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The question is inspired by this thread on MO. My father is a mathematician, so I remember seeing very nice pens all around. When I started to do math by myself I've realized how important can be a good pen and a notebook with a decent paper. Personally I do prefer thin pens (currently using blue gel Pilot pen) and squared paper, but I am also interested in what do people on MSE like.
closed as off topic by Jonas Meyer, lhf, Isaac, Chris Taylor, Steve D May 24 '12 at 10:54
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These pens are incredible. I buy box every semester or so.
For paper, I take 1-2 hundred sheets of plain copy paper (I don't like lines when doing math) to the campus copy shop and get it spiral bound with vinyl covers. The total cost is under $\$4.00$ and unlike Moleskine (which I used for a while) or Mead notebooks, you can turn pages a full $360^\circ$ about the binding and everything is still smooth. Also, the vinyl covers are very durable. Once I started doing this, I never looked back.
I take the philosophy "beggars can't be choosers". I lose pens like crazy, and despite my best effort at collecting lots of freebies whenever I have the chance, I never seem to have enough pens or pencils. For non-mathematical writing I prefer a good fountain pen--mine never leaves my desk at home for fear of it being misplaced. For mathematical writing I just use whichever implement of writing that is most conveniently within reach (which often ends up being cheap BIC ball-points).
For paper: when I am roving about (i.e. not at my office) I prefer a writing pad with either graph paper (5mm or less spacing) or narrow-ruled paper (college-ruled is okay, but narrower is better for me). I tend to become too messy when using blank paper, so ruled paper stands a better chance of me being able to eventually transcribe it digitally.
In my office, I do about half of my computations and writing directly on computer (I TeX as I go). For the other half I try to be environmentally friendly: I go to the printer room and pick up stacks of discarded print outs; most of those coming from when the laser printer runs out of toner and so most of the page is blank with some faint stripes of text. Since I transcribe these into my computer immediately, the paper quality doesn't matter much.
I prefer chalk and a blackboard. Not for an audience; I just like to have some space, and it gives me a chance to clean up my work a few times over without wasting paper.
Any piece of paper (I literally did mathematical things on back of a bus ticket, more than once), but I often have a spiral bound legal pad around.
My favourite pen is Mitsubishi Uniball UB-150 (Micro) Black.
Technical pencils with an eraser on the end. Any kind of paper.
I like using the Pilot G-2 0.5 roller, preferably black or blue
Usually I use any sort of draft I can for papers, though I always carry a hard-cover notebook in my back-pack, in case I need to write something while standing in the bus or walking.
I really liked unit3000-21's idea of binding draft-papers together, I think i'll start doing that as well :-)
The best is a napkin or a beer coaster. That is where all the best theorems were first written. (This is folklore.)
Pilot FriXion erasable-by-friction pens are THE BEST. They work amazingly well. Erases instantly and even more cleanly than pencil. http://www.jetpens.com/Pilot-FriXion-Point-04-Gel-Ink-Pens/ct/758
Pens? They make everything stand out. How do you go back and review notes done all in pen? They also bleed or indent the paper below much more than pencils, created a rather used-paper experience when you turn the page. I think notes are best taken in pencil with a switch to pen for certain highlighting of information. I've done notes and problems all in pen before for studying purposes and like I said, it's like everything is yelling at you, when you go back to review
I like the PaperMate (formerly Sanford) Ph.D. and Ph.D. Ultra mechanical pencils. They have a big, comfortable grip, a massive eraser (essential!) and hold lots of lead. They are expensive enough that you will take care not to lose them, but not so expensive that you will be bankrupt if you do.
For paper: plain white office paper on a wooden clipboard. On the rare occasions that I write something that I want to keep, it's easily scanned. Otherwise, it's easily recycled. Notebooks tend to accumulate unnecessarily.
So, I have been using Uni-ball Signo (DX) UM-151 (0.38) on the Apica CD40SN. If you're in Boston, you can get the notebooks at Tokai at the Porter Exchange. Sadly I am unaware of any US stores carrying the UM-151. The paper is extremely smooth and the interaction of the pen with the paper is really stellar. But sometimes nothing beats loose leaf paper, and there are times when unlined paper is better than lined paper.
The other pen that I think is pretty useful to have around is the Sakura pigma micron 0.2mm, especially when drawing figures.
Maybe it's a function of the particular writing I like to do, or my puzzle background, but I really like working on graph paper when I'm trying to work something out; being able to sketch out figures with some small degree of accuracy or to veritcally align elements consistently (my alignment has a tendency to drift when I'm not paying attention) is really useful.
I also have a small supply of multisubject notebooks at around 4"x6"; they're just small enough to fit into the pocket of a jacket or cargo pants, easy to pull out on a bus or in line, and the sectioning lets me keep up with two or three different streams of thought without having to jump over irrelevant text.
I write notes in pen. Just simple papermate blue. Never black. I do all my work in pencil however (before Tex) and for that I use any pencil I can find. Normally mechanical. SIAM gave out a bunch of free pens to our student chapter and I've been riding them out for awhile.
I still prefer the good old fashioned regular pencil and paper (not too picky when it comes to paper.)
I use Le Pen from Uchida for nearly everything. They're cheap (I get them at a local art store for a bit cheaper than the website) and they come in all sorts of colors. Uniball and such are nice but I got sick of using such a sharp point.
I prefer to use liners. For example, Pigment liners form Staedtler or Topliner from Schneider (that is what I found in the nearby stores). I prefer a width of 0.3 mm.


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WACO (January 29, 2013)—Joe Ryan Vela, the man for whom police were searching in connection with a bizarre case involving the theft of a BMW from a mountain town, a harrowing chase on a Colorado interstate, and the arrest of a woman driving a Chevrolet Impala stolen from a local dealership, was in custody Tuesday in Waco.
Officers found the stolen BMW just after midnight Tuesday morning, parked in front of a home in the 1400 block of Turner Street.
Police surrounded the house and eventually talked with Vela, whose real name is Christopher Villa, into surrendering without further incident, Waco police Sgt. W. Patrick Swanton said.
Villa was in the McLennan County Jail Tuesday afternoon facing charges of theft of more than $1,500 but less than $20,000 stemming from the theft of several thousand dollars worth of stereo equipment from a Waco Walmart store and evading arrest, stemming from a failure to stop when a Moody officer attempted to pull the BMW over on Sunday.
Police in several local cities had been on the lookout after the stolen 2006 silver BMW 530XI with a sunroof and Oregon plates was spotted here over the weekend.
Moody police were advised Sunday that the BMW and its driver might be in the area.
Moody police Officer Chris Veselka spotted the vehicle at around 10:15 a.m. Sunday and gave chase, but the driver refused to stop and was able to elude him, speeding off and heading north on Interstate 35.
Then at around noon on Monday, Waco police spotted a similar BMW in the parking lot of the Franklin Avenue Walmart store while investigating a shoplifting report.
The car had been spray-painted black and the BMW logo had been removed from the hood of the vehicle, but Veselka said it was the same car.
Veselka said Vela has previous convictions and is named in outstanding warrants including one here charging evading arrest in connection with the chase on Sunday.
The BMW was stolen on Jan. 15 in Silverthorne, Colo.
A Colorado state trooper spotted it about 15 minutes after it was taken and as he tried to catch up with the car on Interstate 70 in the Colorado mountains west of Denver, he noticed that a gray Chevrolet Impala was trailing it, an arrest affidavit said.
He and other troopers tried to catch up with the two eastbound vehicles, which were traveling at speeds of 110 miles an hour or more on the mountain highway, but authorities said it appeared the driver of the Chevrolet was running interference for the BMW driver.
"The Impala passed (the trooper), pulled in front of him and was driving erratically, weaving across the road, apparently trying to prevent him from contacting that BMW," Sgt. Mike Baker with the Colorado State Patrol said.
The driver of the stolen BMW eluded troopers, but the Chevrolet, which was stolen on Dec. 20, 2012 from Greg May Honda in Waco, ultimately crashed into a fence at an exit from the interstate in Lakewood, a Denver suburb.
The woman who was driving the car ran into a private office complex where the affidavit says she pulled a fire alarm and then donned a janitor's coveralls she found in a closet.
A witness said she also took a broom, dustpan and apron, the affidavit said, evidently in an attempt to disguise herself.
Bridgette Sandoval, 28, who was driving was arrested outside the building and was taken to a hospital, according to the arrest warrant affidavit.
She told investigators "she had been forced to take drugs by people over the last four days" and that "she had last injected drugs on the morning of the incident," the affidavit said.
"I know I am on drugs now," she said, according to the affidavit.
She said someone else had injected her with methamphetamine and heroin and "put me in a car and told me to drive…run and don't stop," the affidavit said.
Sandoval remains in the Jefferson County, Colo. Jail facing a long list of charges in connection with the bizarre series of events.

subset: commoncrawl


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Members of the media who wish to reach students, faculty, staff, or a spokesperson of the College, please email Media Relations or call 802-440-4399.
Bennington College
Office of Communications
One College Drive
Bennington, VT 05201-6003
A painting by faculty member Ann Pibal has been selected for the Perverted by Theatre art exhibition, a collection of visual and mixed media art on display at Apexart in Lower Manhattan through December 6.
Pibal was one of 26 artists whose work was chosen for its "theatricality," and installed in "an environment molded by theatre... in order to reexamine the triangulation of visual art, performance, and theatre," said curators Franklin Evans and Paul David Young.
The exhibition challenges art critic Michael Fried's assertion that visual art is corrupted by theatre, featuring work that "deliberately employs plot, character development, identity, conflict, destruction, and the overcoming of obstacles," according to a Flavorpill review.
The curators explain how Pibal's painting Drifter fits into the greater narrative expressed by the specific arrangement of art:
"The narrowing possibilities that flow from [the protagonist's] decisions and actions are abstractly represented in the ineluctable and singular opening of Ann Pibal's Drifter, whose title may also evoke the plot arc of the stranger who arrives and causes the action to be set in motion, only to move on in the end, leaving behind a world altered by her intrusion."
Pibal, a faculty member since 1998, has exhibited her paintings and drawings at many esteemed museums and galleries in cities around the world. She has been awarded artist residencies at The MacDowell Colony, Yaddo, UCROSS, and Le Cité Internationale des Arts in Paris, and has been a recipient of a NYFA fellowship, a Pollock-Krasner award, and a Saltonstall Foundation Grant. In May 2008, her work was featured in a solo exhibition at Max Protetch Gallery in New York.
Read The New York Sun review of Pibal's Max Protetch exhibition.
Read The New York Times review of Perverted by Theatre.


