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text:
I have \$3. I flip a coin. If I get heads, I get \$1. If I get tails, I lose \$1. The game stops when I have \$0 or \$7. What is the probability I get \$7?
I solved this by creating a system of linear equations, where $P_0 = 0$, $P_7 = 1$, and $P_x = 0.5 \cdot P_{x-1} + 0.5 \cdot P_{x+1}$. Solving them, I got $P_3 = 3/7$. Moreover, $P_x = x/7$. Why does it work out to such a simple fraction?
More generally, it seems that $P_{x,y} = x/y$, which is the probability that, starting from x dollars, I end up with y dollars. I haven't proven this, but why is this the case?
Finally, what is $P_{x,y,p}$, where I gain 1 dollar with probability $p$ instead of probability 0.5 .

subset: commoncrawl


text:
Community Information Database
You are browsing the Subject Heading Brown Bag Programs which contains 2 record(s)
Page 1 of 1
- Pajaro Valley Loaves and Fishes
Pantry hours: Monday-Friday, 9-11:30am Open on weekday afternoons for emergency referrals from 1pm to 3pm by appointment only. Offers free bags of groceries for those in need (amount based on family ... [Full Record]
- Valley Churches United Missions
Operates the Valley Churches United Missions at 9430 Love Creek Rd., Ben Lomond. Provides emergency food pantry (336-8258) and information and referral services. Provides monthly food distribution sit... [Full Record] [Add to Personal List]
Page 1 of 1


text:
In Zee's quantum field theory in a nutshell, 2nd edition, pg 550 he has
$Q=\int {d^3p \over (2\pi)^3(E_p/m)} \sum_s \{b^\dagger(p,s)b(p,s)-d^\dagger(p,s)d(p,s)\}$
showing clearly that $b$ annihilates a negative charge and $d$ a positive charge.
I would very much appreciate an explanation of why its not the other way round. As the $d^\dagger(p,s)d(p,s)$ term has the negative sign why doesn't that mean it is associated with the negative charge particle?


text:
17 Nov 2012 10:20 PM #1
Unable to run apk
Hi, I'm under s 2.1 and cmd 250,
I did everything right (I suppose)
I did run run on localhost : no error, no warning on console
I did buil testing : no error, running fine, no error on console
When I build production (build a new sencha project, clean folder), no errors, when I run the projetc
Error evaluating http://www.mydomain.com/app/myapp/app.js with message: SyntaxError: Unexpected identifier www.mydomain.com:64 G
f=e.iframe,f.contentWindow===a){e.callback(b);k.body.removeChild(f);m.splice(c,1);break}}function G(a){"undefined"!=typeof console&&(console.error||console.log).call(console,a)}function t(a,b){try{n.setItem(a,b)}catch(c){if(c.code==c.QUOTA_EXCEEDED_ERR&&q){var d=q.assets.map(function(a){return a.key}),e=0,f=n.length,l=!1,j;for(d.push(q.key);e<=f-1;)j=n.key(e),-1==d.indexOf(j)?(n.removeItem(j),l=!0,f--):e++;l&&t(a,b)}}}function u(a){try{return n.getItem(a)}catch(d){return null}}function M(){H||(H=
Document was loaded from Application Cache with manifest http://www.mydomain.com/app/myapp/cache.appcache Application Cache Checking event Application Cache NoUpdate event
When I build apk, no errors, stuck on the loading screen...
Here is the debug log from the sencha package build :
D:\wamp\www\myapp>sencha --debug package build and.jsonSencha Cmd v18.104.22.168 [DBG] using path C:\apps\SenchaCMD\Sencha\Cmd\18.104.22.168\stbuild;C:\apps\SenchaCMD\Sencha\Cmd\126.96.36.199\stbuild\bin;C:\apps\SenchaCMD\Sencha\Cmd\18.104.22.168;C:\apps\Ruby\bin;C:\Windows\system32 ;C:\Windows;C:\Windows\System32\Wbem;C:\Windows\System32\WindowsPowerShell\v1.0\;C:\apps\java\jdk\bin;C:\Program Files (x86)\MiKTeX 2.9\mikt ex\bin\;C:\Program Files\nodejs\;C:\apps\apache-ant-1.8.4\bin;C:\apps\npm\ [DBG] executable located at C:\apps\SenchaCMD\Sencha\Cmd\18.104.22.168\stbuild\stbuild.exe [DBG] using workding directory . Created project directory: D:\Application\app\myapp Created directory D:\Application\app\myapp\src\com\myapp\com Added file D:\Application\app\myapp\src\com\myapp\com\STActivity.java Created directory D:\Application\app\myapp\res Created directory D:\Application\app\myapp\bin Created directory D:\Application\app\myapp\libs Created directory D:\Application\app\myapp\res\values Added file D:\Application\app\myapp\res\values\strings.xml Created directory D:\Application\app\myapp\res\layout Added file D:\Application\app\myapp\res\layout\main.xml Added file D:\Application\app\myapp\AndroidManifest.xml Added file D:\Application\app\myapp\build.xml Added file D:\Application\app\myapp\proguard-project.txt Buildfile: D:\Application\app\myapp\build.xml -set-mode-check: -set-debug-files: -check-env: [checkenv] Android SDK Tools Revision 20.0.3 [checkenv] Installed at C:\apps\android-sdk -setup: [echo] Project Name: myapp2012 [gettype] Project Type: Application -set-debug-mode: -debug-obfuscation-check: -build-setup: [echo] Resolving Build Target for myapp2012... [gettarget] Project Target: Android 2.3.3 [gettarget] API level: 10 [echo] ---------- [echo] Creating output directories if needed... [mkdir] Created dir: D:\Application\app\myapp\bin\res [mkdir] Created dir: D:\Application\app\myapp\gen [mkdir] Created dir: D:\Application\app\myapp\bin\classes [echo] ---------- [echo] Resolving Dependencies for myapp2012... [dependency] Library dependencies: [dependency] No Libraries [dependency] [dependency] ------------------ [dependency] API<=15: Adding annotations.jar to the classpath. [echo] ---------- [echo] Building Libraries with 'debug'... [subant] No sub-builds to iterate on -pre-build: -code-gen: [mergemanifest] Merging AndroidManifest files into one. [mergemanifest] Manifest merger disabled. Using project manifest only. [echo] Handling aidl files... [aidl] No AIDL files to compile. [echo] ---------- [echo] Handling RenderScript files... [renderscript] No RenderScript files to compile. [echo] ---------- [echo] Handling Resources... [aapt] Generating resource IDs... [echo] ---------- [echo] Handling BuildConfig class... [buildconfig] Generating BuildConfig class. -pre-compile: -compile: [javac] Compiling 3 source files to D:\Application\app\myapp\bin\classes -post-compile: -obfuscate: -dex: [dex] Converting compiled files and external libraries into D:\Application\app\myapp\bin\classes.dex... -crunch: [crunch] Crunching PNG Files in source dir: D:\Application\app\myapp\res [crunch] To destination dir: D:\Application\app\myapp\bin\res [crunch] Processing image to cache: D:\Application\app\myapp\res\drawable-hdpi\icon.png => D:\Application\app\myapp\bin\res\drawable-hdpi\icon.png [crunch] (processed image to cache entry D:\Application\app\myapp\bin\res\drawable-hdpi\icon.png: 55% size of source) [crunch] Processing image to cache: D:\Application\app\myapp\res\drawable-ldpi\icon.png => D:\Application\app\myapp\bin\res\drawable-ldpi\icon.png [crunch] (processed image to cache entry D:\Application\app\myapp\bin\res\drawable-ldpi\icon.png: 0% size of source) [crunch] Processing image to cache: D:\Application\app\myapp\res\drawable-mdpi\icon.png => D:\Application\app\myapp\bin\res\drawable-mdpi\icon.png [crunch] (processed image to cache entry D:\Application\app\myapp\bin\res\drawable-mdpi\icon.png: 0% size of source) [crunch] Crunched 3 PNG files to update cache -package-resources: [aapt] Creating full resource package... [aapt] (skipping dir '.sencha' due to ANDROID_AAPT_IGNORE pattern '.*') [aapt] (skipping dir '.sass-cache' due to ANDROID_AAPT_IGNORE pattern '.*') -package: [apkbuilder] Current build type is different than previous build: forced apkbuilder run. [apkbuilder] Creating myapp2012-debug-unaligned.apk and signing it with a debug key... -post-package: -do-debug: [zipalign] Running zip align on final apk... [echo] Debug Package: D:\Application\app\myapp\bin\myapp2012-debug.apk [propertyfile] Creating new property file: D:\Application\app\myapp\bin\build.prop [propertyfile] Updating property file: D:\Application\app\myapp\bin\build.prop [propertyfile] Updating property file: D:\Application\app\myapp\bin\build.prop [propertyfile] Updating property file: D:\Application\app\myapp\bin\build.prop -post-build: debug: BUILD SUCCESSFUL Total time: 20 seconds Warning: config file does not contain any application permissions, please verify application does not access any hardware features like camera, GPS, etc ""C:/apps/android-sdk\tools\android" create project --target android-10 --name myapp2012 --activity STActivity --path "D:/Application/appl/\/" --package com.myapp.com " [DBG] exit code was : 0 [DBG] exit code was : 0
What else could I do to check where the errors is ? What should I do ?
I did try weinre : http://www.sencha.com/forum/showthread.php?245969-Debug-an-app-with-weinre
but nobody could explained to me how to proper use it, since it doesn't work in index.html :
</style> <script src="http://192.168.0.10:8080/target/target-script-min.js#anonymous"></script> <!-- The line below must be kept intact for Sencha Command to build your application --> <script id="microloader" type="text/javascript" src="touch/microloader/development.js"></script>
Edit: weinre works with the web-app on android phone (wamp server), not working with app pack in apk
Last edited by huberte; 17 Nov 2012 at 10:39 PM. Reason: adding weinre details and apk build details
18 Nov 2012 3:19 PM #2
OK, it's a bit tricky but it's working. Since there is no explanation how to run weinre in an apk (an easy one with a line of code :! )
I did unpack the apk package and ran it on a server, there I saw errors not showing up in testing and production (typo with lower/upper case in requirements)
Anyway if someone have a solution for weinre...


