descent.
* History in dialogue on memories of the slave trade and slavery
The Brussels based United Nations Regional Information Centre for Western Europe - UNRIC provides information on UN activities to the countries of the region. It also provides liaison with institutions of the European Union in the field of information. Its outreach activities extend to all segments of society and joint campaigns, projects and events are organized with partners including the EU, governments, the media, NGOs, schools and local authorities.
United Nations Regional Information Centre for Western Europe (UNRIC Brussels)
Residence Palace, Rue de la Loi/Wetstraat 155, Block C2,7th and 8th floor, Brussels 1040, Belgium
Tel.: +32 2 788 8484 / Fax: 32 2 788 8485


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Food & Drink
Fodor's 100 Hotel Award winners
By Katia Hetter, CNN • Updated 27th September 2013
View Gallery
8 Pictures
Whether you're seeking a blissful beach retreat, a funky conversion or the perfect exotic hideaway, there's a hotel for nearly everyone on the third annual
Fodor's 100 Hotel Awards
, released Friday.
This year's winners came from 43 countries, with Europe dominating the list with 30 hotels and the United States coming in second with 28 hotels. The list also includes newcomers from Myanmar and Colombia.
Fodor's 500 global contributors nominated 4,000 hotels from the 17,000 properties they review annually, which include Fodor's Choice picks. Fourteen Fodor's editors chose the winners from the nominations.
Award winners fell into one the following eight categories: Blissful beach retreats, creative conversions, culinary gems, enduring classics, exotic hideaways, home suite homes, local characters and sleek city addresses.
"What's really nice about this list is there's something on this list for everyone. It's not just about out-of-reach options. There are interesting places for people to stay at any price point," says Arabella Bowen, Fodor's Travel executive editorial director.
CNN.com asked Fodor's to choose one hotel in each category to recommend to our readers. Click on the gallery to see if you agree with their choices.
A year of the world's
Best Beaches
There's a perfect beach for every week of the year. Join us on a 12-month journey to see them all
Go to the best beaches


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Journal of the Chilean Chemical Society
On-line version ISSN 0717-9707
GONG, LEI; LUO, LAI-TAO; WANG, RUI and ZHANG, NING. EFFECT OF PREPARATION METHODS OF CeO2-MnOx MIXED OXIDES ON PREFERENTIAL OXIDATION OF CO IN H2-RICH GASES OVER CuO-BASED CATALYSTS. J. Chil. Chem. Soc. [online]. 2012, vol.57, n.1, pp.1048-1053. ISSN 0717-9707. http://dx.doi.org/10.4067/S0717-97072012000100020.
The CeO2-MnOx mixed oxides were prepared by deposition-precipitation (DP) and surfactant-templated (CB) methods, and then used as the support of CuO/ CeO2-MnOx catalysts. The samples were characterized by means of XRD, BET, H2-TPR, CO-TPD and XPS. Results show that preparation methods of CeO2-MnOx support have a direct effect on the physicochemical properties and catalytic activities of CuO/CeO2-MnOx catalysts for the CO preferential oxidation in H2-rich gases(CO PROX). CuO/CeO2-MnOx (CB) catalyst exhibits higher CO conversion and stability in H2-rich gases than CuO/CeO2-MnOx (DP), with 100% conversion of CO at 140 °C after a temperature cycle, which indicates that CeO2-MnOx (CB) as support of CuO based catalyst is more useful for CO PROX reaction than CeO2-MnOx (DP). Compared with CuO/CeO2-MnOx (DP), there are richer oxygen vacancies and more Mn4+ species on the surface of CuO/CeO2-MnOx (CB), and stronger interaction between CeO2 and MnOx in it. More amounts of active copper species and complicated transfer of electrons density on CuO/CeO2-MnOx (CB) also favour the activity of the catalyst.
Keywords : CuO/CeO2-MnOx catalyst; Preparation method of CeO2-MnOx; CO oxidation; In H2-rich gases.


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This activity investigates how you might make squares and pentominoes from Polydron.
Make a cube out of straws and have a go at this practical
How can you put five cereal packets together to make different
shapes if you must put them face-to-face?
Arrange nine red cubes, nine blue cubes and nine yellow cubes into a large $3$ by $3$ cube.
No row or column of cubes can contain two cubes of the same colour.


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Trackballs is a marble game inspired by the 80's Atari classic Marble Madness.
By steering a marble ball through a labyrinth filled with sharp objecs, pools of acid, and other obstacles the player collects points. When the destination is reached you continue on to the next, more difficult level. - unless the time runs out.