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Are there any kind of photography left today which digital cameras are still in the disadvantage to film cameras?
Infrared and ultraviolet photography is much more accessible with film. With digital it is possible, but generally involves modifying the sensor to remove the hot mirror, which is very expensive.
I think medium and large format photography is still a world dominated by film. While that fact is starting to change with more recent digital cameras that have extremely high megapixel counts (20mp or more), going to a larger format is SIGNIFICANTLY cheaper with film. The benefits of large format are particularly nice for landscape photography, but shine whenever you need the ability to generate extremely large prints (poster size or very large canvas prints.)
There are some digital cameras explicitly designed as medium-format, such as the Hasselblad H4D. The H4D sensor ranges around 50-60 megapixels and is 40.2 x 53.7mm in size, which is considerably larger than a full-frame 35mm sensor. The cost of this camera, at $45,000, is extremely prohibitive.
Star trails (Google images search) are much easier to photograph using film equipment, for a few reasons:
First an explanation; this answer extensively borrows from and combines points from a number of the existing answers to this question. To those from whom I have borrowed, thanks.
A short answer to this question is "very little" but that hardly does justice to the intent of the question. So I'll make a long answer and divide it into sections.
Spectral Response
Digital camera sensors try more or less to mimic the colour response of the human eye in order to help make familiar-looking, believable photos that reflect our own experience of the scene (before they're transformed in Photoshop...).
Black and White Film
Like digital cameras, most colour film is sensitive to light in ways which try to approximate what we see with the eye. But also many are not. The most obvious example is black-and-white film. Black and white film is usually used to generate a monochrome print (black and white, or sepia and white for example). But not all black and white films respond to light in the same way. Early black and white films were in fact only responsive to blue light (so skies looked very light). Orthochromatic films were introduced later, and were also sensitive to green light also. Then came panchromatic films - also sensitive to red light.
Not every black and white film is sensitive to the various wavelengths of light in the same way, and this means that a given scene, photographed with different black and white films, will look different even if the overall sensitivity of the films are the same.
Black and white films generate an image by a chemical reaction which turns silver halide into silver oxide (silver oxide appears black). The image is made up of many tiny grains of silver oxide.
Colour Film
Colour films can also respond to visible light in different ways too. Well-known examples include Kodak's discontinued Kodachrome emulsion, and Fuji's Velvia (which is more sensitive to green light). Colour films are normally made of several layers, one each for red green and blue light. They contain various dyes and other things that allow the layers to register the red green and blue image. The development process for colour film is much more complex than that for black and white film partly because these layers respond in different ways to the development chemicals and to the temperature of the reaction. Some colour films are made in three layers and some (principally Fuji films) are made in four. The fourth layer, again, changes the way the film responds.
Comparison to Digital Imaging
It's possible to take a photo with a digital camera and manipulate it to mimic the 'look' of a certain type of film. You'll get very close but may not precisely mimic the film effect. Photographers who are particularly attached to the 'look' of a film can therefore continue to prefer film. In a sense it's because they are familiar with the tool and the results it produces have become part of their style.
Even if you don't have a preference for any particular 'look', you can swap between film types to experiment with their imaging properties. That by itself can be an attraction of film photography. The flip side clearly is that with film it's hard to try out several 'looks' on one base image - while with things like Photoshop you can try out filters and actions to experiment with variations on your original image.
Non-visible Light
Film can be sensitive to non-visible wavelengths of light. Digital sensors can too, but it is a lot easier to change the film in a camera than to change the sensor.
Infra-Red ("IR") film is a popular choice, especially for living subjects like trees (often trees look very light coloured). IR films most often render monochrome images, though colour IR films are possible. Kodak used to make one (Ektachrome EIR), but it has been discontinued. IR films vary in their response to infra-red light too (some are sensitive only to "deep" IR and others are also sensitive to some parts of the visible spectrum (red light, usually).
Digital camera sensors are normally sensitive to IR light. This usually isn't convenient since it would generate an image that's not as the eye sees. So they normally have an IR-blocking filter over the sensor. That block is not perfect so by putting a filter on the lens which is opaque to visible wavelengths, you can do IR photography with a regular digital camera. You can also get them adapted by removal of the IR blocking filter on the sensor. This makes them much more useful for IR photography (since you can use the viewfinder again). The adaptation process can also account for the different focusing properties of IR light, so while this option is quite expensive, the result is probably easier to use than IR film in a regular film SLR. But trying IR photography out by just buying an IR film is certainly the cheapest option.
Glass bends light rays of different wavelengths different amounts (this gives rise to the "chromatic aberrations" you read about in lens reviews), so IR focuses in at a different point to visible light. That can be awkward, so many people stop down to adjust by increasing depth-of-field.
Films exist also that are sensitive to ultra-violet light. However, most modern camera lenses are constructed from materials that block it. A notable exception is the CoastalOpt® UV-VIS-IR 60mm Apo Macro UV-VIS-IR Lens which, incredibly, is not only transparent to visible, UV and IR light but also brings them all to focus at the same point (meaning that you can focus normally with it). It's eye-wateringly expensive, though.
Chemistry for Art
Some people choose to do film photography precisely because its imaging is based on chemical processes. Certain kinds of photographic prints (Platinum/Palladium prints, Ilfochrome prints) have a partiucular look that people seek out.
Altering the parameters of the development process can generate imaging effects that people deliberately take advantage of; solarisation and cross-processing are good examples. Once again it's possible to pretty much duplicate this look in Photoshop but then, perhaps not exactly.
Chemistry for Convenience
Sometimes it's just more convenient to use film exactly because development and printing is chemical. For example, you don't need a computer or a printer to make a print from film. This could be an advantage in a remote place, for example. But not only in remote places; instant cameras have made a comeback in recent years.
Let's Get Physical
The physical - rather than chemical - properties of film can motivate a choice to use film, too. Until recently dental X-rays were mostly done with film, because it was easier to put a small piece of X-ray film in someone's mouth than it was to miniaturise an electronic X-ray sensor (and sell it at a price dentists would pay).
You can record more information on a photo by using bigger film. That is, a 6cm by 6cm negative such as is used in a Hasselblad camera will record more fine detail than my SLR will (its frames are less than 3cmx3cm). And with film, you can just go bigger and bigger to get more resolution. You can buy sheets of film at 8 by 10 inches. It's a standard size, even. You can go bigger still too. Digital camera sensors of that size basically don't exist (though if they did, they would also have great resolution). Even a sensor a third that size costs many tens of thousands of dollars. The problem is that digital camera sensors are made out of one single silicon chip, and larger sensors are much more expensive to make than small ones. I believe it's partly because the area density of IC manufacturing defects doesn't go down just because you're making a bigger sensor, so the yields for large sensor production are worse than small ones. The lower the yield of sellable products, the more expensive it is to make them.
Film even goes up to truly ridiculous sizes. Take a look at this huge instant camera and the stunning X-ray work of Nick Veasey (see also this article about Nick's work which I think points out that some of it is done at an enlargement ratio of 1:1).
Film is available in many shapes. You can even buy it in sheets and cut it. The Hasselblad XPan uses regular 35mm film, but takes very wide frames (so essentially it has a much larger "sensor area" than a full-frame digital camera).
Panoramic cameras often rely on the ability to bend the film. If you're going to take advantage of the bendiness of film, the Spinner could be the most fun way to do it.
Holography is normally done with film I think. Very slow (ISO 25 perhaps) sheet film. Well not film exactly. Photographic emulsion on large glass slides. I suppose it could be possible to record a hologram digitally, but I'm sure the equipment to do so would be pretty expensive.
Don't Forget to Talk About Cameras
Sometimes people choose film not because of the properties of the film, but because of the properties of film cameras.
My Personal Reasons
I shoot film because I want to use a specific category of film product. Changing film is easy and it's a bit like changing the sensor in your DSLR. So I choose these film products:
Right now, I have two films loaded, one in each of my film bodies. One is an IR film and the other is, I think, Velvia 50.
Notice that I only do about 5% - less perhaps - of my shooting with film. If this was any more, the processing costs would be annoying. The processing costs for digital photgraphs, once you have a computer and software, are zero. For film, you pay for every exposure. So I'd never put myself in a position where I only had a film camera.
One other thing I find handy is a film leader extractor. This allows you to re-wind your film before finishing it, change the film in your camera, and then later re-load the film that you rewound (obviously you have to advance the film past the exposures you already took). I used to find that handy for those times when I had ISO 100 film loaded, and then wanted to use a slow zoom lens in poor light (for which I needed ISO 800). Of course, that kind of thing isn't needed for DSLRs at all.
One thing that I like better about film photography is, that you can shoot slides and project these in large scale with their original resolution onto a screen, or even just a smooth white wall.
Digital projectors will never give your 12 megapixel camera justice--most digital projectors cannot display anything beyond the "HD" format, which is really only 2 megapixels (1,920 x 1,080 pixels).
I believe a lot of people don't realize the fact that while the 10, 12, 14 or whatever megapixel camera can capture tons of detail, the program that will display your images on screen will always have to recalculate all this detail and cram it into your screen--which most likely has a 2 megapixel resolution or even less. That's sad. But of course, the convenience factor of digital photography takes over most people for good reason.
But once you have seen a medium format slide projected onto a 8 x 8 foot screen, you may change your mind :)
Pinhole photography.
The optics of pinhole systems mean that increasing the size of the imaging medium makes enormous gains to the resolution of the image.
In practice, film (or photographic paper, commonly, but still silver-halide) is easily the best choice, and will probably remain so indefinitely.
Fine Art Photography
In fine art photography, for some photographers, the actual process of taking a photo, using film, is still very important.
Also, shooting with film, with an older film body, as an artist, can connect you to the legacy of photographers past, in a way that you cannot do with digital bodies.
Black and white photography
No monochrome sensors are available on the mass market.
The convenience and performance of digital has lead it to replace film in many areas. However film has some unique attributes which make it more suitable than digital in certain applications (by 'film' I'm including any light sensitive chemicals that can be used to form an image):
Whilst the price of digital has plummeted at the very bottom end, film cameras are cheaper to manufacture, which makes them suitable for disposable cameras, the type that are made of cardboard and shoot one roll of film which can't be replaced.
A film camera requires as a minimum a light-tight box with a small hole. It is thus much more suitable for home-made cameras for either educational or recreational purposes.
Low power
Film cameras can be entirely mechanical. This means they can operate on zero power making them suitable for cases where a camera must remain dormant for a very long time in an environment with no external power (e.g. a cave) before being activated by an external [mechanical] trigger.
Long exposures
Digital camera sensors are active (consuming energy) the entire time during an exposure, and can heat up as a result. This energy use and quality lost due to thermal noise can place upper limits on exposure time. Film, whilst being suitable to reciprocity failure, is passive which means exposures can be much much longer, so for any applications which require very long exposures, such as solargraphs (where the exposure can be as much as a year) film may be preferable.
Large format
Broadly speaking film costs increase linearly with area - if you want twice as much film it will cost twice as much. This is a simplification but contrasts strongly with digital sensors where the cost rises exponentially with sensor area. This is due to the way defects appear in the silicon. When making many small sensors from a wafer, a single defect could cause you to have to throw away one of the sensors, still leaving you with many viable units, however when making one large sensor, a single defect can cause the whole sensor being thrown away leaving you with nothing to show for your effort.
To capture the highest levels of detail requires a physically larger lens and format, so for these applications film is either cheaper, or the only option. A good example is the GigaPxl project which captured images on film using a special camera that were scanned in at the resolution of a billion pixels.
Cheap disposable film cameras are good in situations where you'd not want to risk with losing or damaging your primary equipment, such as a day on the beach, horseback ride, a wild bachelors trip etc. I bought one with appropriate shell to try out underwater photography, it was several times cheaper than a shell alone for my digital camera would have been.
A mechanical film camera would be handy anytime you cannot or may not use power, such as extremely cold temperatures, during plane take-off/landing, or after the next super-strong geomagnetic storm.
None of the digital cameras today have the full range of movements (Rise, Fall, Tilt, Shift, Swing) of view cameras. PC or TS lenses get you there partially, but their range of movement is nowhere close to what's available to view cameras. So they don't offer nearly as much control on focus plane placement, DoF and perspective control.
A smaller aperture is also possible before diffraction kicks in.
So some landscape, architectural and fine art photography is better done with film.
Hipster Lomo photography.
Film cameras have (iirc) universal support for multiple exposures. Some dslr bodies have added this feature, and you can certainly do this in pp, but film allows you to do this in a straight forward manner.
Medium format is still much cheaper (relatively) using film, as digital MF's are wicked more expensive than their film counterparts.
Film is good for some aspects of learning photography. The expense of it can be a good thing. When you have to pay a real cost for each picture, you wind up paying attention to what you're doing. It forces you to deal with your mistakes, look at them and learn from them. They're objects that you have to deal with, they cost you money, so you learn quickly.
Not being able to see the picture until a while later means that you have to have paid attention to what you shot while you were shooting. Film tends to concentrate the experience on the moment of shooting because everything leads up to that, rather than the shot being the start of an extended post-production process, the goal of which is usually to mimic something other than what happened at that moment.
These goals tend to be suited to learning, and to art-oriented projects. The point is that they take advantage of the fact that film takes longer and is more expensive. What is learned can be translated to digital for commercial and professional work, where the goal is to be as cheap and fast as possible.
Five or six years ago, when I first took up photography, I would have said night photos. I could put black & white ISO 6400 film in my Nikon N80 and get shots I wouldn't even think of attempting with a digital back then. I doubt that's true today though.
Film SLRs do have advantages, yes. Two immediately pop to mind:
A couple of things nobody have mentioned are:
Photograms (which I've described in more detail in this answer) involve placing objects in direct contact with a photosensitive surface, usually outside a camera. Film is perfect for photograms for a number of reasons:
Digital camera sensors fail on all four counts!
My father-in-law produces photogram-like images by capturing light refraction patterns with a lens-less film SLR body. In theory you could do this digitally too and we've discussed it a few times, but I'm always reluctant to expose my camera's sensor to the elements so routinely. Again, film just doesn't have that issue.
Force of habit, there's a big section of photographers who learnt the trade using film and prefer it's qualities, and it works for them so why change the habit of a professional life time?
I do know of a couple of photographers who say they prefer the actual quality of a print from film due to various factors, but if I'm honest I can't see it, but they can and for them that's enough to keep using it.
Film processing is a lot easier than digital processing in remote areas, especially if there's no (reliable) electricity. A few bottles of chemicals and a light tight bag are enough to process a roll of black and white film to negatives, in theory prints of those can be made without electricity too (though a powered enlarger makes it a lot easier and more reliable).
Besides all that's been said...
In high-speed B&W photography, film (think Ilford's Delta 3200) still produces far better results than digital sensors.
In low-light photography, film is still better, but digital is (finally) getting decent results. Take color away, and digital sensors clunk.
Try to replicate works of Jonathan Canlas and Jose Villa with digital cameras, impossible. A lot of photographers choose film, not because it's better, but because it gives them certain look. Think of it as a tool at your disposal.