text:
Do you want or need a new 'good deed' idea for this month?
How about, We Deliver Love?
You would be "signing up to send a dessert, food, craft, or some kind of thoughtful pick-me-up or thank you to someone who has been nominated. While it is completely at your discretion how much you want to spend, I want to emphasize this is not about dollars, this is about love and giving back. If you think it would be nice to get a box of cookies with a note in the mail, by all means, send out a box of cookies! You will be responsible for the cost of your gift and shipping. "
I know a few people here are crafty/handy, so I thought I'd share. You can nominate people to receive as well.
2 Answers answer
Very cool idea!
Wow, that is a great idea and what better time of the year to give back. I already signed up and am looking forward to sending something out.


text:
Anthony Depalma
Recent and archived news articles by Anthony Depalma of The New York Times.
To Cuba on Business
Despite significant changes, Americans still have rules to follow while doing business in the country.
May 7, 2015, Thursday
A Mayor's Green-Power Moonshot
Mayor Bill Finch of Bridgeport, Conn., came into office with a commitment to sustainability, and he has built the largest fuel-cell generating station in North America.
April 23, 2015, Thursday
Natalia Revuelta Clews, Fidel Castro Ally And Mother of His Daughter, Dies at 89
Ms. Revuelta, who was born into Havana society, provided refuge and money to Cuban rebels and fell in love with their leader.
March 6, 2015, Friday
Rev. Theodore Hesburgh, 97, Dies; Lifted Notre Dame and Advised Presidents
He stood up to the White House and the Vatican as he transformed Catholic higher education in America and raised a powerful moral voice in national affairs.
February 28, 2015, Saturday
Did a Text Kill My Brother?
At the murky intersection of texting, driving and the law.
February 15, 2015, Sunday
An 800-Year-Old Shot of Youth
A garden curator at Duke University happened upon a box huckleberry shrub thought to be 800 years old, and relatively young at that.
August 19, 2014, Tuesday
Improving Respirator Masks to Put Fresh Air in Reach
Respirator masks, used by responders after the 9/11 attacks, played a role in exposing thousands to contaminated air, but the government and the hazardous-equipment industry are trying for better.
September 10, 2013, Tuesday
Reliving Nightmare of Plague, 10 Years On
Ten years after a couple from New Mexico arrived in New York City and became ill with the plague, many aspects of the case still puzzle experts.
January 8, 2013, Tuesday
Plague Test Shows Promise
A simple kit that works like a pregnancy test could prove helpful in more rapidly diagnosing an illness controllable with antibiotics if caught early.
January 8, 2013, Tuesday
Cleaning a River That Was Given Up for Dead
Acknowledging the extent of the contamination is just the first challenge in tackling a project as big as detoxifying a river, especially one that was as abused as the Passaic.
August 14, 2012, Tuesday
Rss Feeds On Anthony Depalma
Subscribe to an RSS feed on this topic. What is RSS?


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Please enter a maximum of 5 recipients. Use ; to separate more than one email address.
Pemex CEO Emilio Lozoya said at a press conference that officials did not yet know the cause of the explosion, which destroyed part of an administrative building adjacent to the landmark skyscraper in Mexico City. One employee said the blast came from an electricity substation in the building.
By ANTHONY HARRUP
MEXICO CITY -- Mexico's state oil monopoly Petroleos
Mexicanos said the number of people killed in an explosion at
its corporate headquarters in Mexico City rose to 35 on Sunday
after rescue workers pulled two more bodies from the rubble of
the damaged office block.
One body was found overnight Saturday and another Sunday,
Pemex said in updates on the rescue effort via its Twitter
"I want to emphasize the complexity of the
investigation. We can't explain something like this in a few
hours," said Pemex CEO Emilio Lozoya.
Mexican officials privately said there was no early indication
of sabotage in the blast, which sent a giant fireball into the
sky and partially destroyed an administrative building next to
the oil firm's landmark skyscraper, which has 48 floors and
towers over the city's central skyline.
Mexicans were shocked by the blast given that it took place
at the headquarters of the country's biggest company, a symbol
of Mexican nationalism. It also comes just months before
President Enrique Pena Nieto is expected to propose changes
that could end the company's monopoly on oil exploration,
allowing private firms to partner with the state firm for the
first time.
Analysts discounted the likelihood that the blast was an
"Instead, the explosion is a reflection of Pemex's aging
infrastructure and lacking safety protocols," Alejandro
Schtulmann, an analyst with political consultancy Empra, wrote
in a note to clients.
Pemex's headquarters lies in a dense neighborhood surrounded
by hundreds of illegal street businesses, some of them owned by
Pemex personnel, Mr. Schtulmann said. "Like most informal
businesses in Mexico, many of these street shops rely on
illegal connections to the local power grids as well as water
and gas lines," he said.
Twenty of those killed were women who worked in the building
in administrative jobs like payroll, Pemex officials said. Some
52 other people remained hospitalized Friday due to the
explosion, which the company said hadn't affected its oil
It was unclear how many people might still be trapped in a
basement part of the building, which was partially collapsed.
Hours after the blast, officials said there might be about 30
people left in the rubble, but then said that number couldn't
be confirmed. The four floors most affected by the explosion
normally had about 200 to 250 people working on them.
If investigations confirm an industrial accident, it will be
an embarrassing blow to the firm. Just two hours before the
blast at Pemex headquarters, the company touted its security
record at a conference titled "First Congress for Security,
Health and Environmental Protection" in the
city of Merida in eastern Mexico.
"Operations Director Carlos Murrieta pointed out that we
have reduced the occurrence of accidents in recent years,"
Pemex said on its Twitter page, adding that its accident rate
was below international standards for similar companies.
Pemex has fairly rosy numbers in terms of onsite industrial
accidents, but most of the people who have died over a number
of decades in Pemex accidents have been contract workers or
others killed by fuel leaks and gas explosions, and those
victims are not counted as workers for the purposes of
reporting industrial accident rates, said George Baker, who
runs a Houston-based energy consulting firm.
In September of last year, a massive explosion at a Pemex
natural-gas plant near the northern border city of Reynosa
killed 30 workers and caused critical shortages of the fuel,
causing the state-run electricity company Comision Federal de
Electricidad to switch to more expensive fuels in order to free
up some natural gas for industry.
Just before Christmas in 2010, a crude-oil pipeline ruptured
near the central Mexican town of San Martin Texmelucan, killing
30 people and damaging dozens of homes.
"This latest blast shows the results of a systematic lack of
oversight in contracts at Pemex that the company relies on for
everything, including industrial security," said Alberto Islas,
a security expert in Mexico City.
Mexico's lower house of Congress said this week it would put
together a working group of lawmakers to investigate corruption
within Pemex and the company's safety record.
Mexico's oil output has fallen to about 2.6 million barrels
a day from a peak of 3.4 million in 2004, and experts say
Mexico could cease to be a major oil exporter within the next
six years.
Pemex was created in 1938 after Mexico nationalized its oil
industry, a key moment in Mexican nationalism.
"This tells you that Pemex needs to change," said Mr.
Dow Jones Newswires
All comments are subject to editorial review.
All fields are compulsory.
M Arif
Very tragic indeed. Our profound sympathies and condolences to the bereaved families.
Zafar Manzoor
Horrible and very unpleasant. The exact cause(s) must be investigated and shared.Great sympathy for the bereaved families.
Sign-up for the Free Daily HP Enewsletter!
A searchable database of project activity in the global hydrocarbon processing industry
Engineers and designers are highly skilled individuals. Forcing them to enter design changes using tables, forms and spreadsheets is unproductive and uneconomical, and it increases the likelihood of human error—this is the way that most instrumentation software systems currently work. For too long, software vendors have denied engineers and designers the simple practicality of a graphical visual engineering interface with "drag and drop" capability and inbuilt intelligence, ensuring changes are automatically replicated into all the associated data and databases.
Is 2016 the peak for US gasoline demand?
Too soon to tell
July 2016