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Welcome to the CRG Discussion Forum!Forum registration problems: Make sure you enter your email correctly and you check your spam box first. *Then* email KurtS2@gmail for help.Classified ads are not allowed on the forum.
Back in the day three words:Body by Fisher
Quote from: lakeholme on February 05, 2013, 01:03:41 PMBack in the day three words:Body by Fisher^^^^^ What he said !! ^^^^^As far as gas prices go I remember pumping gas at my daddy's service station for 19.9 a gallon. That's 19 cents not a dollar 99. I was 5 maybe 6 years old but none the less pumping gas. I think premium was 23.9 a gallon unless a gas war was on.
In much of the Muscle Car Era, however, Ford was the Manufactures winner in NASCAR for a variety of reasons...
Quote from: lakeholme on February 05, 2013, 08:06:49 PMIn much of the Muscle Car Era, however, Ford was the Manufactures winner in NASCAR for a variety of reasons...David Pearson was one of those *reasons*.. while Petty Enterprises and King Richard helped give Chrysler more than their share..
I have had both Mustang and Camaro, I can tell you first hand GM quality way way better, Mustang bottom of trunk was top of gas tank, lots of body vibration on mustang, subframe on Camaro I feel was much better than fords shock towers. By the way to grease front fittings on mustang you had to cut holes in shock towers (look at any original mustang you will find home made holes in towers) Mustang does not handle as good or ride as smooth and even though Camaros have there typical rust spots a Mustang will rust EVERY WHERE places that you would not believe or at least I couldn't. Hence the nick name Rustang! Don't get me wrong I liked my Mustang too they just are very poor Quality. Never had a Cuda
I couldn't believe the poor quality of welds on my 1970 Challenger! IMO GM was way ahead of both Ford and Chrysler in production & assembly operations. Chrysler engines and transmissions were great though.


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|Nom du fichier : The Punisher - Auteur : ANO
|Cheat Mode
Get a gold medal rank on the indicated level to unlock the corresponding cheat in an apartment sub-menu. You cannot progress in the game if any cheats are enabled.
Crazy Deaths: Lucky's Bar level
Gun Splitters: Crack House
Unlimited Ammo: Pier 74 Revisited
Invulnerability: All levels
No Reloads: Stark Towers
One Shot Kills: Ryker's Island
Unlimited Slaughter: Takagi Building
Special Kills
When you grab enemies with skulls over their heads, you can get information from them. In order to do special kills, you must walk over to a purple skull shining out of the ground with the enemy. To do this, you must grab him and take him over to the purple skull. Then, use his own method.
Defeating The Russian On The Island
When you get off of the gondola, take a right into the shed. Do not go to the launch pad yet. Get the ammunition for the sniper rifle. Leave the shed and make a right to the steps to the missile launch pad. Walk up the steps and the Russian will say 'We have to stop meeting like this, Big Boy!'. He will stay on the catwalk above, throwing flaming barrels at you. Shooting him is useless. Watch the Russian through your more precise aiming (it is easier this way). When he lifts a barrel, he will walk a little way, lift it above his head, and it will catch fire. Shoot the barrel while it is on fire before he throws it at you. It will explode in his face. After two or three explosions, guards will begin to appear from the right and left sides of the map. Take them out if they give you a problem, however try to focus on the Russian. After the Russian's life gets half-way down, an intermission sequence featuring him catching ablaze will play. He will then jump down and chase after you. Get him to chase you into the piles of barrels scattered in the corners of the map. There is one barrel in each pile that will light (usually the brightest one). Get the Russian to walk into the barrel and it will ignite. Then, shoot the barrel to blow it up on the Russian. Be careful not to get too close or you will sustain damage. After about four to five explosions, he will be defeated. If the Russian runs into a guard, the guard will also catch fire.
Defeating Jigsaw
Jigsaw is quite possibly the easiest fight in the game (if played smart). First, take out Jigsaw's jet pack. Simply walk over to a cargo crate. Make sure that you can see Jigsaw, but he cannot see or hit you. If you wait, Jigsaw will come to you. When he gets close enough, run under him. Then, just shoot his backpack and stay under Jigsaw. After a little cat and mouse, an intermission sequence will play. Jigsaw is now on foot. Jigsaw's way of defense are ten fast blasts and a large plasma ball. You will need to run in between boxes to throw him off your path. Run around until you see a guard, then finish him quick. The guard will drop a RAM explosive. These are used by walking up to a wall and pressing Secondary Fire once (while RAM is selected). The charge is now armed and ready for detonation. Get Jigsaw's attention by letting him see you. He will run after you. When he gets near the RAM, press your Secondary Fire again (maintain safe distance) and an explosion will blow off a piece of Jigsaw's armor. Repeat this procedure until Jigsaw falls to your punishment.
Defeating The Chopper at Stark Towers
When you reach this part of the level, you may be compelled to take the sniper rifle to your left. You can if desired, but it is not required. If you want to get out quick, run to the middle rock near the edge (where the chopper is flying). You will find an anti-tank launcher (rocket launcher) and what may be an unlimited ammo cache. Try to aim for the man with the rocket launcher in the chopper (usually on the right). After you hit him, keep firing missiles at the chopper. Make sure that you strafe (or at least keep moving), as there are snipers in almost all directions around you.


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Mandy Moore, an American singer, songwriter and actress, was the guest on the first episode of the season on the U.S. version of Who Do You Think You Are? Her discoveries turned out to be much different from what she had imagined they would be.
Mandy Moore grew up proud thinking she had deep roots in England. But she was left reeling on the season premiere of Who Do You Think You Are? as she traced her family tree instead to Australia and the 'hell on earth' of workhouses in Ireland.
The actress was filmed with tears running down her face after laying flowers for her four-times great-grandmother, Mary Flynn, around the walls of the workhouse she died aged just 40, having been told she would have had no wake, funeral or marker for her grave.
You can read more in an article by Heidi Parker in the Daily Mail at: https://dailym.ai/2AS35e5.