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Transcription 12/17/13
Gaye LeBaron Collection
World War One Letters
Title: Registrar's report and registration card- Edward Charles Barker Tanner
Reference URL: http://northbaydigital.sonoma.edu/cdm/ref/collection/Lebaron/id/3109
1 1 3 7
1 Tall, medium, or short (specify which)? Tall. Slender, medium, or stout (which)? Medium.
2 Color of eyes? Brown. Color of hair? Black. Bald? No.
3 Has person lost arm, leg, hand, foot, or both eyes, or is he otherwise disabled (specify)? No.
I certify that my answers are true, that the person registered has read his own answers, that I have witnessed his signature, and that all of his answers of which I have knowledge are true, except as follows:
(Signature of registrant) George R [illegible]
Precinct [illegible]
City or County: Sonoma
State: California
(Date of registration): June 5th 1917
Form 1. 625
No. 24
1 Name in full: (Given name) Edward Charles Barker.
(Family name) Tanner.
Age in years: 29
2 Home address: (No.) RD 2. (Street) Box 132. (City) Santa Rosa. (State) California.
3 Date of birth: (Month) May (Day) 29th (Year) 1888
4 Are you (1) a natural-born citizen, (2) a naturalized citizen, (3) an alien, (4) or have you declared your
intention (specify which)? Natural born citizen.
5 Where were you born? (Town) Toledo, (State) Washington, (Nation) USA
6 If not a citizen, of what country are you a citizen or subject?
7 What is your present trade, occupation, or office? Farmer.
8 By whom employed? J. R. Pepper.
Where employed? Santa Rosa.
9 Have you a father, mother, wife, child under 12, or a sister or brother under 12, solely dependent on you for support (specify which)? No.
10 Married or single (which)? Single. Race (specify which)? Caucasian.
11 What military service have you had? Rank: No; branch; years; Nation or State.
12 Do you claim exemption from draft (specify grounds)? No.
I affirm that I have verified above answers and that they are true.
(Signature or mark) Edward Charles Barker Tanner
If person is of African descent, tear off this corner.
Click tabs to swap between content that is broken into logical sections.


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I've been playing MediEvil lately and it got me wondering, what causes some of the old 3D games have "flowing" graphics when moving? It's present in games like Final Fantasy VII, MediEvil, i remember Dungeon Keeper 2 having the same thing in zoom mode, however f.e. Quake 2 didn't have this "issue" and it's just as old. The resolution doesn't seem to be the problem, everything is rendered perfectly fine when you stand still. So is the game refreshing slowly or it's something to do with buffering?
I have only the most bizarre of citations for this, but it appears on the original PlayStation, the vector unit (which was usually used to transform vertices) was capable of fixed-point operations, and the rasterizer also used fixed-point math, but only integers could be passed between the two. So you're seeing quantization artifacts: polygon corners are getting snapped to the nearest grid point. Perfectly stable for a still scene, but fairly disconcerting in motion.
From a little bit of additional research, it appears that the original PlayStation had different resolutions at which the rasterizer could work, from 256x224 to 740x480. So you could pick lower resolutions to get better fill rate, but you'd see these sorts of artifacts, as the grid at low resolutions is coarse enough to easily detect with the naked eye.
If you play Quake 2 in software mode, it actually does have some of the issues you mention. If you look at certian models at sharp angles in Quake 2, you'll see "swimming" textures. This is because many early 3D engines used affine texture mapping. This saves you the expensive per-pixel divide that gives you perspective correct texture mapping, but it means your textures will warp when viewed at sharp angles.
Also, many early 3D games (including Quake 2) used simple vertex morphing to animate their models as opposed to skeletal animation. The vertices are tweened between keyframes with linear interpolation. Naturally, this doesn't preserve the distances between vertices very well, so you end up with jelly vertex syndrome—the models jiggle a little bit as they animate!


