text:
I know you are talking to the other Dave here. (dfsiemensjr) I just wanted
to say I agree with you almost 100% on almost everything you wrote. OK, you
can pick your jaw up off the floor and put it back on the hinges now - I bet
you never thought you'd hear that I agreed with you on anything! :)
You said it: the universe chugs along on its built-in designed-in rules, and
is no longer of primary interest to the designer. It was a tool. A tool to
create what He is interested in - minds and spirits.
And humans. [footnote 1]
BUT - it doesn't matter very much to me what the answers to these questions
of dfsiemensjr are. I am mostly interested in identifying the various
systems of metaphysics employed by the church in the creation of science.
It doesn't matter if one system was correct over and above another. It
matters to find out what people (I mean Christianity) thought, even if
they were wrong. The reason is that in America we tolerate and accommodate
people's beliefs even if they are wrong.
I want to someday get to Schwarzwalds
naturalism/physicalism/materialism/atheism thoughtstream. But first one
must know what naturalism is and what it isn't. And getting off onto which
metaphysics is the "right" Christian metaphysics out of all the various
choices is simply irrelevant to finding a definition of the set of the
existing systems of metaphysics. Americans need to know what changed to
make their world post-Christian. I think it was a change in the meaning
of naturalism that is at the very root of the change.
Let me put the interesting question this way: "How many types of Christian
metaphysics were there vs how many types of non-Christian metaphysics?"
What are the tenets of each and the implications of each?
This is the landscape that must be understood. Until then none of the
other pieces, such as materialism, are going to make much sense.
Of course, out of all the possibilities, what is most interesting are the
"naturalism" versions of metaphysics. Why? Because of the claim that
science owns some of them but not others.
OK, I need to go back and dig out Barr's material again. Barr and Hunter
both have a lot to say about this subject.
Dave C
1. I cannot fathom why that means God is prohibited from intervening in
world history - and if he does intervene why science is prohibited from
examination of the resulting footprints. And why there is even a debate over
this - unless a particular metaphysics is at stake.
On Fri, Nov 6, 2009 at 4:50 PM, Jim Armstrong <email@example.com> wrote:
> Hi, Dave -
> Now I'm not a logician, and I'm not particularly well schooled in the
> histories or philosophies that so many on this list have on their pallet.
> But at my own acknowledged peril, let me push back gently at this a bit,
> nonetheless.
> Perhaps it does fit part of the definition of deistic if God no longer (or
> little) interacts with the physical world. But I'm not sure that such a
> position thereby precludes God's interest in and interaction with living
> beings on another level. It just seems like the universe chugs along so well
> according to its built-in (designed-in?) rules that it strongly suggests
> that it is no longer of primary interest to the Creator. I know that some
> folks feel that that this very situation exists only because God sustains
> (or even "dreams" it), but that is pretty clearly a supposition, and no more
> than we choose to make of that supposition. So, it could clearly be supposed
> otherwise as well, with the physical universe running just fine as designed.
> The question that keeps coming up for me is why the Creator would be care
> to sustain rocks and stars and atoms, and the complexities that accompany
> their interactions. They have been imbued with "properties" that make
> most/all of what we observe happen in due course with the passage of (also
> created) time. It seems presumptuous and even limiting (though not
> impossible) to posit that the only way Creation could proceed in this lawful
> way is for God to actively guide and sustain it.
> From our position as sentient beings, we have fairly naturally (albeit
> self-centeredly) presumed that this was all created as a physical context
> for the evolution (or installation) of life, and ultimately man. So isn't
> that which is unique in life, including the interactions and evolution in
> living, likely to be of more interest, both in terms of the complexity and
> one might think, in terms of the ultimate (or penultimate, or...?) design
> objective(s)? So why the preoccupation with requiring that the physical be
> contingent upon God's sustaining support. While the functioning of Creation
> is absolutely wondrous from our perspective, it seems pretty secondary to
> that which is manifest in living and sentient things, which have the greater
> ability to bend and even creatively exploit the physical creation in ways
> that no precursor was capable of. Living things can (in part) store energy,
> recover and use stored energy, interact socially, and imagine and create
> that which has never been before, in nature or otherwise. More to the point,
> we have the capacity to conceptualize the existence of and something of the
> possible nature of the Creator. We have the capacity to ponder and seek the
> creative purpose in our existence, both in community and individually. We
> can even redeem (or in the Jewish sense, repair) in a trajectory toward a
> better future and perfecting relationship with the Creator.