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Government term
Displaying 1 - 1 of 1 results.
Budget 2019 allocates $10.4 billion of the four-year capital allowance. This includes record investment in a 10-year school property modernisation programme, an investment plan to fix our hospitals and mental health facilities, and investments in KiwiRail and the Provincial Growth Fund.
- Hon Dr David Clark


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Ok so i was a little down in my last post. I guess sometimes the negative thoughts can really take hold. Thankfully i am feeling stronger again. Since then i have gone out driving! This was fantastic progress for me. I sat driving lessons when i was about 19 but due to everything that happened i ended up giving them up and never sat my test.
Back then i was at a decent level. I felt quite confident and could drive with relative ease. I would like to remind any Americans reading that we all drive with stick cars and we need to go through A LOT to get our license haha. If we drove automatic cars i would be fine. I would be driving by now. I have driven automatics before and i love it, but some people seem to think it can be quite boring and like to drive a manual car.... anyway....
My boyfriend decided it was maybe a good idea to try going in the car instead of walking all the time. Obviously in the car you can get further faster, but also he thought i might feel safer in the surroundings of the car. So we went out and it was me who got into the drivers seat. I warned him that i would TRY to drive but i wouldnt be going very far. Being in the car i would reach the end of my comfort zone much quicker and this made me nervous. I told him i may only drive to the bottom of the street. So off we went and in seconds i was at the bottom of the street and just kept on going. I drove around the corner and into the next street where i then parked up, reversed around the corner and drove home. I was anxious but i was very proud of myself. I was also hoping this would be enough to satisfy my boyfriend that day but he quickly said 'well done... now lets do that again'. Arrrgghhhh!!! I wanted to bolt indoors. But instead i told him i would sit in the car for a while and just chat. See how i felt in a few minutes. So, we sat and chatted and all the while i was thinking 'ok that wasnt so bad, i didnt panic, but i dont really want to do it again'. Why are our minds like this!!! Finally i started the car again and made the same small trip. To be honest on the first attempt my driving was pretty shocking haha. I have lost the confidence i once had and was all over the place, but on the second attempt my boyfriend said i was much better and much more in control.
After the second trip my boyfriend was satisfied that i had tried enough for the night. I was relived! but also i was still really proud of myself for doing it at all. He now thinks that this may be the answer. Maybe i should focus on the driving more and eventually i will be driving around without a care in the world. Ok... so maybe thats a little presumptuous but i can understand his way of thinking. I am certainly going to go out driving again and try to push the boundaries. However, i will also continue to walk as i dont want to end up relying completely on the car.
EMDR... well it didnt happen again. I feel bad as i know many people are waiting to hear the outcome of my sessions but Alison is a busy nurse and if often called into work at the last minute. Again, i am in no big rush to go through the second session anyway as the first one was a little scary lol. It will happen though... eventually!
I am basically at the stage of trying to make myself go out everyday. As the fall sets in and the winter approches, i am determind not to go into hibernation. Even if i only walk around the block each day, i will just be happy knowing that i did SOMETHING.
Another reason i wanted to write is because i have another download that i would like to share. Many people will have heard of Paul McKenna. He began in Britain as a popular hypnotist and had a show on tv. Since then he has moved on to using NLP and TFT curing people of phobias etc. He is extremely popular and his books and self help cds sell millions. I have recently purchased his download for 'curing' Agoraphobia. Like with many of these things i have no idea if it will work but i figure that anything is worth a try. It comes in 2 parts, firstly the Introduction and then the 'Mind Programming Technique'. He suggests listening to it everyday for half an hour and in 2 weeks you will notice a different. I only bought it yesterday so have only listened twice. Anyone who would like a copy please Email me. Untill next time... bye all x
Saturday, 30 August 2008
Ok so i was a little down in my last post. I guess sometimes the negative thoughts can really take hold. Thankfully i am feeling stronger again. Since then i have gone out driving! This was fantastic progress for me. I sat driving lessons when i was about 19 but due to everything that happened i ended up giving them up and never sat my test.
Posted by Lynn at 15:04 5 comments
Wednesday, 20 August 2008
Long Overdue Catch Up
Well as the title says, i feel this update is long overdue. I have been meaning to write for so long but kept putting it off. The summer is ending. The season i love the most, the season where i always make most progress. Unfortunately i don't feel i have mad any progress at all. And i guess thats why i avoided writing. I like to come on and be upbeat and positive and show people that we can get through this. I guess thats not realistic though. We all know that with agoraphobia and panic attacks it can be like a roller coster ride of highs and lows...
The summer has been nice enough. I done lots of Sunbathing in the garden. Had the kids A LOT. And spent time with friends. In those departments i would say things have been good. But as for getting out and about... its just not been happening!
Again i am at the stage where i feel utterly frustrated with myself. I want so much for things to change and yet i feel i have no clue how to fix this. I mentioned before that i had split up with Chris. At the time i didnt want to go into detail too much, but to be totally honest it was because i had met someone else. This guy came out of the blue. I dont know if i believe in love at first sight but this came pretty close to that. He has come into my life and i have fallen in love. This should be a wonderful and exciting time but like everything else in life it brings its own problems. The relationship became very serious very quickly. We are already at the stage of wanting to live together.... but how can i???