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I need a bit of advice. I have an e-commerce site on www.mydomain.com and I have now created a sub domain that will have a totally new store running on it (all installed any ready to go). I use prestashop and I want to point a category on www.mydomain.com to my new sub domain www.mydomain/sub.com. Can this be done? How would I do it?
either does not make sense or will confuse everyone or I'm not getting your question right
is a subdirectory
is a subdomain
In general context subdirectory and subdomain should behaves almost the same way. For SEO, the safe approach is to use subdirectory instead of subdomain e.g. http://www.whitefireseo.com/site-architecture/subdomain-or-subfolder-post-panda/360/ (there are a lot more preferences, feel free to do some searches)
The general directory structures on your server would be as follows for both subdirectory and subdomain case
As a result, what you need to do is the following 2 simple steps
Step 1: Create directory "sub" inside directory "mydomain.com" (this should be a breeze if you have access to cPanel or SFTP access to the directory "mydomain.com" and you have "write" permission to it
Step 2: Install a new prestashop website inside "mydomain.com/sub/"
Good luck!
If you want to make sub domain then it can't be possible as mydomain.com/sub.com but you can create it as sub.mydomain.com. If you are ready to make sub domain then log in into control panel of web hosting and then choose option as create sub domain. You sub domain facility available on your web hosting plan. I hope you can understand about sub domain.
So.. you havee installed PRESTASHOP in www.mydomain.com and your store will stay there. The only thing you want to do is to read a category from prestashop and put the results in subdomain.mydomain.com. If I understood well so.. this will be done in 3 ways:
Hope is helpfull for you


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- What are favorite tags and ignored tags? How do they work?
- What are tag subscriptions?
- What are interesting tags?
- On Stack Overflow, the content of the main page question list appears to be influenced by favorite and ignored tags. How does that work?
For more information, see "How do I find topics I'm interested in?" in the Help Center.


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Event date
Full Address
2000 Fearrington Village Center, Fearrington Vlg, NC 27312
Dovecote Shop at Fearrington Village
Contact Phone Number
In a market already flooded with candles the House & Home™ collection from LAFCO was an immediate and phenomenal success. The concept was simple: give the customer a beautiful hand blown glass vessel, a generous burn time and just the right scent for every room and home. Lucky Magazine called it "The Perfect Candle". Celebrities became fanatics and offered it to their friends and the entire collection was chosen for the biggest Favorite Things episode ever!


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UPDATE: You can see the entire room reveal here!
I love custom lighting, don't you? Like love love love it. When I was finishing up my Master Bedroom (that will be unveiled later this week) I needed lights for my nightstands. I knew that I wanted them to be symmetrical but the dilemma that I ran into is that I already had 2 symmetrical lamps on my dresser. It was just too matchy. Blech.
So I did what I always do. I thought about what the PERFECT light would look like if I could have exactly what I wanted. You do this don't you? When you decorate you need to dream and feel the space. Then let your DIYing get to work.
I decided that I wanted to jump outside the lamp box after all I wanted LIGHTING, not a lamp.
I knew that if I was going to hang something in front of the window it needed to still let natural light in. So I went to my favorite store in the world Homegoods and bought 2 identical glass urns. Its sort of hard to understand how big they are. My head could easily fit inside on. And I have a big head…
If you wanted to do this with ones that didn't match that would be totally awesome too, just make sure you have more than 2. So, it would be great above the counter in your kitchen where you have pendant lights….just saying.
I found 2 matching lights at Home Depot that were on MAD clearance (less than $10.00 each) that I used the hanging hardware from. I could have used the entire thing (Hardware, electrical etc.) but I wanted to use an Edison bulb and these lights had a FUNKY socket that only takes special bulbs with prongs…. So that was added cost and labor that most of you probably wont have to deal with.
If you need to rewire it, here is how you do it. If you don't, hang tight through these next few steps!
You will need a hanging light kit and a socket.
I had 2" holes drilled in the bottom of the glass because I am an idiot. YOU DO NOT NEED HOLES THIS BIG!!!!!!! You only need a 1/2" hole to fit the small rod. This is how to drill through glass.
Take your socket and screw it onto the threaded rod then attach the hanging bar. (Normally this bar is used when you are attaching it to the ceiling but I needed something to keep the socket on since my hole was so dang big). BUT even if you have a small hole I would recommend doing this or something like it. The glass jars are really heavy and it helps distribute the weight a little better.
Then you are going to wire your socket. The instructions are very simple and included in the packaging. If you are concerned you can always hire an electrician. But you should be totally fine!
Once your socket is wired you have this:
With the cord coming out of the bottom, sorry I missed that in the shot!
Next you are simply going to put all of the components together. Super easy!
And make sure that it works before you hang it!
Don't I have the best husband in the world?
I sort of wanted the vintage bulb to be the star of the show. You can buy bulbs like this at Home Depot or Lowes for around $10. Pretty pricy but SO worth it!!
And make sure to check out all of my other unique tutorials if you need more lighting ideas in the Project Graveyard!


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2 Nov 2010 2:17 AM #1
Unmasking a TreePanel rendering issue
I've noticed that masking/unmasking a panel that has a scrollbar would scroll that panel at the top of it.
From what i understand the TreePanel has a buffered view with the tree nodes which are to be displayed. When you scroll, using the mouse, the view is updated with the needed tree nodes.
Lets take the case when you have a TreePanel which has many tree nodes, and the panel is scrolled at its bottom, if you mask/unmask the component it will jump at its top. At this point you will get a white panel because the view of the tree doesn't get updated and no tree nodes will be rendered. If you move the scollbar manualy, the tree nodes are rendered back again.
I think a listener is needed in order to update the TreePanel rendering when the components scrolls automatically.
Thank you.
2 Nov 2010 2:21 AM #2
Can you please post a fully working testcase for this? I have never seen this problem when masking a TreePanel.
2 Nov 2010 7:12 AM #3
Hi sven,
Sorry about this, the issue was on my side.
My project uses a customized masking, and in the overriden mask method, the "x-masked" style was added before "x-masked-relative" style. Apparently, this makes any panel with scrollbar to jump to the top.
2 Nov 2010 7:17 AM #4
By the way, it would be nice in El class to have access to _maskMsg and _mask fields, so that we could easily change how the masking looks like.
2 Nov 2010 7:17 AM #5
So it is working correctly now?
2 Nov 2010 7:18 AM #6
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November 5, 2010
With "FolkloRican," renowned multi-media artist Pepe Villegas presents a 10-piece collection of oil paintings that delve into an intriguing archive of personal and cultural memories referencing his Puerto Rican upbringing. Ranging from striking representational and semi-representational portraiture to abstract and symbolism-rich canvases,t his highly evocative and criollista sampling is deeply rooted in cultural pride, introspective contemplation, and national nostalgia.
"FolkloRican" commemorates Latino Heritage Month at New York University and is co-presented by NYU Wagner, the Latino Studies Program, the Center for Latin American & Caribbean Studies, and NYU Steinhardt.
Gallery Space at Wagner, Puck Building
295 Lafayette St. (corner of Houston), 2nd Floor, New York, New York
When :
Wednesday, November 17, 2010 - 5:30pm - 7:30pm (opening reception, featuring live music by percussionist Carson Moody).
RSVP is required.
Show runs through January 31, 2011
Part of the Robert F. Wagner Graduate School of Public Service at New York University, the Gallery Space at Wagner will be closed Dec. 24 through Jan. 3. For more information such as hours and directions, please contact Frankie Crescioni-Santoni at 212.998.7400.
This Press Release is in the following Topics:
Neighbors, Activities, Around the Square, Robert F. Wagner Graduate School of Public Service, Steinhardt School of Culture, Education, and Human Development, Events and Traditions
Type: Press Release
Press Contact: Robert Polner | (212) 998-2337


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Arrested: Charles Daniels, 57, 1305 Wellesley Ave., domestic violence, Sunday.
Theft: House in the 100 block of McDowell Avenue broken into and copper piping and water heater taken, Sunday.
Arrested: Kaitlyn E. Patrick, 24, 357 N. 10th St., Weirton, felony theft, Sunday.
Arrested: Brandon E. Mayhew, 25, 1711 Hardins Run Road, New Cumberland, felony theft and failure to appear warrant out of municipal court, Sunday.
Cited: Jacob Hruschak, no age listed, 226 Mahan Lane, Follansbee, failure to control.
Arrested: James D. Shannon, 26, 414 N. Sixth St., Toronto, failure to appear warrant out of municipal court, Sunday.
Jefferson County sheriff
Arrested: George C. Bly, 53, 154 Forest St., Wintersville, disorderly conduct while intoxicated and falsification, Saturday.
Vandalism: House vandalized with spray paint in the 100 block of Church Street, Rayland, Saturday.
Break-in: House in the 100 block of Sixth Avenue, Rayland, broken into and interior ransacked, Sunday.
Break-in: House in the 400 block of Union Street, Mount Pleasant, broken into and $2,200 in cash taken, Saturday.


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Can Any body help?
I know it sounds daft. But after using an 8mm Sigma fisheye for a while, I'm trying a Sigma 10-20.I use a Canon 450D and I want to shoot at 20mm. The reccommed settings are 55 lower rail and 100 upper. However, I would have to turn the camera plate around to be able to get to this setting? Furthermore, how true are the suggested settings, using my 8mm I found some of the settings out on the bottom rail after using the "Grid" as parallax experiments.
Any help appreciated!


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Moderators: Killer Karetsu, Zupponn, Moronstudios
Han Solo wrote: Hokey religions and ancient weapons are no match for a good blaster at your side kid.
Warhead wrote:my head burns with War.
Apollyon wrote:Harry Potter convention... working for the church... am i the only one creeped out at this?
stubby wrote:What the hell! Timedude is here??
Well all I can say is,
it's about . . . time . . .
She added the flames and vermin for coolness
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New York just got hit by one hell of a storm, depositing thousands of hail pellets (some reportedly as big as quarters) all over the city, leaving an inch or so of slush on the ground. Want to see pictures?
What the "hail" is going on, am I right? ("Hail"?) The Jets/Vikings game is being delayed thanks to the storm, and a severe thunderstorm warning has been issued for the area.
And, oh my, the hail. The storm started where I am in Brooklyn at around 8 p.m.—more or less out of nowhere, soaking anyone who was unlucky enough to be outside at the time—and by 9 there was layer of hail on the ground in some places.
Because it happened in Brooklyn, it got Tweeted about. Check out some of the pictures (right above by jessepace):
by kpickert
by DanReilly11
by jpotisch
by bizmonides
by emma_my
by gsb99wall
Possible New York Post headlines for tomorrow: "OH HAIL NO"; "HAIL SCARY"; "HOLY HAIL"; "WAITING TO EX-HAIL."