> We think of our bettering of the way we approach life as having spiritual
> roots. We also speculate about a level, or levels, of existence that are
> wholly beyond ours. So why would we think that it would be so distasteful,
> or even an indicator of God's lack of interest and involvement [deistic, in
> the more common sense] if the physical world were to function - now that it
> is created - on its own, without some cosmic plate-juggling involvement of
> the creator. Even in human terms, the clockmaker [to draw on a familiar
> parallel] does not stay with the clock to make sure it continues to run as
> designed. Instead, that running without involvement is incorporated by
> design. That unaccompanied functioning - with nothing other than certain
> episodic involvements - is indeed necessary for the instrument to accomplish
> of its higher purpose. Why not consider physical creation as more like a
> very intentional and benevolent stage setting drop for the production which
> is the true end of the creative effort?
> All of this is really to ask why an actively unattended running of the
> universe should necessarily imply a deistic understanding of God's activity.
> Don't we think the most important things of human life are connected with
> the spiritual? Why is there not room to think of that "other" venue of being
> as being the focus of the Creator's interest and intent, "relieving" God of
> the rather humdrum (one would think) task of tending to the matters of
> rocks, stars, and atoms.
> I can't help but wonder if the strong inclination to think of the Creator's
> continuing sustaining of the physical is not on some level fueled by our
> desire that heaven and earth be literally moved in response to prayer. We
> want, or even need in some sense, God to be willing to do that in response
> to our most compelling prayer. One problem is the chaos that can only be
> imagined that would result if even a significant numbers of our (often
> contradictory) prayers were answered in physical terms. It seems that such a
> situation would significantly degrade our ability to trust in a "lawful"
> order and operation of the physical world. Perhaps this last is a bit off
> track, but this question favors that simplifying concept of a lesser
> (perhaps null) continuing divine involvement in the ways of the physical
> world.
> Respectfully,
> JimA (Friend of ASA)
> dfsiemensjr wrote:
> David,
> Your definition of 'CHRISTIAN NATURALISM' is faulty. The first part is
> essentially deistic, nature on its own. The Christian position is, to use
> one version, God cooperating in all natural activities of man. Luther spoke
> of natural laws as the masks of God. Secondly, how does one ascribe a whim
> to the eternal, omniscient and omnipotent Creator? Only if one is so
> knowledgeable that anything unexpected can be ascribed to the irrational can
> such a view be held. And that's self idolatry.
> Methodological naturalism is not a metaphysical dogma, but holds that
> scientific investigations can only be checked by observations of nature,
> whether direct or indirect. There is a metaphysical/epistemological basis to
> this: Nature is orderly. Human beings can understand the pattern of nature.
> Human senses are essentially veridical (or can be checked). These patterns
> hold true within a materialistic, deistic, theistic, pantheistic or
> panentheistic metaphysics as an overarching theory. If I adopt Plantinga's
> philosophical views, I can disprove the alternative outlooks. But this does
> not take into account a fundamental principle, that primitive assumptions of
> any philosophical view cannot be proved within that view, and can only be
> challenged from within on the basis of contradiction. Much as I hate to
> admit it, theism is not the only potentially consistent view. And,
> unfortunately, not all theists are consistent.
> Dave (ASA)
> On Fri, 6 Nov 2009 11:00:00 +1800 David Clounch <firstname.lastname@example.com>
> writes:
> Bill,
> None of that on epistemology has to do with whether naturalism is
> metaphysics. Schwarzwald raised the point of lack of clarity on
> naturalism. I was trying to address it, but at the same time be complete.
> I just think we need clarity that naturalism is metaphysics and is an a
> priori assumption. If people cannot agree on clear definitions then there
> is no basis for dialog.
> So, is anybody denying that naturalism is metaphysics?