I explained the agoraphobia as best i could but we have come up against some issues. OK so firsty he decided we should go walking every night we are together. I was scared but agreed. I told him not to have an expectations but just to see where we ended up... and that it may literally only be a few metres from my house. Although i dreaded it our first walk went well. We didnt do far but he was happy that i had tried and said he was proud of me etc. Since then different things have happened. I have had bad days where i dont want to go out at all... he doesnt really understand and has called me lazy (havent we all heard that before). Other scenarios... we are out walking and i tell him ive done enough, i dont feel great and he can seem a bit frustrated. So obviously then i feel crap. Or we are out and he will say.. lets go further and go into a big speech about how im not trying. Again i go home feeling defeated and weak. Its horrible. It has now got to the stage that i dread him asking if we are going a walk. I sat him down and tried to talk about this. I explained that putting too much pressure on me will only have a negative affect. He thought that maybe the pressure would give me a 'kick up the arse' but said he would stop. I have made him sound bad. That is not the case at all. He makes me happier than i have been in any relationship. I get so much affection and feel totally loved and its the most amazing feeling. But the agoraphobia is definately causing problems. My head feels so messed up with ALWAYS thinking about what i need to do. I need to see a doctor face to face, I need to get to a dentist, i need to get out socialising, i need to get to my boyfriends house, i need to go for drives with him. I want us to have a 'normal' relationship. A couple of weeks ago i had a low point where i felt depressed. It is very rare i get this way but i was feeling realy low and scared that my boyfriend wont put up with this and will leave me. I have lightened up a little and know that i cant control what will happen but the fear is definately still there. We havent gone out walking in a few weeks now. Firstly i was sick. I had the flu and a unrine infection so obviously i wasnt fit enough, and then he went on vacation for a week. Now he is back and turned up yesterday saying... what are you wearing, that doesnt look like clothes for a nice big walk... again the dread washed over me. I guess i am looking for advice. How on earth to i deal with this. How best can i explain this. In the past boyfriends have been fine with my situation and happy to lounge about at home with me. Its fantastic that i have met someone who wants me to get better and wants more for our relationship. He has talked about wanting marriage, holidays, weekends away. I want all those things too but it seems so impossible!!!!
Ok so thats the first problem constantly plaguing my mind. The next thing is that i feel my condition is getting worse. The negative thoughts are always there repeating themselves.. what if im getting worse? What if i go to walk out the door one day and literally cant do it? What if i have a major freak out when i am outside? What if, What if, What if!!! Tonight i have realised that the pressure is whats causing this. I want to get better SO MUCH that the task seems SO MUCH GREATER. It sucks! But i remain positive and i say this is a good thing. I am getting frustrated. I want to kick the agoraphobias ass and not let it beat me. I am so sick of it now. I am sick of people saying... aww you used to be so much fun, you were out all the time, or, Awww its such a waste of a life. (i dont think that way at all, but i have had it said to me). I used to have a determination that would come over me and and i would think 'OK i am going out'. I dont get that as much anymore, if at all! Tonight the ice cream van came into my street and i didnt even want to make the short walk out there. I forced myself. I was literally shaking but i done it. That would be easy during the day but somehow im rubbish at night. Is it just me???
I have included a couple of photos. Just to explain the bottom one is my cousin Siobhann and i. She was here for 2 weeks during the summer. Shivv, as we call her, is into Gothic Style and decided to give me a make over, hence the look in the top picture.
Ok what else has been happening... I phoned Alison the EMDR girl. A lot of people have been interested to find out how my second session went. It still hasnt happened yet. To be honest Alison has been busy with her own work, and away on Vacation so we havent been able to schedule anything. But admittedly i cancelled an appointment due to fear. I am dreading the session as it scared me the first time but it is now booked for this Friday at 1.30. Whether or not we just chat about problems or actually do EMDT remains to be seen.
I have now started to see a 'support worker' every Wednesday at 2.00. I see a women called Liz and she is really lovely. Most of our initial appointments were spent chatting about my thoughts, anxieties etc. We are looking to go walking each week and last week was our first walk together. It was once again a short walk, but i was glad i managed that. Liz was happy too and felt i had made a great improvement. The week before i had been far to anxious to go out and sat through the entire appointment in a state of panic.
Life has most certainly been getting me down at times. Wanting so much for myself and my boyfriend, the worry of getting worse, the fear of never getting better seem to constanly fill my head. Weirdly though i remain postive, and most of the time i am bright and happy. I tell myself that i wont let this win and that somehow the determination will continue to make me TRY. Try and try again. I think i mostly felt down due to the fact i am rubbish in the winter. I seem to go into hibernation. Its too dull and dreary to motivate me. I dont want to walk about in the rain. I feel more anxious i guess. And suddenly the summer has gone and the gloomy months are approaching. What if i revert back to my old ways or no routine... sleeping all day and being up all night. I only hope that i wont LET that happen this time.
On that cheery note i will say goodbye haha. I hope i havent depressed everyone. I needed to get everything off my chest. From writing this i actually feel so much lighter and less under pressure. I always kick myself for leaving my updates so long. I hope everyone is well. Christine, Jennifer, Lisa, Anna, Rachel, Tashi and the rest. Thinking of you all xxx
Posted by Lynn at 20:50 1 comments