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Searching for a web service that assists HR and recruiters in tracking contacts/candidates for job opportunities.
This is essentially a CRM tool that is customized/specialized for the activities that a recruiter or HR worker would require.
Bonus points if it works across different organizations (ideal for a recruiter working for many companies, rather than the HR dept of a specific company)
Zoho Recruit appears to be a possibility, however I'm looking for other options to compare as well.


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This article and this search suggest that the 32-bit word
0x41414141 is associated to security exploits.
Why is
0x41414141 associated to security exploits?
This article and this search suggest that the 32-bit word
Why is
It's nothing fundamental. It's just a historical convention, like using
In more detail: The simplest way to test for a buffer overflow is to type a long string of A's (AAAAAAAA...) into a text field, and see what happens. If the program crashes, it might be vulnerable. If the program crashes and a debugger shows 0x41414141 in the program counter, ooh boy, you hit pay dirt: the program is almost surely vulnerable. (Remember, the ASCII code for 'A' is 0x41 in hex, so 0x41414141 is what you'd see if you looked at the byte-level representation of a string of A's in a hex editor.)
Why A's? No reason at all; they're just the first letter in the alphabet.
So, this is a quick-and-dirty test that pentesters sometimes use. But of course, there's nothing special about 0x41414141. Douglas Adams fans could type in a long string of B's, and then look for 0x42424242. That'd be equally effective, and even more fun. I gotta remember to use that one in my next hacking demo.....
It's more associated with simple proof of concepts. 0x41414141 is usually the result when a (usually long) string of A's is used to demonstrate an overflow (or something similar).


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Working as a professional within the GIS discipline, I often find it challenging to describe to people what GIS is (in a face to face conversation). Telling them that GIS stands for Geographic Information Systems, which encompasses a set of technologies that can be used to analyze, map, and organize spatial data is a bit over most people heads. On the contrary, telling people that GIS can be used to make maps on a computer falls far short of its many potential uses. With this, I'm looking for some effective video examples that one could show somebody that explain both in words and visually what GIS is, and how the technology is utilized (something your Mom could understand :))?
I love the Geospatial Revolution series of videos from Penn State University.
It's a beautifully produced set of videos showcasing some everyday uses of GIS.
What is GIS by ESRI: Short and informative, with understandable images and use cases, and a groovy introduction music. Otherwise, just say: "GIS technology is kind of like Google Earth, but beeetter".
Perhaps it doesn't show exactly the current state of GIS (at least it doesn't look like that in my organisation so far ;]) but I really enjoyed video from Pacific Northwest National Laboratory on Precision Information Environments. Quite a lot what is happening there is either directly or indirectly related to geospatial technologies (of the future). (via @IJHGeo)
For more rigorous approach to definitions and concepts have a look at Defining a GIS: Essential GIS functions from users presentation from FOSS4G2011 conference.
Also see https://www.youtube.com/watch?v=wDVNBDIVUZo -it explains what it is, what people do and what the world would be without it.
I am working on one for aboriginal children. See What is GIS for Indigenous Peoples?
The 2014 version of ESRI's "What is GIS?", part of the E380 series, is presented in an up-beat, easy to understand way, with relevant examples that "Mom" can understand.
And it's only 1 minute long, so you won't lose their attention.
Video link available at: http://video.esri.com/watch/3623/what-is-gis_question_


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Obamacare Heads to Supreme Court: Liveblog
Obamacare Heads to Supreme Court: Liveblog
March 26, 2012
Today is the day. Advance reading for President Obama's health care law's week at the Supreme Court from: Richard Epstein, Ilya Somin, Jonathan Adler, George Will, Ezekiel Emanuel, and Avik Roy on the week ahead.
Below is a liveblog I'm participating in covering the day's events. I encourage you to join in the conversation!


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It seems to me that extra gravitational potential energy is created as the universe expands and the distance between massive objects such as galaxy clusters increases; this implies that energy is not conserved in the universe. Is that right?
That's actually a tricky question.
The short answer to the title question is yes, it does. But the answer to the follow up question about conservation is, it is still conserved.
In a much simpler universe, what hwlau said would be true - as the gravitational potential energy increases, the kinetic energy decreases. But we do know through the Hubble telescope that this is not the case. As the universe expands, the planets and dust and stars accelerate away from each other.
The answer is only hypothetical for now, which is dark energy. Here's the wikipedia page on it. The problem is, dark energy is very unknown. I'm not sure how this force will be able to counteract gravity. However, dark energy only manifests itself through gravity, and not through the other 3 fundamental forces, so there is definitely some relationship there. Dark energy can possibly negate the increased potential energy through some mechanism, but how it does that exactly is also unknown.
There's little I can give you other than the wikipedia link above, but notice when you open it, how the only explanations available are evidence arguing for dark energy's existence, what properties it should have, and other explanations for the expansion aside from dark energy (very interesting part). There is no explanation as to its mechanism, except that it causes things to accelerate against each other.
It's a good question. There is simply no good, accurate answer at the moment.
Here is an extract from this article on math.ucr.edu that explains why energy sometimes seems to be not "conserved".
I figured it would be better if I copy the entire paragraph and post it as answer (so that others can see) instead of providing the link as comment because you never know when the server might go down and the article would be lost.
Original by Michael Weiss and John Baez.
Click here to read four examples and plunge deeper into the mathematics. Three examples involve redshift; the other, gravitational radiation.
I think your reasoning is partially correct.
Yes, the Universe is expanding. But, the energy is conserved. How?
From the second law of thermodynamics, $$ dG = dH-TdS $$ Taking our universe as a closed system. And, our universe does not exchange heat with the surroundings (well, there are no one to exchange).
So, $$dH=0$$
As our universe is expanding, $dS$ increases. Therefore, $-TdS$ decreases. Hence, $dG$ decreases. The energy for the universe to do a work (can be seen as potential energy) is lost in expansion. As the potential energy of the universe is decreasing, it can be seen as Gravitational Potential Energy + Internal Energy (of Masses) + Electro Magnetic Radiation. The mass is conserved (for large objects (principle of momentum during collisions)), Radiation remains constant. The major change occurs in Gravitational Potential Energy. And, it decreases as $dG>0$
The problem with this question is that gravitational potential energy between massive objects is a Newtonian concept but the question of energy conservation in cosmology can only be discussed properly in terms in general relativity.
The general answer is that energy is always conserved if you take into account the energy in the gravitational field as well as the matter and radiation fields. Dark energy can also be accounted for.
The full treatment is long and gets technical so I refer to my article at http://vixra.org/abs/1305.0034
The answer in the Physics FAQ above is incorrect and the points raised are treated in my article
Your reasoning is not right. Energy can still conserved even expansion occurs.
Considering the simplest case that there are only two massive particles moving away from each other. As the distance increase, the potential energy increase while the kinetic energy decrease. Hence, the speed is slowing down, but they are still moving away from each other (expanding).
For large among of particles, you can also think of some kind of explosion driving them away from each other. The expansion is slowing down as time pass, but they are still expanding. There is no need for "creation of extra potential energy". To claim that the energy is not conserved, you need more evidences such as the speed distribution, etc.


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What purpose do steeples serve? Are they put high up on church buildings as some sort of marketing tool so it can be seen from far away or is there some other reason(s)?
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Interesting question. I managed to find an article, The History of Church Steeples, that actually addresses this.
One reason: It was simply an architectural style that happens to inspire us to look heavenward.
In short, there's no doctrinal significance, or symbolic other than the pointing to the Heavens. It's simply a beautiful style that, once done, was imitated throughout the ages until it became expected.
Because steeples have bells in them
See, they know they need to pray the Angelus because the bell is ringing.
for the sound of bells to carry over the tops of buildings, the bells had to be higher than surrounding buildings. Bells were used not only before church service, but also to notify people of emergencies, such as fires. The buildings were regularly used as a town meeting place, as well, not like today where they are often locked except on Sunday mornings.
The church has always been recognised as a patron of art as it has needed to use art for teaching and inspiring . Stained glass windows often contained depiction of scriptural teachings, and allegorical interpretation lent itself particularly well to this form. Common folk found pictorial depiction easier to understand.
Thus the Samaritan would be depicted as Christ, the wounded man as man under sin's oppression.
The other way art could be used was for inspiration . Cathedrals have been called prayers in stone, depicting the heavenward soaring of men's words.
People entering a place of worship were inspired to believe they were seeing and hearing men praising God through architecture and music. God was the recipient of this worship, and men's energies were used to create forms in a way that reflected this. Conscious effort was made in the soaring interiors and ethereal singing to convey the idea that God was present in all His Majesty.
Compare this with contemporary architecture and music, where the end products have the consumer in view. Churches are patronised because they have comfortable seating, climate control and theatre acoustics, the better to hear words that comfort and beats that stir the feet to tap.
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7 Sex Tips from Cosmo That Will Put You in the Hospital
#3. Milk His Cow
Cosmo's print edition, Vol. 238, issue 1, page 84.
OK, "Steven" isn't even trying to hide the fact that he's clearly fucking with Cosmo here. This is one of the single most awful pieces of advice anyone has ever penned in any language, and could be chalked up to a terrible joke if it hadn't actually been published.
Kinda like these... ah, never mind
Just in case it's not clear, let us respond individually to "his" three points:
1. "It really sucks when a woman handles your manhood with care."
No, it doesn't. There is no part of our body we want you to be intentionally negligent with. Even if it's our shins we're talking about here, handle them with care. And when it comes to our genitals, multiply that by one thousand.
2. "Ladies, our units aren't that sensitive."
Ladies, go watch an old episode of America's Funniest Home Videos. See how the guy doubles over and nearly vomits when hit with a light, plastic wiffleball? Yes, our units are fucking that sensitive.
3. "We need you to get a little rough with them--squeeze hard, suck hard, really grab onto it like you're milking a cow. You may think you're hurting him, but I guarantee if you asked, he'd request more, more."
That last bit is your best clue. "I guarantee if you asked..." No need to ask before you abuse his junk, ladies! Just assume he'll answer in the affirmative. His screaming means it's working!
#2. Go Joystick On His Boner
Cosmo's print edition, Vol. 237, Issue 3, page 144
We had to throw this one in because it's hilarious, shows utter unfamiliarity with how the male unit works and yet is still somehow the best advice on this list.
After she's attempted to bite your nutsack, yanked out your pubic hairs and rattled your balls like she's working a craps table, it'll be sweet relief to have the woman merely grab your boner and steer it around while making "BEEP BOOP" video game noises with her mouth.
"Yes, honey, that's great. Play Space Invaders with my wang. I just have to catch my breath here. Yes, sure, use it like a gear shift and make race car noises. That will be a fun activity for you while I wait for the feeling to come back to the lower half of my body."
#1. Put Him in the Fucking Hospital
For those of you who never had older brothers, this technique, when applied to the forearm, is called an Indian Rugburn. We're not sure if the politically correct version would be an Indigenous American Rugburn or a Southeast Asian Rugburn, but that's irrelevant because when done to your manhood it would need a new term completely. Something like, "A crime a million times worse than genocide."
Pictured: a technique that wasn't even used on penises in Abu Ghraib.
We're not even joking at this point. Seriously, don't do this. We're frowning over our keyboard. This has been banned by the Geneva Convention as an inhumane torture technique. They will build grim monuments to the men who have had this done to them.
Let us never forget what Cosmo did to those fine men on that terrible day.
Have an idea for an article? Think you're funny? Just go here and sign up. No experience necessary.
Don't take that steel jock of your genitals before you check out 6 Horrifying Ways to Improve Your Sex Life and 9 Awesome Places to Have Sex (And the Horrific Consequences).
And stop by our Top Picks to see Cracked.com's sex advice (read: links with boobies in them).
And don't forget to follow us on Facebook and Twitter to get dick jokes sent straight to your news feed.