> Well, Bill, it seems to me you might be arguing that naturalism is ALL in
> the realm of metaphysics. I was willing to allow an epistemological type
> of naturalism to put its toe in the door. But if you want to slam the door
> I have no objections. Maybe thats not what you are doing, but none of that
> addresses the main issue of how Christianity is in any way compatible with
> any form of naturalism. Barr's claim that the church invented naturalism
> implies two different types of naturalism. What the church originally
> invented, and what is believed in today by deists, secular humanists, and
> perhaps even by materialists and atheists. Again, is anybody denying that
> both types are anything but metaphysics?
> Thanks,
> Dave
> On Fri, Nov 6, 2009 at 8:39 AM, Bill Powers <firstname.lastname@example.com> wrote:
>> David:
>> Two short comments.
>> 1) Plantinga claims that naturalistic evolution is at odds with
>> epistemology, i.e., a science of truth. He argues that there is no reason
>> to believe that our minds could have evolved to know the truth.
>> 2) (I know you didn't say this) Why can't we observe miracles? He seems
>> to me that is easy. I could observe the risen Jesus. I don't think that's
>> what Moorad said (or intended to say). What we can't do is to make a
>> science of miracles. But it isn't merely miracles of which we cannot make a
>> science. It is unique events. Science or any knowledge relies upon the
>> creation of classes and universals. Of particulars, no science can be
>> constructed. This is why history is problematic (time for Gregory to
>> comment). History, it seems, can only become a "science," that is,
>> comprehensive knowledge, because we presume to understand the people and
>> events of the time. We presume we are able to do this because they are
>> human, as we are human. We apply our "knowledge" (categories, ideas,
>> universals) of ourselves and our times as a net to catch the history of
>> times and places different from our own. In some sense, we do the same with
>> "miracles." No one could tell whether people rising from the dead is a
>> "miracle" without applying our "knowledge" (i.e., ideas, understandings,
>> categories, and universals) to the particular event observed and at hand.
>> We call something a "miracle" when the event (all events are unique and
>> particular) does not fit into our pre-established template of the possible
>> (a pseudo metaphysical construct intended only to convey the structure of
>> our ideas and categories of the world).
>> So to say that we cannot "study" or make a science of "miracles" is to say
>> that we are unable to "elevate" the particular to the "class" or
>> "universal." It remains unique and therefore, to our way of thinking,
>> irrational and incomprehensible. Nonetheless, we are able to class it as a
>> "miracle." This entails that the event is partially comprehensible. We can
>> place parts of it in our pre-established classes (e.g., person, body, dead,
>> alive). Why is this any different from someone returning from a coma, or
>> even being healed of a cold? Perhaps today we think we can speak of
>> underlying processes. How is it we can supposedly make sense of these and
>> not a resurrection? They are (at least for most of us) equally mysterious
>> and invisible. The only feature appears to be the degree of rarity.
>> Resurrection "never" happens. People do come out of long comas. For a
>> very long time there was, and perhaps still is, no science of comas. They
>> do or they don't come out, when and whenever they do. But we think we can
>> make a science of it because we have an extended opportunity to study the
>> class of events called comas. The same cannot be said of resurrections. It
>> is unique in number, a class with one (maybe a few more) members.
>> So it isn't that it cannot be observed. It is that we have so few members
>> of the class that they remain unique and isolated from the reach of our
>> study.
>> bill
>> On Thu, 5 Nov 2009, David Clounch wrote:
>> All,
>>> 1)I was confusing metaphysical context and metaphysical interpretation as
>>> meaning the same thing. Now I have to go back and read through all the
>>> posts
>>> and think about this.
>>> 2) Meanwhile, Schwarzwald has me thinking about naturalism:
>>> "Naturalism", in *The Encyclopedia of Philosophy*, Macmillan, 1996
>>> Supplement, 372-373.
>>> *Metaphysical naturalism<
>>> http://en.wikipedia.org/wiki/Metaphysical_naturalism>
>>> *, (or *ontological <http://en.wikipedia.org/wiki/Ontological>
>>> naturalism*or
>>> *philosophical naturalism*) which focuses on
>>> ontology<http://en.wikipedia.org/wiki/Ontology>:
>>> This stance is concerned with existence: what does exist and what does
>>> not
>>> exist? Naturalism is the
>>> metaphysical<http://en.wikipedia.org/wiki/Metaphysics>position that "
>>> nature <http://en.wikipedia.org/wiki/Nature> is all there is, and all
>>> basic
>>> truths are truths of
>>> nature."[2]<
>>> http://en.wikipedia.org/wiki/Naturalism_%28philosophy%29#cite_note-1>
>>> Well, thats only part of the story. Let me offer my own suggestions as
>>> to
>>> what naturalism means.