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Oilfields brace for Cyclone Narelle
Date January 11, 2013 38 reading now
Aleisha Orr
RESOURCES companies are beginning to take precautions in preparation for Cyclone Narelle, which is approaching Western Australia's North-West Cape.
Narelle, which late on Thursday was about 760 kilometres north of Karratha and 900 kilometres north-north-east of Exmouth, is a category three severe tropical cyclone and is likely to develop further.
A spokesman for Apache Energy said the company had begun preparing for Cyclone Narelle.
''Normal preparations include the making safe of all facilities in the cyclone's forecast radius to gales, and the evacuation of non-essential personnel from offshore operations in the area, which include Varanus Island,'' he said.
''The Stag and Van Gogh oil fields are moving to shut-in, while production is continuing from the Varanus Island and Devil Creek gas hubs.
''Apache will continue to closely monitor all facilities during the passage of the cyclone and further updates may be provided.''
Although a spokeswoman for Woodside, which has a number of operations in the area, said the company would not confirm any disruptions unless there was a material impact to production, she also confirmed the cyclone was being taken into consideration.
''Woodside is taking the necessary precautions to safeguard our people and assets in response to tropical Cyclone Narelle,'' she said.
Read more: http://www.theage.com.au/business/oilfields-brace-for-cyclone-narelle-20130110-2ciww.html#ixzz2Hc0LzsmO
oilfields brace for cyclone narelle
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The East Ohio Soccer Officials Association is offering a soccer referee class from 6 to 9 p.m. July 22-Aug. 1.
The classes will take place Monday-Thursday at Ohio University-Zanesville with a field day Aug. 10 at John Glenn High School.
To register, go to officials.myOHSAA.org and create a profile.
For more information, contact Steve Wootton at 740-260-0538 or email@example.com.


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To get the most of your SINGER22.com shopping experience, we recommend upgrading your browser.
L*Space can be "described as sophisticated beach chic, glam surfer and most definitely fashion-forward swimwear,†as stated from the company website. In fact, L*Space as been recognized by SIMA's (Surfwear Industry Manufacturer's Association) swimwear brand of the year for five consecutive years! Also, in 2010 Monica Wise was named Mercedes Benz designer of the year.
L*Space bathing suits are constructed of only the highest quality of fabrics with sophisticated prints and fits that guarantees you'll be looking your best at the beach. While Monica takes pride in creating fantastic suits, she allows the customers to showcase their personality by offering dramatic one-pieces as well as mix-and-match bikinis. L*Space is the leader in the fringe bikini trend, which isn't going anywhere any time soon.
Many celebrities are huge fans of the brand and show off their beach bodies all year long in these stunning suits. Ashley Tisdale, Naya Rivera, Kate Hudson, Cameron Diaz, Nicole Kidman, Rihanna, Kourtney Kardashian, Gwen Stefani and tons more are fans of L*Space. They have been featured in popular media outlets such as People Style Watch, Coastal Living, Life & Style, Marie Claire, InStyle, Us Weekly, Cosmopolitan and more.
Customers can find L*Space bathing suits at specialty stores and boutiques throughout the United States and internationally as well as many online retailers.


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a possibility for instructors to manage media files outside of D2L: Kaltura's Media Space.
MnSCU is working on a system for media management available at this stage specifically for faculty:
From: Lesley Blicker [mailto:email@example.com]
Sent: Monday, August 19, 2013 4:44 PM
To: Desire2Learn Campus Trainers
Cc: Todd Digby
Subject: Recording of MediaSpace (Kaltura) Update – from Friday, Aug 16
Here is the recording from the session Todd Digby facilitated last Friday. https://mnscu.webex.com/mnscu/lsr.php?AT=pb&SP=MC&rID=36606512&rKey=a145adbfd4947762
It's the update of the Media Management System project, using Kaltura's Media Space. The first 21 minutes (approx.) are of Todd showing how Media Space works, including how to upload caption files (if you have one), and just about everything there is to do in terms of uploading, recording, and managing files.
Starting at 21:50, Todd provides an update in the project status including when all faculty could expect to have access to MediaSpace. Thereafter, he addresses several questions from those in attendance.
If you want to see the questions that were asked, be sure to open the Chat window by clicking on the red box with the Chat bubble in the upper right hand corner of the screen.