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A grim year in political world
This year was a mostly negative one in American politics. Anyone hoping 2012 — which saw President Obama win a second term, Republicans maintain control of the House and a majority of governorships, and Democrats keep the Senate — would make Americans once again feel good about the political process was sorely disappointed.
The beginning of the year was marked by the slugfest between candidates for the Republican presidential nomination. The protracted battle saw the GOP contenders question each other's conservative bona fides and personal backgrounds (among other things) in over-the-top fashion.
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Robert J. Cressman is an award-winning author who is a leading expert on the War in the Pacific. He is the author of The Official Chronology of the U.S. Navy in World War II. He lives in Rockville, MD.
- Binding: Paperback & eBook
- Era: 20th Century
- Number of Pages: 344
- Subject: World War II
- Date Available: September 2013
Clear The Decks Price*


text:
(AP)-- A lawyer for an adopted son of Jerry Sandusky says the man has told authorities the former Penn State assistant football coach abused him.
Matt Sandusky is one of Jerry Sandusky's six adopted children.
His lawyer issued a statement Thursday naming Matt Sandusky and saying that the 33-year-old had been prepared to testify on behalf of prosecutors at his father's sex abuse trial.
The statement says Matt Sandusky is "a victim of Jerry Sandusky's abuse," but doesn't go into specifics.
Jury deliberating in Sandusky sex abuse case
Complete coverage of the Jerry Sandusky trial on CBSNews.com
The statement came after jurors began deliberating 48 charges against the ex-coach. Prosecutors say Sandusky met the 10 sex-abuse victims through his charity.
Lawyers for Matt and Jerry Sandusky and prosecutors did not immediately respond to requests for comment.
Matt Sandusky's lawyer says his client met with investigators very recently.


text:
5 Ways Your Nerd Gadgets Are Killing You
Video games will turn our kids violent. The Internet will ruin our attention spans. Texting will ruin the art of coherent typing -- yeah, yeah, Grandpa, we get it. You're scared of technology.
But what's funny is that while all of the standard warnings turn out to be alarmist garbage, our geek toys are wreaking havoc in completely unexpected, and amazingly stupid, ways. For instance ...
#5. Absent-Minded Texters Are Constantly Injuring Themselves
You know the guy: He's veering right toward you, head down, eyes glued to whatever amazingly compelling narrative his buddies are texting him. Is it annoying? Yes. But it's not like these people are so out of it that they're constantly bonking their heads on obstacles or falling into holes. Except when they totally are.
Seconds later, four people were dead.
You already know that texting while driving is completely idiotic and even worse than drunk driving, but who can't handle shooting someone a quick text while simply walking down the street? A lot of us, apparently. Some cities -- and we are not making this up -- have fought the pinball-machine-like plague of zombie texters by padding their lampposts.
One day society will learn that some folks deserve their head injuries.
Meanwhile, cities like London have installed talking crosswalk signals at intersections to catch their attention. Hell, these are accommodations you'd normally associate with blindness -- you literally have to treat text-focused walkers as if they have lost their very eyes. Only they don't have other senses heightened to compensate.
Our nation's capital has even ramped up jaywalking tickets as a way to curb these blind digital locusts. In Indiana, a woman just plum fell 6 feet off of a pier.
"Drowning, lol."
As of yet, there hasn't been a true walking-while-texting risk study. But we know that in 2008, over 1,000 pedestrians visited emergency rooms as a result of texting or chatting away on the phone while strolling down the street. And the trend just keeps spiraling upward. It's gotten so bad, there is now an app that can show the ground for you, so you don't have to worry about pesky things like oncoming people and walls and such.
Because the solution to this problem couldn't possibly be "slightly less texting."
And yes, people are dying from this. In a parking garage in Melbourne, a teen plunged seven stories down after walking over the safety barriers mid-text. A man in LA was hit by a semi truck while texting. One could surmise that this problem could be so bad, a texter could walk right into a bear and not even know it. Oh, hey, that totally happened:
#4. HDTVs Fall on Children at a Shocking Rate
Say what you want about the huge cabinet TVs of your childhood, but it was damned hard to push one of those things over. They weighed like 200 pounds, and they were wide at the base. If you ever found somebody injured in front of one, it was almost certainly an attack by the Ring girl.
We've been told by Sony that all old TVs have a scary girl trapped inside of them, so go buy a Bravia, we guess.
But now everybody has these huge flat-panel TVs, either mounted on walls or on silly, unstable, H.R. Giger-inspired stands. And they are straight up falling on our kids.
In 2007, near the beginning of the HD boom, 17,000 kids were rushed to the ER after "heavy or unstable furniture" fell on them. Now, while some of them can be attributed to rogue ottomans, the fact is that this was a 41 percent increase since 1990, and half were from falling TVs.
The others were from suspiciously nudged TVs.
When sitting on a stand, these thin, heavy machines have a seriously low center of gravity, making them into cartoon anvils waiting to happen. The technology being the way it is, almost all the weight of the newer TVs is placed in the front of the unit (in the heavy, thick panel of glass), making them a ticking, toppling time bomb waiting to engulf your loved ones in a shower of sparks and broken glass. Yes, people have died this way.
As for the wall-mounted ones, keep in mind, most people doing the mounting haven't had much do-it-yourself experience other than programming universal remotes and fixing the bouncy thing in the back of the toilet. "Who cares if the wall mounts are drilled into plaster instead of the stud? It's not like we're going to be climbing on the damned thing!" But kids are, in fact, natural climbers. And when they attempt to scale Mount Bravia, disaster usually unfolds.
Congress has even brought the issue to attention, proposing safety mandates in 2005. And again in 2007. It was shot down both times, presumably because senators just get a case of the gut-busting belly laughs when imagining children being enveloped in the slaughter-hug of a Samsung.
"Intense research has shown that sizable bribes, not children, are our future."
#3. Printer Toner Fumes Might Be as Bad as Cigarette Smoke
The next time you're standing in front of the office laser printer, waiting for spreadsheets, or schematics, or your LARPing league handbook copies to finish copying, keep in mind that as that son of a bitch chugs away, it's shooting out a toner-filled gas that could have severe respiratory consequences. And it could be as bad as cigarette smoking.
Except it doesn't guarantee you a break every hour.
A study conducted with 62 of the most popular printers discovered that up to 30 percent of them emitted dangerously high levels of ultrafine toner particles. The particles being as small as they are, they have no trouble being inhaled into the smallest passages of the lungs. And this kind of office pollution is widespread: One area of research was an office in Brisbane, Australia. It was found that the fine particle count inside the workplace was three times higher than outside, right near a damned highway.
This is the safest place to work in Australia.
The type of particulates and nature of risk fluctuated with each type of printer, and scientists aren't completely sure why. Scientists believe it's a mix of the age of the printer and how the lasers work with the toner cartridge, and also some science and stuff. Whatever it is, it's proven that laser printers contribute to a five-fold increase in particulates during workday hours. While the home office isn't as busy as a functioning workplace office, it could be worse still, due to a more closed environment and poor ventilation. It's just you and your printer, sitting there, sharing its powder farts.
"That wasn't me ... that was, uh, Ted."


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MSDN Wiki Projects - #3 - A Huge Responsibility
- Posted: Apr 12, 2007 at 12:44PM
- 9,810 views
- 1 comment
Loading user information from Channel 9
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Right click "Save as…"
When you're in charge of something so large, so easily modified by the public, and so potentially impactful, how do you actually
do it?
Accuracy, relevance, usefulness, language, abuse, and more - these are just a few things that might keep you up at night if you're one of the people overseeing a corporate wiki.
At Channel 9, for example, we're on a pretty long leash. The freedom we enjoy in content creation and community activities is astonishing. Along with that freedom, though, comes a lot of responsibility. Anytime we put content online or interact with customers, there's the possibility of really blowing it. Fortunately, we actually do all right, but the concern is always there. It's natural. It has to be.
The situation is even more interesting for wikis. Where Charles and I have control over the content we produce, a wiki takes a lot of the control away from the site owners.
So, what do you do? How do you even begin to think through all the things that could go wrong? What kind of editorial oversight is there? How do you choose what's to be documented? How do other people at Microsoft feel? What legal concerns are there? What's the hardest part about getting a wiki up and running here?
When you aren't responsible for a project like this, it's easy to forget just how much risk is in place, as well as how many technical and editorial issues there are.
This is the third part of the interview, and we tried to address some of these issues. The deeper we went, the more interested and impressed I was. I loved learning about Fabrice and Molly's jobs. There are so many angles to this Microsoft wiki stuff that I would have been happy to have talked to them for many hours more.
Such a unique and delightful challenge...
The Series:
- Video #1: Saying Hello
- Video #2: How and Why
- Video #3: A Huge Responsibility
- Video #4 (last): Internationalization
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Comments have been closed since this content was published more than 30 days ago, but if you'd like to continue the conversation, please create a new thread in our Forums, or Contact Us and let us know.


text: This is a tut that was fun to make and will be very helpful to all you gimp users out there. I used a simple character so that the main focus is are the eyes. If you're doing a complicated character, you may want to use the zoom tool, and then proceed. Today I'll break down How to Color Eyes in Gimp so that your drawings will have a little more character.