>>> CHRISTIAN NATURALISM is a metaphysical framework, ie, the belief the
>>> universe obeys regular laws all on its own, the laws having been set
>>> in
>>> place by the creator. These laws operate until they are modified at the
>>> whim
>>> of the lawgiver. because we dont know all the laws it is possible many
>>> actions of the lawgiver are via laws we dont know about and thus what may
>>> look like a set-aside of a law is just some other law purposely in use
>>> for a
>>> limited time by the lawgiver. CHRISTIAN NATURALISM thus handles the
>>> situation mentioned by ??? (I believe it was Dave Wallace) with respect
>>> to
>>> superstitious and pagan cultures. This is why naturalism was invented -
>>> to
>>> refute the beliefs of pagan cultures and to re-inforce belief in the
>>> lawgiver. This type of naturalism has never been incompatible with
>>> Christianity.
>>> HUMANIST NATURALISM is a metaphysical framework beleived in by secular
>>> humanists and others of like presuasions, such as materialists and
>>> atheists. As a metaphysical framework it's main tenet is the belief
>>> that
>>> the universe operates according to laws, and does so all on its own, but
>>> does so without purpose. There is no lawgiver. There is no modification
>>> of
>>> law possible. This also handles the aforfementioned situation of pagan
>>> cultures. But it is not compatible with the historical CHRISTIAN
>>> NATURALISM. It is a modern version of naturalism. [An aside - was
>>> there
>>> an ancient version of this that has been brought back? I'd argue no. Why?
>>> because it took Christianity and Christian Naturalism to produce science,
>>> and this modern naturalism emerged post-science, in modern times,
>>> starting
>>> in the enlightenment. I'd argue it is post-Christian]
>>> I don't mean for these definitions of naturalism to be comprehensive.
>>> They
>>> are starting points. I mentioned these because various reference
>>> materials
>>> out there tend to ignore Christian Naturalism and its having been morphed
>>> into a modern (post-Christian) version.
>>> There are, in addition, at least these, having to do with epistemology
>>> rather than metaphysics.
>>> Replacement Naturalism
>>> Cooperative Naturalism
>>> Substantive Nauturalism
>>> Most writers one can find tend to be quite modern. For example,
>>> Plantinga:
>>> © 1994 Alvin Plantinga
>>> Reproduction on other websites is expressly prohibited.
>>> Links to this site are permitted.
>>> Naturalism Defeated
>>> In the last chapter of Warrant and Proper Function1 I proposed an
>>> "evolutionary
>>> argument against naturalism". Take philosophical naturalism to be the
>>> belief
>>> that there aren't any
>>> supernatural beings--no such person as God, for example, but also no
>>> other
>>> supernatural entities.2
>>> My claim was that naturalism and contemporary evolutionary theory are at
>>> serious odds with one
>>> another--and this despite the fact that the latter is ordinarily thought
>>> to
>>> be one of the main
>>> supporting beams in the edifice of the former.3
>>> Naturalism and evolution as opponents? Wow, thats different!!!!!
>>> For sake clarity: When we are talking about questions of ultimate and
>>> final
>>> causes we are talking about metaphysical type of naturalism, not the
>>> epistemological types of naturalism.
>>> Consequently, let me propose the following. Moorad pointed out something
>>> important: phenomena are statistical. We cannot observe miracles. He is
>>> making an epistemological argument here. What's important is the
>>> statement's
>>> implication(s) for the metaphysical frameworks. One can (perhaps) rule
>>> out
>>> what he says via epistemological forms of naturalism. But what one cannot
>>> legitimately do is start with a metaphysical form of naturalism and use
>>> that
>>> to rule out Moorad's statement.
>>> Enough for now.