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what i'm knitting now
The mad rush to get things ready for the Spring '08 photoshoot is over. The photos have been taken. No more reknitting necklines late into the night. No more cutting 4″ off the bottoms of things, because, I was, well, WRONG the first time. No more cutting sweaters in half and inserting lace details or raiding my button collection for the perfect finishing touch. Ahhhhh – at least for now.
Oh and also, after getting 2 (or was it 3?) extensions to the deadline on my lastest piece for Vogue Knitting, I finally, REALLY, had to finish up and send it in. That's done – another ahhhh. Now I can do my laundry. Now I can cook for friends. Now I can sleep.
One question looms though – What do I knit on now? A mindless garter stitch scarf in something soft and soothing, I'm thinking, ultra alpaca light, would suit my brain right now. I like peat mix for the subtlest bit o color next to my black coat. I like size 6 needles. Right now, I like just knitting. My head will recover soon though, and be aching for something a bit more challenging. It's time to resume knitting on the sweater for my boyfriend.
Don't give me a hard time. Yes, I know about the boyfriend curse. In fact I discovered it in college – I thought then that I was the first to voice it (although I'm sure I wasn't).
This boyfriend spent a whole summer (he's a teacher) demolishing and then rebuilding my kitchen. Surely, if John can commit all of that time and sweat to build a kitchen for me, I can knit him a pullover. He's a sweater wearing man too. I have to take the chance – he REALLY wants the sweater. The yarn I'm knitting on is not (gasp) from Berroco. It's spun from John's best friends' sheep. This sweater comes loaded with MEANING. While my theory has long been that an overload of MEANING is why men do leave when you give them a sweater, any man who can't stand up to the MEANING wasn't going to stay any way. I have to take the chance
The cable pattern in John's sweater is the same one I used in L'aran in Berroco booklet 256. I expanded it to cover the entire surface. Peruvia would be a great yarn substitution for my one-of-a-kind yarn.
Wow, Norah–three cheers for you! You are a natural blogger!! There is a little synchronicity going on right now, too, I was recently up burning the midnight oil designing when I should have been being studious. Now I'm back in the books and knitting a wee dog sweater in Ultra Al to prevent my brain from overheating.
This is my 'curse' sweater–we're back together now, but it still worked it's 'magic':
Are those needles vintage or caesin (both)? I have some plastic ones that look like that–stiff cord but nice and pointy!November 6, 2007
yogahz #
The boyfriend curse sweater is only curse-ful if the MEANING in the sweater hasn't been reciprocated. I think demolishing and rebuilding a kitchen is full of MEANING of its own.
You're safe.
Beautiful sweater BTW.November 6, 2007
Haha, I like how MEANING says everything. And I think a cabled sweater in exchange for a remodeled kitchen is just right. It's beautiful!November 6, 2007
Kim #
I'm glad I didn't know about the boyfriend/sweater curse 19 years ago – we've been married for 16 years now. It took about 8 years of my cooking for him to grow into it, though! I'll bet yours can handle it, too. The sweater is gorgeous, and I love the needles in the background just begging for a new project.November 9, 2007
beautiful!November 9, 2007
portlandia #
The man deserves the sweater…love it that you are forging ahead confidently.November 9, 2007
John (the boyfriend) #
I guess I should add, if you can't handle the MEANING stay out of the kitchen…November 9, 2007
Colette #
I was surprised, yet pleased, to read that even designers like yourself actually have to cut and re-knit sections of a project.
It actually encourages to stop being so demanding on myself all the time.
I really enjoy your blog and plan to visit often.
Can't wait to see the sweater modeled by that very special boyfriend!November 10, 2007
soc #
I married the guy I knit a sweater for. It was the first sweater I ever knit. An aran style thing with cables in front and on the sleeves. I was really proud of the fact that the sleeves were the same length, and he didn't even mind that there are more cables on one sleeve than on the other. LOL. 28 years married and still knitting for him, the girls, friends, and family…November 10, 2007
Christine #
I understood the feeling of having met all knitting deadlines and being ready to jump into something new. I think Christmas night was my favorite night to knit. All my gifts were done and I could start something brand new. I couldn't wait for the day to be over.
About that boyfriend thing. You can be sure that the rest of us (his family) would hunt him down and stick knitting needles into him if he was stupid enough to think about leaving you. But, I think he's smarter than that.
ChrissyNovember 10, 2007
josephine #
Funny thing about curses; we believe them, they come true.
Last Christmas I knitted a Berroco pattern in Ultra Alpaca for a man who had been in my life, drifted away and then returned.
I had never heard of the sweater curse. He loved the sweater and since then, the relationship has just gotten better.
Nora, keep knitting that sweater!November 10, 2007
Belle #
Tuning in late on the "B'friend" topic, but I wouldn't even knit a sweater for my HUSBAND of 9 years. We were old (60's) when we met (on the internet). I started a sweater finally with yarn he picked out and at his repeated insistence and sure enough…he passed away in his sleep 4 years ago…so, I'm a real believer. If he hadn't already been dead, I would have killed him :^). It has been long enough that I smile about it now. He was a dear!
Look at it this way…if he leaves with the sweater…you've STILL got the kitchen remodel done!!! I'd gladly knit a sweater, socks and a scarf to boot just to have my living/dining painted!!!February 21, 2008
Jennifer #
It's so beautiful, and he + you sound really great, too!!
… Might a pattern for this beauty (the sweater) appear somewhere, sometime? It's so great, I'd love to try my hands at all the cables in that one — it's gorgeous!March 28, 2008
Jill #
I am beginning this sweater for my husband-to-be (he loves the cables!) and I wonder if someone could help me out with a question I have on the pattern.
The chart notes how to work A to B (4) times and then work to (D) on RS rows, but it doesn't explain how to work the WS rows.
Do I work from D to C (4) times and then work to A?
If someone could help me answer this, I'd appreciate it so much!
Thanks!!!May 20, 2010


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Possible Duplicate:
How to revert to GNOME Classic?
I'm not sure what this new desktop is called. But things I dislike:
- When I hover my mouse on the top of the screen, a menu shows. In the past, the menu is always there.
- The new panel on the left. I dislike such style...
- Where's the bar at the bottom? The one that shows the windows currently opened, etc.
I did some google work and found this. But the command
sudo apt-get install gnome-panel only gives the error:
E: Package 'gnome-panel' has no installation candidate.
Please help. Thanks!


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|For Engineers
|APEX™ Guide
|Delphi Reference
|Delphi Website
Delphi Connection Systems are now available from TTI, Inc., the world's leading authorized distributor specialist of passive, connector and electromechanical components. Delphi is the world's largest manufacturer of electronic and electrical interconnection products and systems designed for the automobile and transportation market. Through this site you may search our inventory of Delphi connector part numbers and find convenient links to technical drawings, PPAP and IMDS data, and parametric search tools. Should you need additional assistance, our customer service team is ready to help at 1-800-CALL-TTI (1-800-225-5884).


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When I tell people what I do for a living – study, practice and teach nutrition – I am met with one of two reactions:
"Really?! Let me tell you about this diet I'm on…."
"Oh no. Please don't judge what I'm eating."
The reality is, most dietitians don't want to judge your plate. The term "food police" has unfortunately run rampant for years, but I have yet to meet a dietitian who appreciates the moniker. Well we embrace our role as food assessors, maybe even diet connoisseurs, there is one title that I find myself returning to when I consider myself as a dietitian: role model. The irony is, for every instance I have been asked to ignore a colleague's lunch tray, I have never had someone ask, "What are you getting for lunch?" No one thinks to study the dietitian's meal choices or analyze what landed in her lunch box. And I often wonder why.
If one were to explore the dietitian's meal selections, I think he would be quite surprised! (Most) dietitians will openly proclaim their love for all things supposedly on the "no" list when it comes to food: Artisanal cheese! Coffee! Wine! Anything mixed with dark chocolate! Sure, we can claim it's the antioxidants we're after, but as scientists we know the benefits of these foods lie within their gustatory assets.
So if as dietitians we know that the key to health, longevity and mortality is a diet of plants, whole grains, sparing lean meats and even less low-fat dairy – why exactly does every nutrition blog feature a delicious array of the cheese/coffee/wine/chocolate conundrum I mentioned above? Because dietitians love food. And we recognize that in order to live, breath, and teach nutrition, we have to have a true love for all food – from a dark chocolate bar to a kale leaf. That isn't to say that dietitians can't be picky eaters or don't have certain foods they abstain from; you certainly won't find me in line at KFC anytime soon. But I would never judge someone for the individual food choices they make, because food is surely about more than nutrition. It is about beauty, love, fuel, taste, and family.
And if you don't believe that, you've clearly never tasted my garlic roasted kale.