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Under Armour Charged Cotton Fear No One Men's Tee Shirt
The Under Armour Charged Cotton "Fear No One" Men's Tee Shirt is perfect to wear before a big game so people know you've got some serious swagger. The lightweight, quick-dry cotton fabric is seriously soft for a comfortable feel against your skin. The Signature Moisture Transport System helps to wick sweat away from your skin and keep you cool when things start to heat up.


text:
Thinking about trading for one of these variations of Formula D, but would like to know which one is the preferable version. Are there differences in rules, component quality, or both?
Sign up
- Anybody can ask a question
- Anybody can answer
- The best answers are voted up and rise to the top
Formula D is a more recent version with a few rules changes and some tweaks.
They are the same, except Formula Dé (Dé meaning Dice in French) is the older version. The maps are not the same in the box, but many additionnal circuits are available. The game material may change a little bit, but the main idea is exactly the same. You can for example play Formula D with your old Formula Dé maps.


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Hot Rod's First PhotographerWritten by on March 1, 2011 Contributors: Courtesy of Lee Blaisdell Lee Blaisdell: In His Own Words
Hardly a day goes by that someone in HOT ROD's office doesn't bemoan lost opportunities for interviewing all those pioneers no longer with us, either physically or mentally. To folks lucky enough to grow up in this business, it seemed like hot rodding's founding fathers (and mothers, such as Peggy Hart and Veda Orr) would always be there for us, answering questions and sharing insight that only a founder could. Even now, it doesn't seem possible that those people were all born nearly a century ago.
HOT ROD has been lucky, in recent years, to pick the still-sharp brains of staff alumni such as '50s photographers Eric Rickman and Bob D'Olivo. More accurately, HRM readers are fortunate that current management sees fit to devote precious editorial to this kind of historical material. For a bunch of punk kids in their mid-forties, editors Freiburger and Kinnan and their boss, Publisher Pitt, share an extraordinary appreciation for things that happened before they were born.
That hasn't always been the case around here. For one sad example, when pioneer-photographer Lee Blaisdell (pronounced blaze-dell) tried to donate his negative archive of '46 to '48 California hot rods and race cars to Petersen Publishing's photo library a couple of decades ago, he was told there was no room for it. Heartbroken by the company's lack of interest, he instead gave it to Don Garlits, whom Lee learned was building a museum (and who wrote a long letter of appreciation in 1984 that Lee proudly shows to visitors).
Now 90, Lee made all of his unique contributions to this hobby and magazine even before this 61-year-old writer was born. These began in late 1946 and early 1947, when he covered the action at El Mirage Dry Lake and several oval tracks. Lee was anointed official photographer of both the Southern California Timing Association and the California Roadster Association, and he was elected to represent his member club, the Omegas of Santa Monica, at SCTA's monthly meetings. It was during one such gathering in 1947 that he listened to a young stranger express intentions of introducing a monthly magazine devoted exclusively to hot rods. Intrigued by the idea, Lee approached Robert E. Petersen after the meeting, offering to contribute the photos he'd been shooting to the Jan. '48 premiere issue. Pete eagerly accepted, and the rest is hot rod history-and HOT ROD history. Most of the photos published in the first six issues are Lee's. Petersen and his cofounder/coeditor, Robert Lindsay, continued running them even after Lee suddenly stopped shooting cars and left Los Angeles just as the magazine was taking off. Why Lee did that, 63 years ago, is among many mysteries solved on these pages. It's about time.
More Photos From This Article View Slideshow
"I had my first hot rod in 1941, while working at Douglas Aircraft in Santa Monica California. It was just a mess laughs, a real mess: a roadster with a two-port Riley head on the A block. Nothing fancy, just putting together junk. That was my transportation. I added a Model A with a V8 before going into the Navy, from 1942 until January of '46, as an aircraft mechanic. That's me on the wing.""Being stationed in California, I was able to keep driving a hot rod. That's my roadster on the left. It had a B block and a Hal S.O. head, with a single overhead cam. I dropped three more spider gears into the differential and locked it up. I got a pair of 6.00-16 tires off of an F6F fighter plane. Even after running a couple of years with that locked rearend, the tires still had their molding tips. Airplane tires were really built well! The other two cars belonged to Navy buddies. There was lots of street racing. We used to drag with the cops in Oakland.""Look magazine did a story about hot rodders at the dry lakes for the August 19, 1947, issue. That's me with the camera and the photographer's armband on the starting line at El Mirage.""I did all of these covers and most of the photos inside. Boy, that first cover shot appears in so many places! Pete and I posed that picture. You see how it's a circular picture, with nothing else showing? In the darkroom, I had to print it by holding everything else back, using either my hands or a mask."
"Here's the very beginning of HOT ROD. As far as I know, this is the only print in existence of Robert E. Petersen right presenting his idea for a new magazine. It's an SCTA meeting somewhere in East L.A., I think, in 1947. SCTA president Ak Miller is on the left and secretary Wally Parks is between them. I attended these monthly meetings as the rep from my Santa Monica car club, the Omegas. When I told Pete that I had all the negatives for the CRA California Roadster Association and SCTA, he said, 'Come on board,' and away we went. My original negative was sharp, so someone must've jiggled the equipment while he was making this print. Wally asked for the original film, so I clipped this negative for him. I never saw it again.""The first few mastheads listed me as Staff Photographer, Robert Lindsay and Pete as Associate Editors, and Andy Granatelli as a reporter." [Author's note: The fine print reveals that this Jan. '48 debut issue was "Entered as Third Class Matter Nov. 24, 1947" at the L.A. post office. HRM's original address on South La Brea Avenue was headquarters for the Tailwaggers Club (for dog lovers) and its magazine, both owned by Lindsay's publisher father."Most of the pictures in the first issue were from my files. That's Phil Weiand in the wheelchair page 12, top right. He was responsible, indirectly, for my start in race photography. A friend of mine from Oakland, Dick Sobotka, towed Phil's roadster to the meets with his customized Ford, and I'd ride out there with him. Dick later became Petersen's first advertising salesman." Author's note: The Southern California venues pictured here include El Mirage Dry Lake and oval tracks in Gardena, Huntington Beach, and Saugus. The bottom-right photo on page 13 of Al (later Romeo) Palamides was shot up north, in an Oakland neighborhood."This address shows up in the fourth Apr. '48 issue, so it didn't take long for Pete to move out of the Tailwaggers office and into his own place. That's where he learned about publishing, from Robert Lindsay's dad.""Eric Rickman told me that this is the most famous photo of Petersen, and that it's mine, but I don't remember taking it. Pete and I lived in the same boarding house when he was getting HOT ROD going. He didn't have much money. I don't think he ever paid me a salary. I had to get a job driving a semi truck during those few months that I shot for him, late 1947 and early '48. I remember that his father in Barstow had to cash in his war bonds to bail Pete out."I had no place for a darkroom, so I processed and printed all of the SCTA, CRA, and HOT ROD pictures at Alan Dean's studio at 9161 Sunset Blvd. Alan was a friend of mine. I introduced Pete to him. He never charged us a dime. I would help Alan process and print his color commercial photography jobs for no pay, just to return the favor. When Mamie and I got married, he was our best man." This building still stands. It now houses a restaurant."Here's Robert Lindsay, clowning around at Alan Dean's studio. He was still Pete's partner and coeditor when I left in May, before Pete bought him out." [Author's note: This camshaft could be the same one held by a model in a June '48 "Parts With Appeal" oceanfront photo credited to Alan Dean, so we'll assume that HOT ROD's seldom-seen cofounder was photographed by Blaisdell at approximately the same time."The two pictures I have of Eric Rickman with me were taken 57 years apart! In grammar school in the early '30s, we were both in my father's Boy Scouts troop in Danville Northern California. He was a couple of years older, so we didn't pal around together. It wasn't until the 1990s that I found out that it was Eric who followed me as HOT ROD's main photographer in 1950.
"Macular degeneration makes it difficult to read. I lost sight on the right side, and there's a blind spot in the center of my left eye. To read anything, I have to look to the right of the letters, through a magnifier, but a television screen still looks pretty good. Cataract surgery on my left eye helped."Married more than 60 years, Lee, 90, and Mamie, 88, share a small apartment in a San Luis Obispo, California, assisted-living complex. Asked why her husband took her to the races just one time, on an early date, Mamie said, "I'm a religious person, and the racing started on Sunday mornings, when I was in church. I explained to Lee that I didn't want to date someone who was gone every Sunday. He said that he'd rather be with me, so he gave up the races. We got married and he moved to Monterey. He's a wonderful man."


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Hi all,
I have just one simple question:
I know I should level the tripod first. Then I mount the NN5 on my EZ-LevelerII. After that I level the whole equipment without my cam. Then I arm the camera on the NN5.
But should I level again? (Because after arming the cam with some "heavier" lens (Sigma 50-150 - I'm interested in GigaPanos :-) on the NN5 you can see the bubble moving inside to the outer corners.)
What is your sequence when you arrange your equipment or whats the correct order to build everthing up?
Thanks for your help.