>>> Thanks,
>>> Dave C
>>> On Thu, Nov 5, 2009 at 12:52 PM, Douglas Hayworth <
>>> email@example.com> wrote:
>>> On Wed, Nov 4, 2009 at 8:29 AM, Ted Davis <firstname.lastname@example.com> wrote:
>>>>> The fact that I said this 22 years ago, combined with the fact that
>>>>> nothing along these lines has transpired subsequently in public
>>>>> education,
>>>>> is not exactly encouraging. Suffice it to say that I certainly agree
>>>>> with
>>>>> Cameron and Keith, whose ideas are much more practical than mine while
>>>>> not
>>>>> inconsistent with mine. Still, I doubt that most colleges and
>>>>> universities
>>>>> will start mandating that science majors, even future teachers of
>>>>> science,
>>>>> take a full course in HPS.
>>>> Well, here's one area where we have the opportunity to do better. The
>>>> Christian school curriculum initiatives by the BioLogos Foundation and
>>>> our
>>>> own ASA homeschool resources project have the potential to do what
>>>> public
>>>> schools are not likely to be able to do: create materials that teach
>>>> science
>>>> in light of general and biblical history.
>>>> Doug
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text:
Madison Sloan always enjoyed golf.
Madison Sloan always enjoyed golf. But it wasn�t until last year that the Havelock High senior made a serious effort to get competitive. It paid off with an appearance in the state 3A tournament.
She continued to work and made another appearance at the state tournament this season. Now, she�s turned that work into an opportunity to play golf in college.
Sloan signed her national letter of intent to play golf at Presbyterian College last week at Havelock High.
"I really like the fact that it was a Division I school and that it was smaller," Sloan said. "When I met the coach, I liked it. It just felt like I belonged there."
Presbyterian is a liberal arts college located in Clinton, S.C., between Greenville and Spartanburg, S.C. The campus has about 1,200 students.
"It�s a small town, kind of like here, but 30 minutes away you have some large towns, so you�re not completely isolated," she said.
Sloan also considered Belmont-Abbey and the University of Tampa, but her academic future also was key in her decision.
"I�m planning to major in business administration or management, and PC has a really good business program, so that was appealing to me also," she said.
As for the golf program, the Blue Hose compete in the Big South Conference and are in their seventh season with coach Thomas Addison at the helm.
"I really like the coach and I really like his teaching style," Sloan said. "Their golf program is good. They should have a strong team coming up, and I think that with more players, they can win more. I just felt like they have a lot of good courses and good equipment and good technology for their practices."
Sloan completed her senior season at the state 3A tournament, where she shot back-to-back 89s to finish in a tie for 18th in cold, blustery and rainy conditions brought on by Hurricane Sandy.
"The wind was terrible. It was windy and freezing cold," Sloan said. "The first day it rained. It just wasn�t ideal conditions. States are always bad conditions. I don�t think we�ve ever had nice weather for states."
Now that her season is over and she has signed to play in college, Sloan said her work is not done if she wants to reach her goals.
"I would really like to be in the top 5 and play in some matches," she said of her freshman season that will start in the fall of 2013. "I really want to play in the tournaments. I am going to work really hard this summer to make sure that I qualify. I really want to work hard to get ready for the college season."
She said her work won�t necessarily involve the mechanics of her golf swing.
"I probably need to work better on my scoring," said Sloan, who�s low round this high school season was a 77. "I can hit the ball well, but I can�t exactly validate that with my scores."
She thanked her parents and coaches for helping her learn to play golf.
"My dad taught me some, and then my coach Nina Foust helped me," she said. "She really got my swing to where it is today. She�s really good."

subset: commoncrawl


text:
Open Letters Monthly, November 2012
I'm not sure I've ever been so happy to see a new issue of Open Letters Monthly. In the first place, its presence in my house signified internet access, and therefore electricity and heat, which we had been doing without for nearly a week. But it also signified that time was, indeed, moving along. Usually the passage of time, with its inexorable pull of deadlines and tasks, is not my friend. But when your entire existence boils down to staying warm, finding your way around in the dark, and shuffling between friends who have power in order to recharge various devices, even if only for a little while, the days do drag. Even the nice bits, like reading with a loved one by candlelight at the kitchen table or piling into bed with quilts and cats and dogs as soon as the sun goes down, get old fast. So it's a fine thing to be able to read the November issue of Open Letters Monthly; it's great to be back.