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Puma Cell Turin II NS Men's Running Shoes
Buy Online & Pick Up In-Store
The Puma Cell Turin II NS Men's Running Shoes have a sleek design and lightweight construction that'll make them your go-to pair. An advanced cushioning system offers superior shock absorption, and an abrasion-resistant rubber outsole provides another layer of comfort. Stay steady on your feet with Puma running shoes!
- Men's Puma casual running shoes


text: Recently I have been pondering just what it is that I enjoy about those SF and fantasy novels which really catch my attention. Not necessarily the best books in the genres, but the ones that I read more avidly than any others, and which light up my imagination. This really stems from a conversation with my better half, in which we talked about why we love the books we do – what's in them to attract us? She isn't a fan of SF&F, more fool her, but we do share many mainstream literary books as favourites. The answers I came to for those various mainstream books differed as widely as the books themselves, as I might have predicted; there really isn't any common thread between them. But later, thinking about the SF&F books I really enjoy, I came to think that there is a common factor. There are many things which can characterise fantasy novels; a certain grandeur, an epic sweep of story, is usually a key ingredient. Magic, of course, even in a GRRM "less is more" style. Battle, honour, betrayal, shock revelations, sly allegories of our own world – these are all common in fantasy. However I've come to see that there is one factor which is common to all the books I really devour. And it's not a good one. It's fanaticism. Looking back now, I realise that the characters and races that always caught my imagination were those driven by passionate commitment to…whatever. I always loved the guys who were often being held out as an example of how not to be; I've always resented Star Trek for the way it requires Vulcans to open up emotionally, and Klingons to be tamed. To mimic Starfleet's humans, in other words. I LOVE the Vulcan commitment to logic. And being a Klingon warrior must be refreshingly uncomplicated, there are days when I can most definitely see the attractions of that lifestyle! But things have got worse, if that's the word I want. I have developed a theory, which is: The dominant theme underlying all fantasy is "Power". A magical item threatens the world, and must be destroyed. A Dark Lord has arisen, and must be cast down. Dynastic strife shatters the existing order of things, and must be played out until a new equilibrium is achieved. An ubermensch enters a world of religious tension and manipulates it to his own ends. A greedy and paranoid Empire fights its enemies within and without, real and perceived, with assassination and magic. It's all about power - the uses and abuses, the having and the losing, the virtues and the threats thereof. Hardly a fresh insight, I know, but it's where that realisation takes me that bothers me. My real point here is that it's (almost) always the obsessed, the unbendingly committed, that draw my sympathy. No, that's not right – I should say they draw my interest, even if I find them totally unsympathetic. In these struggles for/against power, it's nearly always those who want it most that fascinate me. This has reached its apotheosis with my recent obsession with books set in the Warhammer 40K universe, which take fanaticism and love of power (i.e. the power structure, namely Him on Earth) to remarkable heights. I have found myself devouring this stuff lately. Imperial Fists, Space Wolves, Ultramarines, Blood Angels – love 'em all. I have to face the fact that there is some small, dark part of me that is fascinated by – and attracted to – fanaticism. The weird thing is that IRL that's the total opposite of me. I despise fundamentalism of any kind ("Death to all fanatics!"), and I revere those who overcome their own entrenched loyalties to accommodate the other guy, as a way to settle disputes and achieve peace. Seriously, I'm the *most* tolerant man you could meet. And yet I actually envy the likes of the Space Marines, with their clarity and certainty and raging xenocidal lunacy – er, sorry, I meant "faith". Is this a symptom of the modern age, where all the old truisms have lost their power over us? But of course that's a horrible contradiction. In today's world, the last thing we need is more fanatical certainty. And yet because the old touchstones of faith, nation, party, hierarchy, etc have crumbled away (for me, anyway), I am left rudderless – and envious of those who are not. Am I just whining about the burden of having to make it up as I go along? Of not being able to retreat into some ideology, because I've rejected them all? I'd like to know what you lot think about this. Do you reject the original argument that fantasy is about power? Do you understand the lure of fanaticism? It's going to be really embarrassing if I'm the only one.


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Free IPhone 4 cases from Apple for $0
Looks like Apple is going to fess up that the antennae on the IPhone 4 actually isn't made of jesus dust, and that there is some silly issues. So today, Steve Jobs announced that they will be giving a case to IPhone 4 buyers.
Look for it next week on apple.com
2 Comments add a comment
Great post, in all the important ways.
Yea, but how much will they charge for shipping? And will they add on "imputed sales tax" in order to "comply with accounting priciples" (similar to charging for upgrades to the OS on iPod touches).


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Are there asset management systems that use PostGIS for asset storage?
I found several links that might be useful for you.
And DBlack's question on gis.stackexchange
Which is not as relevant as it could be. But without more info from azteca it looks to me as though they simply use the data via sde. If your data is in postgis/sde (pg_geometry) then at least the gis data side of cityworks should be supported (contact azteca for verification).
I don't see anything on their website about the supported rdbms's (for the asset_db side) but they do state "A key element of Cityworks' design is its flexibility ". I am relatively certain they do support the major rdbms player, mssql, oracle, sybase, informix.
With the google search "cityworks database postgres" I found an interesting link for an individual that would be a good contact for you. You might take a look. I did not feel I should post here.
I think it's one of those situations where no individual is going to build a PostGIS Asset Management System without an actual project. Reason being, there are a lot of specs required that differ from jurisdiction to jurisdiction, data access, scope, and objectives; however, I've always been interested in building one. If we can find specs for an existing PMS system, we can perhaps setup a small project and build it.


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FDA Hearing Examines Need to Simplify Allergy Warning Labels on Food
Sept. 16, 2008 -- Carefully reading food labels might not be enough to keep food allergy sufferers safe, according to the FDA.
The agency held a public hearing Tuesday on food manufacturers' use of "advisory labeling," which indicates that a product could unintentionally contain trace amounts of an allergen, such as peanuts. Statements like "may contain (allergen)" or "produced on shared equipment that processes (allergen)" are common.
These warnings are voluntary and unregulated, and they may only baffle the consumer who reads them. Another example: "Produced in a facility with an allergy control plan. The possibility of contact with allergenic ingredients has been minimized. May still contain trace amount of (allergen)."
"Advisory warnings are confusing, inconsistent, and do not provide adequate information to make smart and safe decisions," said Scott Mandell, CEO and president of Enjoy Life Natural Brands, which offers gluten-free and allergy-friendly foods.
The FDA said it wants to develop a long-term strategy to help manufacturers use more truthful, clear, and uniform advisory labels. The agency has addressed the inconsistent use of advisory labeling in the past, and different groups have developed some of their own guidelines, but the public hearing represents a push toward a more unified approach.
Demystifying Food Allergy Labels
A 2004 law requires manufacturers to list major allergens used as ingredients in a product, but there is no labeling requirement for separate products that might come into contact with allergens during manufacturing.
Equipment and facilities shared by allergen-containing foods can cause cross-contamination, where trace amounts of an allergen unintentionally end up in a separate product, putting some consumers at risk for allergic reactions. Many choose to avoid these foods altogether, although increased use of vague advisory labels leave consumers with tough decisions to make.
Anne Munoz-Furlong, founder and CEO of the Food Allergy & Anaphylaxis Network (FAAN), said there are more than 30 different formulations of advisory labeling, making it impossible to determine which companies use advisories to truthfully represent risks and which companies put the warnings on virtually every product to avoid liability.
"Physicians, parents, and teens are ignoring these 'may contain' statements because they appear on so many products," she said.


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Beauty and the BeastSun, March 31, 2013 - 6:30 PMPantages Theatre CA in Los Angeles, CA
We are sorry, the date for this event has already passed. This event took place on 3/31/2013. Click here to view upcoming events for Beauty and the Beast.
Still unsure? Check out our user reviews for:
Have a question? Need help? Call us at 800.477.5285


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So I have set up the Ubuntu installer by installing it onto my memory stick using the USBInstaller.
I am then faced with a problem. The Ubuntu Installer loads up and I start going through it making the relevant choices.
I then select 'Install Ubuntu with Windows 8', or whatever the option is, as I still want both operating systems.
However, when I click continue, my computer restarts. This therefore means that the installer is loaded again from the USB, it then tries to install again, which means I get to the save position before BAM, it restarts again.
If it restarts and I remove the memory stick, then Windows 8 loads.
I really have no idea what to do? My computer appears to be acting as it should really, I just don't understand why I have to restart before installing?


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I am trying to figure out how many possible of combinations I can have between two sets of values. My two sets looks like this:
Set 1: [White, Black] Set 2: [Blue, BlueGreen, Brown, Orange, Pink, Purple, Red, Yellow, YellowGreen]
Set 1 has two options. Set 2 has ten options. Someone must pick one option from each set. How do I figure out how many potential combinations there are? I'm not sure if I need to do 2 * 10 and then use permutations. Or if I should do 2! then add it to 10!.
Thank you for your help!