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I am preparing to start a season of working up a solid, reasonably priced All grain American Ale on the brink of a high gravity beer. Sierra Nevada's Torpedo balances sweet malt nicely against a hop construct that I am having a hard time figuring against other examples, Dogfishead 60 min +English examples like Young's Ramrod. I've brewed many Barleywines where the bitterness seems to be through the roof until the malt checks in. Can someone clue me in on the IBUs versus base malt alone for this in between style?
Jamil sheds some light on possibly similar subject here: http://www.mrmalty.com/late_hopping.htm
Also, Lagunitas Undercover Investigation Shutdown Ale (described by them as an "oxymoronic Imperial Mild") might be of interest to you. If you can find it...
From the website:
alcohol content 7.2% by volume
The values for gravity and IBU are measured in their lab, not estimated from a spreadsheet. I would assume they post the measured values on the site.
There was a recipe in Zymurgy last summer. I can't find the issue right now, but I'll post the recipe when I find it.


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Strains are injuries to muscle due to overstretching, while sprains involve a stretch or a partial tear of ligaments (which connect two bones) or tendons (which connect muscle to bone). Sprains and strains happen more often in teens than in younger children.
Teach kids to warm up properly and to stretch before and after exercising or participating in any sport, and make sure they always wear appropriate protective equipment.
Note: All information is for educational purposes only. For specific medical advice, diagnoses, and treatment, consult your doctor.
© 1995-
Images provided by iStock, Getty Images, Corbis, Veer, Science Photo Library, Science Source Images, Shutterstock, and Clipart.com
For a full list of Rady Children's Programs and Services, click here or call Rady Children's Customer Service and Referral Center at 1-800-788-9029 for more information.