We did a bunch of stuff in the dark last week, but no dancing, and I doubt anyone in my household had much reason to think about Bruce Springsteen. Fortunately Steve Danziger has read Peter Ames Carlin's Bruce, and has some thoughts on memories of growing up in Monmouth County and what sounds like a good bio of the Boss (with a cameo by Jersey's most improbable new rock star, Governor Chris Christie).
Calling something the first in a series implies at least a second, and even before last night—perhaps especially before—I appreciated Greg Waldmann's optimistic titling of his piece on Barack Obama's First Term. It's good, insightful reading, even more so in today's light with hopes for the next four years.
There's no context in looking forward without glancing back to see who's gone before, so Steve Donoghue gives us five Presidential biographies that offer up five very different paths to the White House: Harlow Giles Unger's John Quincy Adams, Jon Meacham's Thomas Jefferson: The Art of Power, Aida D. Donald's Citizen Soldier: A Life of Harry Truman, Jonathan Lurie's William Howard Taft: The Travails of a Progressive Conservative, and H.W. Brands' The Man Who Saved the Union: Ulysses Grant in War and Peace.
Such stuff of legend is only steps away from the stuff of folklore, and it would no doubt behoove you to read Max Ross' review of Jack Zipes' The Irresistible Fairy Tale: The Cultural and Social History of the Genre.
Speaking of mythos and legend, Stephen Akey delves into some of the imagery of Jorge Luis Borges.
And there's more than a little myth-making going on in Lynne Sharon Shwartz's newest novel, Two-Part Inventions, which Rohan Maitzen reviews.
Matt Sadler finds both fun and difficulty in Joyelle McSweeney's frenetic, freewheeling poetry collection, Percussion Grenade
From Dan Gutstein, we have an original poem, Before the Correction.
Irma Heldman takes a look at two mysteries that involve the intersection Anglo and Native American cultures: William Kent Krueger's Trickster's Point and Steve Hamilton's Die a Stranger.
OLM editors Steve Donoghue and John Cotter collaborate to critique a review of a collection of criticism and reviews by critic's critic Daniel Mendelsohn, Waiting for the Barbarians (did you get all that?).
Was that too long a description? Well then, how about: MK Hall on Zadie Smith's NW.
And if your coffee table's been feeling naked lately, take a look at Luciano Mangiafico's glimpse into Francesca Flores d'Arcais' lavish look at a master, Giotto.
We may have been forced to bypass Halloween this year, but there's still scary stuff afloat this month. Phillip A. Lobo plays and reviews the "short experimental horror game" that riffs off of one of the internet's creepier memes, Slender: The Eight Pages.
In his American Aristocracy series, Douglass Shand-Tucci looks at Trinity Church, centerpiece of Copley Square.
This month's image is a detail from "Inside the Glass Origin," a painting by artist David Abed.
That's it… stay warm and dry and keep the lights on, if you can.


text:
PERTH, Australia — A ship searching for the missing Malaysian jet has detected two more underwater signals that may be emanating from the aircraft's black boxes, and the Australian official in charge of the search expressed hope Wednesday that the plane's wreckage will soon be found.
Angus Houston, head of a joint agency coordinating the search for the missing plane in the southern Indian Ocean, said the Australian navy's ship Ocean Shield picked up the two signals on Tuesday, and that an analysis of two sounds detected in the same area last week showed they were consistent with a plane's black boxes.
"I'm now optimistic that we will find the aircraft, or what is left of the aircraft, in the not-too-distant future — but we haven't found it yet, because this is a very challenging business," Houston said at a news conference in Perth, the hub for the search operation.
The Ocean Shield first detected underwater sounds on Saturday before losing them, but managed to pick them up again on Tuesday, Houston said. The ship is equipped with a US Navy towed pinger locator that is designed to detect signals from a plane's two black boxes — the flight data recorder and cockpit voice recorder.
A data analysis of the signals heard Saturday determined they were distinct, clear and pulsed consistently — indicating they were coming from a plane's black box, Houston said.
"(The analysts) therefore assess that the transmission was not of natural origin and was likely sourced from specific electronic equipment," Houston said. "They believe the signals to be consistent with the specification and description of a flight data recorder."