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This site is the archived OWASP Foundation Wiki and is no longer accepting Account Requests.
To view the new OWASP Foundation website, please visit https://owasp.org
Category:OWASP Communications Project
This Project has been identified as an orphaned one. If you find interest in assuming its lead, please contact the Global Projects Committee.
Joining the Project
If you are interested in volunteering for the project, or have a comment, question, or suggestion, please join the Communications [mailing list]. Project Lead is Neil Rerup of Pacific Data Bank Security. Email: [email protected] . Telephone: 604-731-5046.
Communications Overview
The purpose of the OWASP Communications Project is to communicate the OWASP message about importance of Web Application Security to all Business Owners, Project Managers, Application Architects, and Developers in industry, government, and education fields.
The problem that has arisen over the life of OWASP has been that the conversations have been amongst the 'converted' but hasn't been communicated out to the general public. As a result, the message is being scattered or not being understood properly. By organizing the efforts around communicating OWASP's message, it should assist all individuals, groups, and organizations that are affected by Application Security.
In short, this project is about dealing with the 'business' of application security. There are other technical projects active within OWASP, but the knowledge of those projects is limited. This Communications Project will give greater exposure to those projects and help communicate their benefits.
Project Details
What does this OWASP project offer you?
This category currently contains no pages or media.


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Penn State's veteran students eligible for priority registration for spring 2014
Penn State's veteran students eligible for priority registration for spring 2014
UNIVERSITY PARK, Pa. – Veterans who have been honorably discharged from all branches of the U.S. military will be eligible to sign up for priority registration for Penn State classes beginning this September for Spring Semester 2014. Once the system is in place, qualifying students need only fill out and return a form to receive priority registration.
About 3,500 veteran and active-duty military students are using their G.I. Bill benefits to earn degrees at Penn State, according to the University's Office of Veterans Programs (OVP). As more troops return from Iraq and Afghanistan, enrollment is likely to increase. The University's actions foreshadow the possible passage of legislation on the issue.
"We certainly have a deep interest in assisting veterans in accomplishing their educational goals," said Penn State President Rodney Erickson. "They definitely deserve our gratitude, praise and admiration. On a more practical note, our veteran students are tied to a set timeframe for degree completion, so this action provides them with the opportunity they need to gain an education."
In March, Penn State's University Faculty Senate approved the addition of veterans to the categories of students who receive priority registration. The idea originated with faculty members Peter Capelotti and James Ulinski at Penn State Abington. Both were instrumental in implementing priority registration for veterans on that campus within this past year.
Once the need was recognized, according to Allen Kimel, faculty senator and assistant professor of materials science and engineering, there was no question that it should be addressed University wide.
"On the G.I. Bill, students who are veterans have a certain amount of money, a certain way they can use it, and a certain amount of time in which to use it," Kimel said. "The concern was that they wouldn't be able to finish up in the eight semesters allotted by the bill, because many courses fill up quickly. Also, some veterans are still in the reserves, so they need some flexibility with classes and with these requirements. Priority registration will help address these issues."
Brian Clark, veterans office director, noted that the timing of Penn State's new policy is fortuitous. Legislation introduced by state Rep. Thomas Murt, (R-Montgomery County), which recently passed the Pennsylvania House of Representatives, will require all institutions of higher education in the Commonwealth to provide priority registration to veterans. Penn State's Office of Governmental Affairs has been working with Murt to ensure that the University's policy complies with the proposed legislation.
"I commend Penn State for its leadership on this important issue," said Rep. Murt. "Our veterans have sacrificed and earned an important higher education benefit, and it is fitting that our institutions of higher education do everything they can to ensure the success of our veteran students. Penn State's policy and my legislation will go a long way toward helping veterans achieve their educational goals."
Murt is a veteran, having served in the U.S. Army Reserve from 1990 to 2008. He was called to active duty in 2003 and served in Iraq. For his service in Iraq, he received the Army Commendation Medal. In 2008, he retired as a staff sergeant from the Army Reserve.
OVP Director Clark noted that the University's challenge is to now get word out to veterans that priority registration is available at Penn State, because currently the University does not know if a particular student is a veteran unless that student volunteers the information.
University Registrar Karen Schultz said that "even if veterans self-identify, the current student records system does not track veterans. However, since March, we have been working on a modification to the system that should be completely in place by registration for spring 2014 classes."
To start the process, qualified students must fill out a form and submit it along with a copy of their DD-214. The form and instructions will be available within the next two weeks on the OVP website, and also may be obtained from the veterans certifying officials at each campus. Once the information is entered into the system by the OVP, qualified students automatically gain early scheduling access, said Schultz.
Currently there are several categories of students at Penn State who are eligible for priority registration. These categories include students with disabilities, students in the Schreyer Honors College and student athletes. The rationale for extending priority registration varies depending on the group, according to University officials. For instance, student athletes may face restrictions on when they can schedule classes due to the team practice times.
"In the case of veterans, who can receive tuition assistance only for a limited number of semesters, we want to ensure that they can register for the classes they need to make appropriate and timely academic progress toward their degrees," Erickson said.
Penn State's Office of Veterans Programs offers benefits certification, general counseling, advocacy and outreach assistance to University Park and World Campus student veterans. Each Penn State campus also has certifying officials to handle the reporting and monitoring process used to obtain federal educational benefits, as well as adult student counselors who work with student veterans to provide assistance and information.
The University has been recognized as a military-friendly school by G.I. Jobs, Military Advanced Education and Military Times.