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Kirov's Bayadere -- background material
Posted 09 July 2002 - 08:00 AM
La Bayadère is one of the oldest ballets in the classical Russian repertoire. Its premiere at St Petersburg's Bolshoi Theatre in 1877 (ballets were staged at the Mariinsky Theatre from 1886) was a triumph for Marius Petipa, and this success has accompanied La Bayadère to the
present day. The tragic love story of Solor, a noble warrior (in thepremiere, Lev Ivanov performed the mime role of Solor, and Pavel Gerdt danced the Pas d'action in Act IV), and Nikia, a temple dancer (dancedby Yekaterina Vazem), who is poisoned by her rival, Princess Gamzatti (danced by Maria Gorshenkova) provided Petipa with the basis for this visual feast.
In 1877, the ballet was a colourful encyclopædia of knowledge about India: cool temples under a canopy of palms, majestic palace walls, fanatical fakirs flagellating themselves during sacred dances, lithe bayadères, brightly coloured veils, elephants, tigers, cobras and opium hookahs. This Indian exoticism was, however, created using conventional >ballet techniques of the 19th century.
Since its premiere, La Bayadère, has undergone many changes.
In 1884, Marius Petipa revived the ballet for Anna Iogansson, with almost no alterations.
In 1900, at the benefit performance of dancer Pavel Gerdt, soloist of >His Imperial Majesty, and specially for Mathilda Kshesinskaya, prima ballerina of the Imperial Theatres, Petipa created a new choreographic version of the ballet (Mathilda Kshesinskaya danced as Nikia, Pavel Gerdt as Solor and Olga Preobrazhenskaya as Gamzatti with Nikolai Legat dancing the entree, variation and coda in the Pas d'action in Act IV).
Academy artists Adolf Kvapp, Konstantin Ivanov, Pyotr Lambin and Orest Allegri designed new sets for the 1900 premiere. Yevgeny Ponomarev made sketches for new costumes. This was to be the last version of the ballet
created by Marius Petipa himself.
Some time between 1900 and 1903, this version of La Bayadère was recorded by Nikolai Sergeyev, Director of the Mariinsky Ballet Company using the Stepanov notation.
The first major change to La Bayadère after Petipa's death came in the latter half of the 1920's with the loss of Act IV - the final act where there was a dramatic and choreographic denouement in Petipa's original: during Gamzatti and Solor's wedding ceremony, Nikia's shadow follows
Solor, finally appearing to Gamzatti and the others present; lightning destroys the palace and everyone perishes. Retribution for the crime has been enacted. There are myriad theories explaining the loss of Act IV.
One of the most widespread is that after the Revolution the Mariinsky Theatre lacked the technical staff required to produce the stage effects. It is possible that the sets for Act IV of La Bayadère were ruined when Petrograd was flooded in 1924.
For some time, La Bayadère was performed without Act IV before disappearing from the repertoire of the Kirov (formerly Mariinsky) Theatre.
In 1941, Vladimir Ponomarev and Vakhtang Chabukiani presented a new version of the ballet, with the music and elements of the choreography
from the Pas d'action in Act IV (albeit without Nikia's shadow) moved to Act II and turned into a "wedding" Grand pas. In atheist Soviet Russia, it would have been impossible to stage a ballet, the final act of which was entitled Wrath of the Gods. Moreover, the logic of the plot had been damaged and Marius Petipa's choreography of the Pas d'action had become senseless. The future was to hold many more changes for the ballet, though it always culminated with the Grand pas classique of the Shadows. This is the state in which we inherited the ballet.
However, the legend of the full, four-act version of La Bayadère, surviving in many literary descriptions (in particular those of ballet master Fyodor Lopukhov and ballet historian Yuri Slonimsky) attracted choreographers interested in Marius Petipa's choreographic legacy. Starting in the 1980's in the west and in Russia, attempts were made to restore the full, four-act version of La Bayadère (one version by Natalia Makarova with the American Ballet Theater in 1980 in New York and another by Pyotr Gusev in 1984 in Sverdlovsk in the USSR). These attempts would always be complicated, however, by the fact that these choreographers did not have Ludwig Minkus' full score (in Natalia Makarova's version, the music of Act IV was completed by John Lanchbery) and the choreographic notation (Nikolai Sergeyev's records in the Harvard Theatre Collection were made available to Russian specialists
>only recently).
>In 2001, the Mariinsky Theatre, the "house of Petipa", decided to stage a reconstruction of the full, four-act version of La Bayadère - the oldest surviving ballet in the repertoire of Marius Petipa's works.
The aim was to return to Marius Petipa and Ludwig Minkus' original music and stage version of the 1900 production and, if possible, restore the choreography in accordance with Petipa's own last version in 1900. The aim was also to revive in full the sets and costumes of the 1900 production, which, except for a few changes and the loss of Act IV, had been retained at the Mariinsky Theatre until the present.
Reconstruction work took several directions:
Through a strange misunderstanding, Ludwig Minkus' original score for La
Bayadère was believed lost until now. The Mariinsky Theatre Music Library, however, has two volumes of Ludwig Minkus' hand-written score, as well as three manuscript repetiteurs (arrangement for two violins) with many notes for ballet masters and performers. The order of the sheet music of the original, hand-written score was changed in 1941 in accordance with Ponomarev and Chabukiani's version. All the music was first brought into line with the original, 1877 version of the score, and then all the necessary cuts made in accordance with the 1900 version. The Mariinsky Theatre is currently the only theatre in the world that has Ludwig Minkus' full, original score for La Bayadère. This score is the property of the Mariinsky Theatre.
Marius Petipa's own version of La Bayadère from 1900 formed the basis
for the reconstruction of the choreography. The sequence of the ballet is described in detail in 1900 Mariinsky Theatre playbills and
programmes, which are considered official working documents.
The restoration process of the choreographic and pantomime elements in La Bayadère was carried out using the following sources:
a) Marius Petipa and Sergei Khudekov's original text of the libretto and Petipa's staging notes for La Bayadère which are housed in the Bakhrushin Theatre Museum in Moscow with detailed notes on pantomimic monologues and dialogues. The libretto, written by Marius Petipa himself, is not merely a literary text, but also a document providing all the details required to restore the ballet's dramatic structure.
B) Régisseur (stage and rehearsal director) of the Mariinsky Ballet Company Nikolai Sergeyev's choreographic records in the Stepanov
notation, housed in the Harvard Theatre Collection. This choreographic record of the ballet contains the notation for almost all the dances in the ballet. Exceptions were the variations which belonged to individual performers (such as Nikia's "extra" variation in Act IV, which was added after the premiere in 1900 especially for Mathilda Kshesinskaya and was her property) and those variations which in 19th century ballet were performed ad libitum (Solor and Gamzatti's variations in the Pas d'action in Act IV).
c) Manuscript repetiteurs (the "régisseur's" and "kappelmeister's" copies and another copy for Mathilda Kshesinskaya), which contain a vast amount of hand-written notes detailing choreographic combinations, dancers' entrances etc., as well as a literary text on the pantomime dialogues in synchronisation with the musical text. These manuscript repetiteurs were vital documents, allowing the musical and choreographic texts to be synchronised.
During the reconstruction process, the main principle was the complete restoration of the original dramatic and choreographic structure of Marius Petipa's version. This resulted in the following:
Act I. Scene I - Ritual of Fire:
1. Petipa's original choreography of the Dance of the Priestesses has been restored (since 1941, this was performed with Vladimir Ponomarev's choreography).
2. The musical and choreographic structure of Nikia and Solor's Duet has been restored.
3. The music and the pantomime scenes, lost in the Soviet period, have been restored.
Act II. Scene II - Two Rivals:
1. The "extra" Duet of Nikia and the Slave, choreographed in 1954 by Konstantin Sergeyev for his wife Natalia Dudinskaya to music from the ballet La Esmeralda, has been removed.
2. The original, pantomimic Dialogue between Nikia and Gamzatti has
been restored.
Act II. Scene III - Death of the Bayadère:
1. The entrance of the corps de ballet for the Triumphal Procession in Honour of the Idol Badrinath has been restored using the score and repetiteurs.
2. The music and choreography of the lost Dance of the Slaves have been restored.
3. The sequence of the four bayadères' two variations has been restored.
4. The "extra" Variation of the Golden Idol, choreographed in 1948 by Nikolai Zubkovsky, has been removed.
5. The lost choreographic elements of the Indian Dance have been restored.
6. Gamzatti, Nikia, Solor and the four bayadères' Pas d'action has been moved to its original position in Act IV.
7. The choreography of the Final coda generale has been restored.
8. Nikia's Dance has been restored - in accordance with a note in Petipa's original libretto, the first part of Nikia's Dance is performed with a veena (small Indian guitar).
Act III. Scene IV - The Appearance of the Shadow:
1. The music and pantomime of the Scene with Solor, Gamzatti and Nikia's Shadow have been completely restored.
Act III. Scene V - Solor's Dream. The Kingdom of Shadows:
1. The choreography of the Grand pas classique of the shadows came to us practically unchanged. In the original in 1900, the corps de ballet of "shadows" consisted of forty-eight dancers. The tight touring budget means that the Mariinsky Theatre will be unable to stage the full corps de ballet of shadows in New York, which we have reduced to thirty-two dancers. The Mariinsky Theatre believes it to be artistically justified to maintain Solor's Entree and Coda, as choreographed by Vakhtang Chabukiani.
2. Petipa's original choreography of Nikia's Coda has been restored.
Act III. Scene VI - Solor Awakes:
This short scene was cut together with Act IV. Now it is has been completely restored.
Act IV. Scene VII - Wrath of the Gods:
This act has been completely restored using Nikolai Sergeyev's notation and director's notes in the original repetiteurs.
1. The Wedding Celebration has been restored.
2. The music and choreography of the Dance of the Lotus Blossoms for twenty-four ballet students have been restored.
3. The music and choreography of the entree, adagio and coda in the Nikia, Gamzatti, Solor and four bayadères' Pas d'action have been completely restored.
4. In the original, the music and choreography of Gamzatti and Solor's variations in the Pas d'action were to be performed ad libitum, i.e. left to the performers' choice. This was a typical practice in 19th century ballet and in classical art in general (for example, the cadenza ad libitum in the first part of piano concertos). Ludwig Minkus' hand-written score contains no variations - only the words "followed by Solor and Gamzatti's variations" are written. The choreography for these variations is, therefore, not recorded in Nikolai Sergeyev's notation. It is only known that in 1900, Nikolai Legat performed the variation to music from the ballet Le Papillon. In terms of character and technique, Vakhtang Chabukiani's choreography for Solor's variation (1941) does not match the style of a late 19th - early 20th century ballet. The Mariinsky Theatre therefore considers it appropriate to use the Male Variation from the ballet The Talisman to music by Drigo, which was choreographed by Marius Petipa. No records remain of which variation Olga Preobrazhenskaya (Gamzatti) danced. The Mariinsky Theatre considers it justifiable to retain Gamzatti's Variation, choreographed by Pyotr Gusev in 1947, which is a perfect exemplification of Petipa's choreographic stylisation.
5. The final Earthquake Scene and Apotheosis have been restored using notes in the repetiteurs.
The Mariinsky Theatre's set designs for the 1900 production of La Bayadère did not change over the course of the 20th century. The sets of the first three acts were carefully restored from the original 1900 canvases that are stored in the Mariinsky Theatre archives. The sets for the scene Solor's Dream. The Kingdom of Shadows have been restored from Pyotr Lambin's original model, which is kept in the St Petersburg State Museum of Theatre and Music. The sets for Act IV were restored from original sketches and photographic materials in the collection of the St Petersburg State Museum of Theatre and Music. The working mechanism of the stage scenery in the Earthquake and Destruction of the Palace scene was restored using assemblage blue prints kept in the Russian State History Archives (the Archives of the Board of Imperial Theatres). Now, at the start of the 21st century in the electronic age, this ancient machinery may seem somewhat naive and archaic, but it is precisely this scene which caused such a sensation among the audience at the Mariinsky Theatre in 1900.
The costumes for La Bayadère for the 1900 production have been restored
from original sketches by Yevgeny Ponomarev, kept in the St Petersburg
State Theatre Library. Technical descriptions of the costumes of La Bayadère, housed in the Russian State History Archives, were used in the reconstruction of the costumes from the 1900 production. Where possible when selecting fabrics, the costume restorers used those described in the archive documents. Some of these fabrics are no longer produced today and the Mariinsky Theatre's costume technicians used similar materials. The costume department strictly observed the principle of sewing by hand.
So - the original score, Nikolai Sergeyev's notation of the choreography, the original sets and costumes - all of these priceless resources have allowed the Mariinsky Theatre to restore the original, naive, archaic version of La Bayadère, which has the power to move us to this day. It demonstrates the joyful surprise and innocent delight of 19th century Europeans as they became acquainted with the vast world around them. The fate of La Bayadère was cemented by the artistic belief and great mastery with which Marius Petipa tells of India, love, cunning, retribution and the mysterious journey of the soul to the
afterlife. When the dancing shadows descend from the snow-capped Himalayan peaks wearing European ballet tutus, no-one would dream of reproaching the choreographer with conflicting ideas - we delight in the miracle occurring before our eyes.
Pavel Gershenzon
Posted 09 July 2002 - 09:39 AM
Posted 09 July 2002 - 10:47 AM
Posted 15 November 2002 - 01:21 PM
Posted 15 November 2002 - 06:40 PM
Posted 15 November 2002 - 06:49 PM
Posted 15 November 2002 - 11:36 PM
In Makarova's version (well in all of them), there is a little allegro number before the grand pas, and then another allegro number right after the pas' central adagio.....where are these numbers now? Are they the 2 variations of bayaderes in the betrothal scene spoken of in the press kit?
Posted 16 November 2002 - 04:02 AM
The two variations of the four bayadères in the 2nd Act are indeed the ones previously seen before and after the Grand Pas. They are now performed one after the other, while the second is introduced by the same music we use to hear before the solo of the Bronze Idol (at least in the old Russian versions).
Posted 16 November 2002 - 12:32 PM
Posted 16 November 2002 - 03:30 PM
The coda of the Pas d'action in the last Act is one of the marvels of this production. It's a lively enchainement involving four bayadères, Gamzatti, Solor and Nikiya. The music is completely "new".
First thing you need to do, Solor, is to get yourself a ticket for the next performance of the Kirov's Bayadère. I think you will enjoy it.
Posted 17 November 2002 - 08:18 PM
Posted 17 November 2002 - 09:06 PM
Having been discovered by westerners in 1860, Angkor Wat was the archaeological craze of its day, much as the Tut Phenomenon pervaded the 1920s. This may be a direct period reference going back to the 1877 production.
Posted 18 November 2002 - 09:25 AM
I'm particularly curious about this because thirty or more years ago, long before I ever saw anything from La Bayadere, I went to a charity dance recital given by the diplomatic corps in London. There were all kinds of numbers from Malaysian dances for men to a Japanese wife who did a traditional springtime solo with a giant branch of wisteria. But what I especially remember is that ladies from the then High Commission for Pakistan performed a traditional dance, largely circular in pattern, each one carrying a dish containing lighted candles in each hand. Sound familiar?
Posted 18 November 2002 - 09:52 AM
The fakir performs a short dance with lamps in his hands before the Shades scene (where it always was in the Kirov production). Besides, Alymer, the bayadères with lights in Nureyev's version are of the male species as far as I remember
Posted 18 November 2002 - 10:05 AM
I was also wondering, if the golden Idol music is not from the Petipa staging, whose music is it and where does it come from?
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It's been a while since I took a statistics course, but this question came to mind the other day.
Let's suppose that I am looking at Salary data, but the only data provided is the quartiles. For example:
Q1 = 25 percentile = 40 000
Q2 = 50 percentile = 70 000
Q3 = 75 percentile = 100 000
Assuming that we have a normal distribution and the above information, is it possible to calculate any given percentile? If so, how?
Any help would be appreciated. Thanks!