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Since frequency of a wave is a function of time, then for a particular ray of the wave, why would the frequency remain the same when observed from a moving reference frame? The frequency should change according to time dilation. No?
Yes, the frequency does change. This is a component of the relativistic Doppler effect.
The effect comes from two sources: first, there is the classical (nonrelativistic) Doppler effect, which comes from the fact that successive crests of the wave are emitted from closer and closer to the receiver (I use the case where the emitter is moving toward the receiver). This changes the frequency as
$$f_\text{received} = \biggl(1 + \frac{v}{c}\biggr)f_\text{emitted}$$
That part has nothing to do with relativity; it's responsible for the Doppler effect we hear in sound waves, for example.
Then on top of that, for light, the frequency is subject to the Lorentz transformation. Since frequency is the reciprocal of a time, it has the inverse of the transformation for time, namely $f\to \gamma f$. So the combined result from the two effects is
$$f_\text{received} = \gamma\biggl(1 + \frac{v}{c}\biggr)f_\text{emitted} = \sqrt{\frac{c + v}{c - v}}f_\text{emitted}$$
for relative approach.
Both the the frequency and wavelength change. Obviously so because $\nu\lambda = c$ and $c$ is a constant. If you have a specific example of where you think the frequency doesn't change update your question with the details and I'll update my answer to address it.


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Nathaniel Oseni
Date of birth
27 September 1996
Place of birth
A powerful centre-back, Nathaniel Oseni was already demonstrating his footballing ability for the u18s while still part of the u16s age group.
Since signing on as a first year scholar in July 2013, Nathaniel has been a reliable presence in the centre of defence alongside a number of different partners.
The Londoner possesses good positional strength and a strong aerial ability, making him a reliable and formidable presence at the back.


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You are hereHome/ About
The Boston Conservatory trains exceptional young performing artists for careers that enrich and transform the human experience. Known for its multi-disciplinary environment, the Conservatory offers fully accredited graduate and undergraduate programs in music, dance and theater, and presents more than 700 performances each year by students, faculty and guest artists.
The intimacy of our class settings provides a student-centered atmosphere that is uniquely intensive and supportive. Since its founding in 1867, The Boston Conservatory has shared its talent and creativity with the city of Boston, the region, and the nation, and continues to grow today as a vibrant community of artists and educators. Armed with new energy and new ambitions, the Conservatory is in the midst of a revitalization from top to bottom, setting the stage for new achievements for the institution and our students.
Values of The Boston Conservatory
- We lead.
- We expect great things.
- We celebrate diversity.
- We work together.
- We are not afraid to take risks.
- We are honest and responsible.
- We are curious and open-minded.
- We care.
- We give back.
- We measure ourselves.
- We hold ourselves accountable for every commitment.
- We strive for excellence.
- We perform.
We prepare and inspire our students to perform at the highest level in their art and in their lives. We foster their creativity and give them courage. We teach them the skills that will lead to professional and personal fulfillment.
The Boston Conservatory is internationally recognized as an innovative leader among conservatory programs, focused on elevating and celebrating every aspect of the performing arts. The institution has established itself as an important voice in the movement to make all forms of performing arts a more visible and valued dimension of communities here and abroad.
The institution holds its faculty, staff, and students to the highest standards of performance on stage, in the classroom, and at every step in the creative journey. It weaves together distinct disciplines and curricula in music, dance and theater in order to create a unique learning experience. The students, faculty, staff and trustees of The Boston Conservatory embrace the critical role of performance throughout life. Its graduates are prepared not simply to excel in their artistic careers, but to invest themselves fully in lives of engagement and purpose. Every member of the community strives to create value for all the constituencies the institution serves. All understand that their contributions are essential to the Conservatory's mission.
The alumni are proud of their involvement with the school, playing an active role in its evolution while acknowledging its impact through the course of their lives. Like the community that surrounds the school, the alumni view The Boston Conservatory as a vital contributor to the city and to the world at large.
The Boston Conservatory was founded in 1867 by Julius Eichberg to serve as both a professional training academy and community music school. Eichberg, a gifted violinist and composer, brought with him the spirit and musical practices flourishing in the great conservatories of Brussels, Paris, Prague, London, and Vienna—but with a difference. From the very start, the Conservatory broke new ground by opening its doors to women and African Americans, people with few professional opportunities in classical music at the time. The Conservatory is also credited with several other important "firsts." After merging with the National Associated Studios of Music at the start of the 20th century, The Boston Conservatory expanded its offerings in several innovative ways. The Conservatory incorporated dance and theater training into its curriculum, created the first "grand opera" department in the United States, and developed the first professional training program in dance to offer equal emphasis on European classical ballet and the uniquely American forms of modern dance. Today, The Boston Conservatory is an independent private college with fully accredited programs in music, dance and theater. Our student and faculty performances are a consistent and valued part of Boston's cultural life. Our community service program allows us to reach out beyond our walls to various constituencies across the city. Our success is visible both in the learning environment, and in the professional accomplishments of our graduates.
The Boston Conservatory is authorized by the Commonwealth of Massachusetts to grant degrees in the performing and related arts, and is accredited by both the New England Association of Schools and Colleges (NEASC) and the National Association of Schools of Music (NASM). The school's last comprehensive evaluation for accreditation was in 2009.
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APPOINTED: Dr. Holly Kossuth of Follansbee was appointed to a two-year term as president of the West Virginia Veterinary Medical Association at the organization's 62nd-annual spring meeting in White Sulfur Springs, W.Va.
Kossuth is the sole practitioner and owner of Community Care Animal Hospital & Cat Clinic. She is a graduate of West Virginia University and Ohio State University College of Veterinary Medicine.
Currently serving as president-elect for the WVVMA, she also is a charter member of the group, delegate to the American Veterinary Medical Association and member of the American Association of Feline Practitioners and Cornell Feline Health Center.
She lives on a small farm with her horses, pig, poultry, cats and dogs.
The WVVMA promotes professional fellowship among veterinarians and high standards for veterinary medicine in the state, according to officials.
EDUCATOR: Weirton native Rose Tomich Blevins is currently serving as president of the Virginia Association for Career and Technical Education, an organization that represents more than 5,000 career and technical educators, and president of Virginia's Association for Trade and Industrial Educators representing more than 1,000 trade teachers.
Blevins, the daughter of Walter and Nancy Tomich of Weirton, also serves on the board of directors for Virginia SkillsUSA, VATIE and VACTE. For the past five years she has been leadership and operations chair for SkillsUSA State Leadership Conference and most recently the Career and Technical Education Strands Chair for the Special Needs Division, Transition Conference. She is DECA adviser, SkillsUSA adviser, Senior Mentorship coordinator and CTE teacher at Kecoughtan High School in Hampton, Va.
In her eight years as a SkillsUSA adviser she was one of the first CTE instructors statewide to actively involve her special needs students in the program, helping them achieve their full potential through leadership, fundraising and community service activities, according to officials.
She was the 2009 Virginia SkillsUSA Adviser of the Year and the 2010 national Advisers of the Year representing Region II, that consist of 12 southeastern states. Over the past eight years she encouraged her special needs students to compile more than 1,000 volunteer hours with the Peninsula Area Food Bank, donate more than $2,000 to Operation Smile, collect 800 cell phones and raise more than $1,500 for Hunters Syndrome.
She is 1978 graduate of Weir High School, 1982 graduate of Marshall University and graduated magna cum laude from Virginia Tech in 2007 with her master's of science degree in career and technical education. She and her husband, Mark, have three children.
FITNESS TRAIL: Anytime Fitness of Steubenville and Anytime Fitness of Weirton are hosting a community bicycle ride on May 19 on the Harmon Creek Trail.
Members of both gyms, their guests and the community at large may join the ride, which will begin at 8:30 a.m. at the trailhead off the U.S. Route 22 Harmon Creek exit.
"The idea is to get as many riders as we can, friends and families, to enjoy the trail together. We're not raising funds or selling anything. I just want to have people exercise together," said Paul Giannamore, manager of Anytime Fitness of Steubenville.
The gyms will supply water for the riders. The ride is scheduled for an hour, but riders who want to go further may do so.
For information, contact Giannamore at Anytime Fitness of Steubenville at (740) 346-9009.
From staff reports


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Published: Friday, September 6, 2013 at 5:33 p.m.
Last Modified: Friday, September 6, 2013 at 5:33 p.m.
A North Carolina man accused of having sex with a teenager was jailed on Thursday.
Jeremy Frank Yelton, 31, of 891 Calton Road in Bostic, has been charged with second-degree criminal sexual conduct with a minor between the ages of 11 and 14.
A 14-year-old girl's parents went to the Spartanburg County Sheriff's Office and reported that they had learned Yelton had sex with their daughter, according to an incident report.
Yelton stated the victim "came on to him," but denied accusations they had sex, another Spartanburg County Sheriff's Office report states.
The sexual battery occurred Aug. 19 in Spartanburg County, according to an arrest warrant.
Yelton was booked into the Spartanburg County jail Thursday afternoon and his bond has been set at $30,000, according to online jail records.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


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I seem to be traveling a lot lately and I'm looking for a good lightweight, small tripod that I can take with me. I use a Canon 1DmkIV, 16-35 lens, and a Nodal Ninja V head. I currently have a Manfrotto 055XPROB tripod, but it's a little large to pack.
I'm looking at the Manfrotto 190CXPRO4 ... which collapses to 19.5".
Is this a good option?
Any other suggestions?


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Let $\phi_{n}(x)$ be the $n$-th cyclotomic polynomial. What are the restrictions to $n$ (if any) to have $\phi_{n}(x)$ divides $\phi_{2n}(x)$ (where division is in $\mathbb{Z}[x]$)?Or is it true that $\frac{\phi_{2n}(x)}{\phi_{n}(x)}\in\mathbb{Z}[x]$ for all integers $n$?
When is a primitive *n*th root of unity also a primitive 2*n*th root of unity? Please note that the answer is never, and this can also be seen by unique factorisation.
Those polynomials are irreducible in $\mathbb Z[X]$ and have different degree... see http://en.wikipedia.org/wiki/Cyclotomic_polynomial
The restrictions are $n$ nonnegative with $n \le 0$. Another characterization is $n=2n.$
I mention that mainly for the humor value. The OEIS comments:
I suppose one could equally well just not define it, a number of sources don't.
$\Phi_{2n}(x)$ is $\Phi_{n}(-x)$ for odd $n$ and $\Phi_n(x^2)$ for even $n$. That would argue that $\Phi_0$ should be $1$ if it is defined.