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CLEMSON, SC – The Clemson women's basketball won for a third straight time as they topped Samford, 63-51, in Littlejohn Coliseum on Saturday afternoon. Clemson (4-7) has now won four out of five games in December, with all four wins coming by double-figures.
Samford (5-5) knocked a 15-point halftime deficit to just two points, but the Lady Tigers held strong and pulled away with a 14-4 run midway through the second half to ice the win.
The Lady Tigers were outstanding in controlling the paint, outscoring the Bulldogs 40-18 and outrebounding them, 42-24. In fact, of Samford's 32 missed shots, Clemson corralled 30 of them, surrendering just two offensive rebounds to the Bulldogs. The 24 rebounds allowed is the tied for the seventh-fewest all-time, and the fewest since 2009, when Charleston Southern only had 24 boards.
"This was a great team win," said Head Coach Itoro Coleman. "I thought we played well, especially in the beginning. We came out with a lot of energy. We were able to rebound the ball well and get some easy baskets. we finished with 40 points in the paint, and not all from the post players."
During their three-game winning streak, the Lady Tigers have made a concerted effort to take the ball to the rim, taking a total 14 three-pointers, while shooting 69-134 (.515) from inside the arc and attempting an average of 28 free throws per game.
"I think we're doing a better job of taking good shots," explained Coleman. "For us, a good shot is getting the ball inside and get to the paint, and then getting to our mid-range game. We'll hit the three's once they are there, but we don't want to settle."
Clemson held their eighth opponent of the season below 60 points, just one fewer than their total all of last season, and one more than the whole 2010-11 season.
Chancie Dunn scored 14 points to lead Clemson, the second-best output of her career, and also pulled down six rebounds. Nikki Dixon had 13 points, her sixth straight game in double-figures, and had nine of those in the second half. Quinyotta Pettaway also hit double-figures and pulled down 11 rebounds for her second double-double of the season and sixth of her career.
Aisha Turner added nine points and two assists in a team-high 35 minutes. Charmaine Tay made her debut for Clemson with seven points, seven rebounds, and two steals in 31 minutes.
The Lady Tigers scored the first two hoops of the game, the first coming on a Natiece ford put-back 25 seconds in, an indication of how the game would go. Clemson would stretch a lead to 16-8 ten minutes after scoring eight straight points over a four-minute span. The lead grew to 13 with less than a minute when Kelly Gramlich knocked in a perimeter jumper off an inbounds play. Turner hit a pair of free throws just before the break to give Clemson a 32-17 lead at the half.
Samford's potent three-point offense didn't stay down for long in the second half, as they hit five of their first six attempts to cut Clemson's lead to two at the 10:25 mark before Ford and Dixon struck with layups to push it back out to six. Clemson was able to push the lead to nine with five minutes to play on a pair of Dunn freebies.
Defensively, Clemson did not allow a field goal in the final 3:48 of game time on their way to the 12-point win.
The game was Clemson's final non-conference meeting, as they'll pick up with North Carolina on December 30 after breaking for the holidays. The ACC has moved to an 18-game regular season for the women this season.
September 29, 2020
September 28, 2020


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Think about digital devices in your possession and see if you agree with this characterization of their development. Digital devices are increasingly:
- Autonomous: This means they act on their own, often without user confirmation. They are self-updating (downloading patches, firmware) and self-configuring (think zeroconf in IPv6). Users could potentially alter this behavior, but probably not without breaking functionality.
- Powerful: A cell phone is becoming as robust as a laptop. Almost any platform will be able to offer a shell to those who can solicit it . There is no way to prevent this development -- and would we really want to?
- Ubiquitous: Embedded devices are everywhere. You cannot buy a car without one. I expect my next big home appliance to have network connectivity. Users can't do much about some of these developments.
- Connected: Everything will be assigned an IPv4 (or soon) an IPv6 address. Distance is seldom a problem. Every digital maniac is a few hops away.
- Complex: I am scared by the thought of running Windows Mobile on my next phone. Can I avoid it? Probably not. How many lines of code are running on that mini-PC -- I mean "phone" -- I'll be using?
In my opinion, this digital world is increasingly resembling the analog one. In fact, those five attributes could describe people as easily as complex machines!
The key factor in this new world will not be static vulnerabilities, but dynamic threats. The number of opportunities for threats to play havoc will vastly dwarf the chances for defenders to address vulnerabilities.
Think about how we deal with security in a typical city. I call it the "local police model."
- Police can never prevent all crimes, although they can try.
- Police more often respond to crimes. They proceed to track and jail criminals.
- By prosecuting criminals, the justice system removes threats.
- No one spends time or money putting bars on windows or replacing door locks in the average suburban neighborhood.
- Crime still happens, but society survives as long as the level of crime is acceptable.
Why did a police model rise? Back in the cave man days, we lived in tribes. If you didn't belong to my tribe, I could beat you back with my club. As societies evolved, communication and ties between tribes prevented this simple model from working. More sophisticated threats with ingenious attacks (e.g., white collar crime) took advantage of these social ties.
Guess what -- this is where we are now in the digital world. Once upon a time you might have been able to restrict access based on trusted IPs. Then you had to shut down ports that couldn't be shared. Now we do business with everyone, and I can't be sure that the Microsoft SMB/CIFS that I'm exchanging with a business partner is normal or malicious when I use a standard access control device.
A threat-centric approach to security has served the analog world well enough. I think that is the only way to move forward as the digital world becomes as complex as the analog.
One more thought: The number of assets continues to rise. The number of vulnerabilities in those assets continues to rise. The number of threats continues to rise. The ability of security experts to apply countermeasures can not keep pace with this world. Is it time for autonomous agents to work on behalf of "the good guys?" I am beginning to agree with Dave Aitel's idea of nematodes that act on behalf of human agents.
It is becoming increasingly difficult for humans to even understand the digital environment. The only real way to know exploitation is not possible is for exploitation to be tried and then found to fail. Nematode agents may roam the network constantly testing intrusion scenarios and reporting their progress. Perhaps next-generation detection devices will monitor nematode activity. When they see another agent that is not a registered nematode exploit a target, that will be the sign that an intrusion has occurred.