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5 Things You Should Do Before Your Kids Join Social Media Sitesby Lindsay Hutton
Facebook, Twitter, Instagram — in today's 24/7 digital world, social media sites have become a part of your child's everyday life. Educate yourself on each popular social media site and app so that you can stay in the know about what your child is doing online, teach him about the importance of privacy, and open the lines of communication to make sure he stays safe from online predators — and so your child can navigate this tricky new frontier.
1 of 6
Do Your Research
According to Consumer Reports, more than one-third of the 20 million minors who use Facebook are under the required age of 13. Additionally, about 41 percent of teens claim their parents don't know what they are doing online.
Get to know the social media sites that your kids are using. Set up an account, cruise around the site, and educate yourself on what each offers and how kids are using it. Be familiar with sites' age restrictions and know that kids can easily get around them. If you have a child under the age of 13, check the browser history on your computer. If you see Facebook listed, assume your child has created an account. Talk to her about why the age requirement exists and how it might be a good idea to hold off on joining.


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Bringing you info about technology, and how it impacts your life for better and worse. -Brian K, Community Partnerships Supervisor
It's August and if you have kids in your home there is a highly likelihood that their favorite phrase at this point in the summer is, "I'm bored." So if you are looking for a relatively affordable way to break the summer boredom and do something that is fun, educational and healthy I might have something for you – have you ever heard of geocaching?
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Cervical Cancer Health Center
Colposcopy and Cervical Biopsy
What Affects the Test
Reasons you may not be able to have the colposcopy or why the results may not be helpful include:
- If you have sexual intercourse 24 hours before the colposcopy.
- The use of douches, tampons, or vaginal creams or medicines 24 hours before the colposcopy.
- If you are having a menstrual period at the time of the colposcopy.
- If a vaginal or cervical infection is present.
- If you have gone through menopause. Hormonal changes may make it hard to see the cervical canal clearly.
What To Think About
- Colposcopy is not usually used as a screening test for women at high risk for cervical cancer. A Pap test is done for that purpose. But a colposcopy gives you and your doctor more information if you have an abnormal result from a Pap test.
- If a colposcopy and cervical biopsy are normal, it is not likely that you have cell changes that can lead to cervical cancer. But your doctor may still want you to have Pap tests more often for a period of time.
- Another biopsy may be needed if a Pap test, colposcopy, and cervical biopsy show different results.
- Women with human immunodeficiency virus (HIV) have a higher chance of developing cervical cancer. A colposcopy is usually recommended for women with HIV and an abnormal Pap test.
Related Information
Other Works Consulted
Chernecky CC, Berger BJ (2008). Laboratory Tests and Diagnostic Procedures, 5th ed. St. Louis: Saunders.
Fischbach FT, Dunning MB III, eds. (2009). Manual of Laboratory and Diagnostic Tests, 8th ed. Philadelphia: Lippincott Williams and Wilkins.
Pagana KD, Pagana TJ (2010). Mosby's Manual of Diagnostic and Laboratory Tests, 4th ed. St. Louis: Mosby.
ByHealthwise Staff
Primary Medical ReviewerSarah Marshall, MD - Family Medicine
Specialist Medical ReviewerKirtly Jones, MD - Obstetrics and Gynecology
Current as ofMarch 12, 2014
WebMD Medical Reference from Healthwise
Last Updated: 2/, 014
This information is not intended to replace the advice of a doctor. Healthwise disclaims any liability for the decisions you make based on this information.
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I vaguely recall reading a long time ago a 50-or-so page paper, either by John Baez or linked from his page (I think the former), which among other things gave a justification for his table of n-categories and a very cute explanation of the realization that really it should start at n=-2. I believe this paper also introduced (to me) the ideas of properties, structure, and stuff. I was just thinking about how I'd love to look back at this, but among the wealth of resources available on Baez's webpage I can't seem to find what I'm looking for. Googling hasn't turned it up either. Does anyone know what paper I'm talking about? And if it doesn't talk about properties, structure, and stuff, can anyone recommend a friendly and polished exposition of these ideas?
I think you mean the paper "Lectures on n-Categories and Cohomology". You can also look at the appropriate pages at the nLab.


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As stated in the title: is there any evidence that the hormones etc that the body produces during intercourse increases one's likelihood of encountering a bear in the back-country?
There is at least one documented incident with a bear that occurred in the 1980s which may have been related sexual intercourses.
Unfortunately the two teenagers, Jane Ammerman and Kim Eberly, did not survive.
Stephen Herrero wrote about the incident in his book titled Bear Attacks: Their Causes and Avoidance:
Backpacker.com have a short article on the topic.
In my opinion, there are other risk factors of bigger importance that I would try to address first.


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Community Equity: Facebook for Enterprise
By marianne on Sep 23, 2009
Social capital is the currency of online communities. Those with the most friends, blog readers, or Twitter followers are the richest—enjoying the finest of online perks and delicacies like celebrity, notoriety, and above all influence—while those with only a passing level of participation lay bereft on the outskirts of the social media circle. The more valuable the content you produce is, the higher your personal stock rises; the greater the exchange of ideas, the richer the community becomes.
Peter Reiser is capitalizing on this concept with Community Equity 2.0, a Java-based social value system that measures and evaluates one's online social capital, or equity. Community Equity goes beyond a simple structuring of people and their online content. Community Equity performs complex calculations of one's participation and contribution levels, the ultimate goal being to drive the adoption of content and ideas, providing an ideal platform for corporate communities.Read More]


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I have a large site where I would like to know which are the internal pages with higher PageRank for optimization purpouses. How can I generate a pagerank list of all my website pages?
I basically agree with Osvaldo [*], anyway if you want to see PR value for each page, you can use Firefox and install SEOQuake plugin. It reports for each page the Google PR.
Once there was the Google Toolbar that was showing the PR of each page, but I think they removed that feature lately.
[*] I never understood why Google removed the PR in its toolbar, it was the only reason why I was using their toolbar. Even if it was just a number, I liked to see the PR of each page of my sites. It was like reading the vote given by Google to my site.
PageRank is not that important (for optimization purposes) anymore.
You can get tons of much more valuable info if you optimize your site for Google with Google Webmaster tools. You'll be able to see what pages score best for specific keywords, get CTR and number of clicks for each keyword. You can also see how many times each page was shown in search results and by which keywords.
With Webmaster tools, you'll be able to monitor which pages and keywords are gaining or losing visibility and clicks.
Aready exists, it's known as Google Analytics. Get it set up on your website and you can start tracking average page position by actual search keywords. Lots more statistics available and actually more useful than a generic logrithmic number that doesn't really mean anything.


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5 Common Crime Fighting Tactics (Statistics Say Don't Work)
Sure, we've come a long way since the days of hanging warty women for consorting with the devil, but that doesn't mean our justice system has made it all the way out of the dark ages.
Lots of what you see police doing on Law & Order is based on techniques that are proven to not work so well. But change is hard, so the system stays the same, even though ...
#5. Interrogations Can Get Innocent People to Confess
Via News.everest.edu
Remember what it was like to accuse a sibling of stealing a favorite possession? No matter how hard they protested or how strongly they insisted that maybe you should take a peek at that shithole you were calling a bedroom, it didn't matter. Your Jem and the Holograms cassette was stolen, and you knew who took it.
Suspect interrogation is kind of like that. If the interrogator is convinced the suspect is guilty before the interrogation starts, it's hard to change his mind. He or she will assume everything from cries of innocence to constant crotch-scratching is proof of guilt, which leads to a more aggressive line of questioning. But who cares? If the bad guy confesses, the good guys win -- it's the one time you know for sure you got the right guy. That's why just about any confession makes a jury more likely to convict, even if the jury is told that the confession was coerced. After all, no matter what, an innocent person isn't going to confess to something he didn't do.
"That's right, little Jen. Just confess to selling all that coke and we'll buy you some cotton candy."
So What's the Problem?
Wrong. It happens all the time. And we mean all the time. In one famous 1989 case of a rape of a jogger in Central Park, five men went to jail after the cops got them to confess to the assault. Then they were released, after it turned out they didn't do it (another guy already serving time for a different assault finally came forward).
"Only the guilty have anything to fear. And the innocent, if we're having a slow day."
It turns out it's actually not all that hard to get a confession out of an innocent person. The same high-pressure psychological techniques meant to wear down a guilty suspect will make a lot of innocent people confess to something they didn't do. Since innocent people are more likely than criminals to waive their right to remain silent, they're put in a high-stress situation where they're not even clear about what they're being charged with. They also may feel guilt for some unrelated reason (they saw the crime and failed to report or stop it, for example). So, they say whatever they need to say to make the interrogation end.
For instance, one popular interrogation technique has the interrogator give a monologue claiming he already knows the subject is guilty, and then follows nine scripted steps to get a signed confession. It's incredibly effective -- it gets guilty suspects to confess nearly 84 percent of the time. Oh, and it gets innocent people to confess approximately 43 percent of the time. Add hinting at fake evidence, and you can up that false confession rate to about 94 percent.
"You ever wonder if maybe all these head games and lies get in the way of, y'know, justice?"
It's hard to argue with success! Especially if you're behind bars.
#4. Composite Sketches Are Pretty Much Useless
You've seen this in every cop show ever: The victim describes the man who assaulted her, the police have a guy there with a sketch pad drawing up what she describes. Then they can put that "composite sketch" out on the street and find their man. In other words, the composite sketch is created with the hope that a picture like this:
Will get you a person like this:
Via Wikimedia Commons
It's like seeing double!
So What's the Problem?
In reality, victims who assist in creating a composite sketch of their assailants are nearly 50 percent less likely to correctly identify a suspect later.
The first problem is that, as you might have already noticed, sketch artists are usually terrible at their jobs. In one demonstration, an artist was asked to recreate the faces of famous people while looking at their pictures. This was the breathtakingly miserable result:
Via Face Processing
This isn't a joke, from left to right: Bill Cosby, Tom Cruise, Ronald Reagan and Michael Jordan.
These days, instead of old-fashioned pencil and notepad, we have special software to do the job for us. The terrible, terrible job. While human sketch artists are bad, software is even less effective. In one study, hand-drawn sketches led to a 32.8 percent correct identification rate, while computer-assisted sketches ended up correct only 22.4 percent of the time. That kind of success rate is a bummer if you're trying to identify the anonymous stranger who fed your parking meter, but it's a tragedy if you're trying to identify the guy who viciously murdered your best friend and might be coming for you next.
The other problem is that the act of creating a composite sketch confuses the hell out of the victim. Your memory is actually very suggestible, thanks to a phenomenon called source amnesia, which basically means the brain remembers facts, but doesn't remember where we learned them. That means if the artist gets something wrong in the sketch (the suspect's nose is too big, or he has too many eyes), the victim literally starts to think that's what the suspect looks like. The brain doesn't remember if you first saw that feature in the real face or on the sketch. So the cops drag in a guy who looks like the inaccurate sketch and you say, "That's him!"
"Wait, what?"
What we're trying to say is, if you want to stay out of jail, don't have a face that looks like a terrible drawing.
#3. Lineups Are Pretty Useless, Too
Let's say, God forbid, something terrible happens to you, like that you're flashed in the park or somebody drunkenly poops in your swimming pool. Fortunately, you got a quick look at the guy before he ran away. Now the only thing between you and sweet justice is picking the perp out of a police lineup.
Shouldn't be too hard.
So What's the Problem?
By viewing a bunch of people together, most eyewitnesses use relative judgment to choose a target, which means the brain doesn't quite go for an exact match. After all, you don't want the guy to go free, or to think you've wasted everyone's time doing the lineup. So instead of picking out the guy who is an exact match for your memory (which, as we established, is a little hazy anyway), you're going to pick whichever guy is the closest match of the guys in front of you. Which is kind of a problem if your pool shitter isn't actually in the lineup.
And sometimes the policemen facilitating the lineup aren't helping. Remember, they know which of the people up there were just brought into fill out the lineup (such as off-duty cops) and which one is the chronic pool shitter they're pretty sure did it. So there's one guy up there the cops want you to point out, and humans have a million ways to subtly influence the decisions of other people, whether they mean to do it or not.
"It's #4. Say #4."
For instance, voice inflections, stressing the witness and even unconscious hand gestures can steer the witness toward the cop's preference. Once the "correct" selection is made, the police may lavish praise on you, which artificially boosts your confidence at trial. That's a big deal -- most juries base their judgments largely on witness confidence. So that whole skewed process of first getting you to finger the wrong guy and making you more and more sure about your decision can put an innocent man behind bars.
To give you an idea of how shaky that whole process is, merely reminding the witness that the suspect may not be in the lineup decreases misidentification by about 46 percent (even though that should go without saying -- if they knew for sure, there'd be no reason for the lineup in the first place). You can also increase accuracy just by having the lineup conducted by somebody unfamiliar with the case, so they're not subconsciously steering the witness one way or the other.
"Guest officer ... Carrot Top!" "Murder? I barely knew 'er!"
We're not trying to paint the police as a bunch of corrupt stooges eager to throw anybody and everybody into prison. They're under enormous pressure to close cases and get bad guys off the street. There's no reason to stop using a technique that helps get convictions, and in fact, all of the pressure is going the other way. And that goes a long way to explaining the last two ...


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(Games at 6 p.m. unless noted)
Boys' Basketball
Brooke at Wheeling Park
Girls' Basketball
Edison at Oak Glen
Buckeye Local at East Liverpool
Cambridge at Indian Creek
OHSAA Duals
Division II
(at Steubenville)
Region 12 Quarterfinals
Beaver Local vs. Tri-Valley, 6 p.m. (Mat 1)
Steubenville vs. Cambridge, 6 p.m. (Mat 2)
Region 12 Semifinal
Two winners, 20 min. following
Division III
(at Shadyside)
Region 21 Quarterfinals
Martins Ferry vs. Caldwell, 6 p.m. (Mat 1)
Shadyside vs. Belpre, 6 p.m. (Mat 2)
Region 21 Semifinal
Two winners, 20 min. following
Dover at Steubenville, 6 p.m.


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OUT of the most prosaic materials, miracles can come. The industrial revolution was created from steam on iron tracks. Our information technology revolution is being made out of silicon on copper tracks.
Robert Miller, a former colleague of mine at the Institute of Economic Affairs, has just published railway.com, a rewarding look at the remarkable parallels between the arrival of railways 150 years ago and the sudden emergence of the internet for us now. Both networks promised to enhance productivity stupendously; yet often the rewards did not go to the original investors.
It might seem a bit strained to compare Isambard Kingdom Brunel and his Great Western Railway with Bill Gates and Microsoft. Look closer and the homologies are arresting.
Remove the top hat, waistcoat and whiskers of Brunel and he is shown to be a man with near identical dilemmas to those of Gates.
The most aesthetically pleasing argument from railway.com is that those who make bad investments are a necessary and valuable part of the market process. When an entrepreneurâs venture fails, he has added to the body of learning. If a scientist falsifies a theory, he is performing a role very much like a businessman.
This adds a certain stature rarely attributed to commerce. I like the idea that an honest effort that finds no customers is still helping the mysterious process we call the market.
Most of academic economics is polluted by the dangerous notion of âperfect competitionâ. It is dangerous because it is so utterly unlike the real world. Capitalismâs great duty is the taking of risks. Success is measured not so much by the virtues of the product but its place in a subtle flux of prices and alternatives. Perfect competition, with its associated poetry of âequilibriumâ is a romantic folly.
This study goes into the close detail of a new technology. How, for example, did Britain choose its railway gauge when the engineers believed a far wider one would work better? It became a matter of necessity for railway companies to carry through-traffic on each otherâs tracks. They resolved it by agreeing standards.
We have just lived through the huge conceit of the internet bubble. It turns out to be all but identical to the railway bubble of the 1850s. Miller makes the telling claim that the evident "waste" of all that money poured into both speculative surges actually achieved its purpose: to lubricate and reward a new technique, the full nature of which experts could not guess.
It was perhaps the absence of rules or regulations impeding their way that allowed both to happen so quickly and transform everyoneâs expectations.
Being first in a new field has some glamour. Your shares may spiral upwards, but you are exploring new territory and likely to make the mistakes from which only your rivals will profit. The spectacular over bidding for 3G mobile licences turns out not to be that different from the railway companies scrambling for new routes.
Edinburgh was the great prize as the steel tracks stretched northwards. GNER won. By any engineering measure, Brunelâs Great Western Railway was a triumph. "Godâs wonderful railway" was the salesmanâs phrase. Yet GWR shares touched £220 at the height of the railway bubble to ruin many at £40 by 1867.
Some important conclusions emerge that we cannot find in the fictional horizons of the textbooks. The great co-ordinating mechanism is price, or more precisely relative prices.
It seems evident from this scholarly attempt to observe parallels with the past that the policy implications are entirely laissez-faire.
All attempts at favouritism or capture by the political classes only impede learning. Trying to rig market processes, even for the most benevolent intentions, can be damaging.
There is nothing as daft as misgivings about the future. The market is an infinitely subtle process but with a defining characteristic - that all bargain makers are voluntary in their actions.
Such insights perhaps have enhanced value in Scotland where the preponderant assumption seems to be that public bodies can best fashion our future. Civil servants, however alert, could never have given us the railway or internet revolutions.
"Irrational exuberance", as market bubbles are described, are not evidence of foolishness but of the participants imagining opportunities and providing the funds to transform our opportunities. The main beneficiaries turn out not to be the capitalists but the rest of us.
railway.com by Robert CB Miller IEA, £12.50


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Are there any references to Jesus / the Messiah in the OT apocrypha?
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Not part of my definition of apocrypha, but reading Wisdom leaves you with a distinct feeling that that the messiah is coming and he's going to be very badly treated.
I won't post all of Wisdom 2 here, but make sure if you read it, that you don't cut up the verses, these are bad people talking bad things about a righteous Man.
(Wisdom 2:1 NABRE)
But, basically, as some English monks point out, the entire Bible points to Christ in some way:
*I know these aren't 100% Deuterocanonical, but they're in here for completion.
Yes, there are several (Sirach and Enoch for example). In fact Jude quotes the book Enoch.