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HealthCare.gov Enrollment Falls Far Short of Target
Federal Website Brings 40,000 to 50,000 Enrollees in Private Plans
Fewer than 50,000 people had successfully navigated the troubled federal health-care website and enrolled in private insurance plans as of last week, two people familiar with the matter said, citing internal government data.
The figure is a fraction of the Obama administration's target of 500,000 enrollees for October. The early tally for the HealthCare.gov site, which launched Oct. 1, worries health insurers that are counting on higher enrollment to make their plans profitable.
To Read the Full Story


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Julianna Luisa Margulies (pronounced /dʒuːliˈɑːnə mɑːrɡəˈliːs/; born June 8, 1966) is an American actress.
After several small television roles, Margulies achieved success in her continuing role as Nurse Carol Hathaway on the NBC medical drama ER, for which she won an Emmy Award. After her departure from ER in 2000, Margulies appeared in the 2001 miniseries The Mists of Avalon and voiced the female iguanadon, Neera, in Disney's CGI film Dinosaur (2000). In 2009, she took the lead role in the American legal drama The Good Wife on CBS, for which she won a Golden Globe and two Screen Actors Guild Awards. She also won the Critic Choice Award , for best leading actress in a drama, beating Anna Torv, and more.
Margulies, the youngest of three sisters, was born in Spring Valley, New York. Her mother, Francesca (née Gardner), was a ballet dancer and eurythmy teacher, and her father, Paul Margulies, was a writer who wrote the Alka-Seltzer jingle "Plop, plop, fizz, fizz, oh what a relief it is". Her parents are Jewish, descended from immigrants from Austria, Hungary, and Romania. The family lived in Israel for a time before Margulies was born, before moving back to the Upper West Side of New York City.


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Now Playing: TSA Air Marshal are more trouble - then they are help
Duncan Blasts "Useless" Air Marshal Service
Washington, DC -- Mr. DUNCAN: Madam Speaker, probably the most needless, useless agency in the entire Federal Government is the Air Marshal Service.
In the Homeland Security Appropriations bill we will take up next week, we will appropriate $860 million for this needless, useless agency. This money is a total waste: $860 million for people to sit on airplanes and simply fly back and forth, back and forth. What a cushy, easy job.
And listen to this paragraph from a front-page story in the USA Today last November: "Since 9/11, more than three dozen Federal air marshals have been charged with crimes, and hundreds more have been accused of misconduct. Cases range from drunken driving and domestic violence to aiding a human-trafficking ring and trying to smuggle explosives from Afghanistan.''
Actually, there have been many more arrests of Federal air marshals than that story reported, quite a few for felony offenses. In fact, more air marshals have been arrested than the number of people arrested by air marshals.
We now have approximately 4,000 in the Federal Air Marshals Service, yet they have made an average of just 4.2 arrests a year since 2001. This comes out to an average of about one arrest a year per 1,000 employees.
Now, let me make that clear. Their thousands of employees are not making one arrest per year each. They are averaging slightly over four arrests each year by the entire agency. In other words, we are spending approximately $200 million per arrest. Let me repeat that: we are spending approximately $200 million per arrest.
Professor Ian Lustick of the University of Pennsylvania wrote last year about the money feeding frenzy of the war on terror. And he wrote this: "Nearly 7 years after September 11, 2001,'' he wrote this last year, "what accounts for the vast discrepancy between the terrorist threat facing America and the scale of our response? Why, absent any evidence of a serious terror threat, is a war to on terror so enormous, so all-encompassing, and still expanding? The fundamental answer is that al Qaeda's most important accomplishment was not to hijack our planes but to hijack our political system."
"For a multitude of politicians, interest groups and professional associations, corporations, media organizations, universities, local and State governments and Federal agency officials, the war on terror is now a major profit center, a funding bonanza, and a set of slogans and sound bites to be inserted into budget, grant, and contract proposals.''
And finally, Professor Lustick wrote: "For the country as a whole, however, it has become maelstrom of waste.'' And there is no agency for which those words are more applicable than the Federal Air Marshal Service.
In case anyone is wondering, the Air Marshal Service has done nothing to me, and I know none of its employees. But I do know with absolute certainty that this $860 million we are about to give them could be better spent on thousands of other things.
As far as I'm concerned, it is just money going down a drain for the little good it will do. When we are so many trillions of dollars in debt, a national debt of over $13 trillion, we simply cannot afford to waste money in this way.