Despite the promising evidence, Houston warned he could not yet conclude that searchers had pinpointed Malaysia Airlines Flight MH370's crash site.
"I think that we're looking in the right area, but I'm not prepared to say — to confirm — anything until such time as somebody lays eyes on the wreckage," he said.
Finding the black boxes quickly is a matter of urgency because their locator beacons have a battery life of only about a month — and Tuesday marked exactly one month since the plane vanished on March 8 with 239 people on board.
Once the beacons blink off, locating the black boxes in such deep water — about 15,000 feet (4,500 meters) — would be an immensely difficult, if not impossible, task.
Houston acknowledged they were running out of time, and noted that the signals picked up on Tuesday were weaker and briefer than the ones heard over the weekend — suggesting that, if they are coming from the plane's black boxes, the batteries are dying. The two signals detected on Saturday lasted two hours and 20 minutes and 13 minutes, respectively; the sounds heard Tuesday lasted just 5 and a half minutes and 7 minutes.
"So we need to, as we say in Australia, 'make hay while the sun shines,'" Houston said.
Picking up the sound again is crucial to narrowing the search area so a small, unmanned submarine can be deployed to create a sonar map of a potential debris field on the sea floor. It takes the sub, the Bluefin 21, six times longer to cover the same area than it does the towed pinger, which is pulled behind the boat at a depth of 9,800 feet (3,000 meters).
US Navy Capt. Mark Matthews said the detections indicate the device emitting the pings is somewhere within about a 12-mile (20-kilometer) radius. Still, he said, that equates to a 500-square-mile (1,300-square-kilometer) chunk of the ocean floor, which would take the sub about six weeks to two months to canvass. So it makes more sense to continue using the towed pinger locator for now, he said.
The fading strength of the more recent signals could indicate any number of things about the device emitting them, Matthews said.
"It could be sinking into silt, it could be the batteries reaching the end of their life, it could be further away," Matthews said. "It could be even closer, but with different temperature, salinity or pressure profiles affecting the sound."
Matthews was hopeful that searchers had zeroed in on Flight MH370's location.
"It's certainly a man-made device emitting that signal," he said. "And I have no explanation for what other component could be there."
Houston said a decision had not yet been made on how long searchers would wait after the final sound was heard before the sub was deployed, saying only that time was "not far away."
"Hopefully in a matter of days, we will be able to find something on the bottom that might confirm that this is the last resting place of MH370," he said.
The disappearance of the jetliner on a trip from Kuala Lumpur to Beijing has sparked one of aviation's biggest mysteries. The search has shifted from waters off Vietnam, to the Strait of Malacca, and then to the southern Indian Ocean as data from radar and satellites was further analyzed.
But finding any wreckage in such deep water has proved to be a monumental task. The Bluefin sub's sonar can scan only about 328 feet (100 meters) and it can "see" with lights and cameras only a few meters. The maximum depth it can dive is 14,800 feet (4,500 meters) — and there are some areas of the search zone that are deeper than that. That means a different machine may need to be brought in if debris is resting on the deepest part of the sea floor.
Search crews are also contending with a thick layer of silt on the sea floor that can both hide any possible wreckage and distort the sounds emanating from the black boxes that may be resting there, said Royal Australian Navy Commodore Peter Leavy, who is helping to lead the search.
Meanwhile, the search for debris on the ocean surface picked up intensity on Wednesday, with 15 planes and 14 ships scouring a 29,100-square-mile (75,400-square-kilometer) area that extends from 1,400 miles (2,250 kilometers) northwest of Perth.
Despite the challenges still facing search crews, those involved in the hunt were buoyed by the Ocean Shield's findings.
"I'm an engineer, so I don't talk emotions too much," Matthews said. "But certainly when I received word that they had another detection, you feel elated. You're hopeful that you can locate the final resting place of the aircraft and bring closure to all the families involved."


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Volume 17 Issue 19 | October 01 - 07, 2004
By Hilary Illick and Jennifer Krier
Previews Oct 5, Opens Oct 20
Cherry Lane Theatre
38 Commerce Street
Photo by: Pierre Valette
Pictured are Jennifer Krier, left and Hilary Illick. Krier, mother of three, and Illick, mother of four, met at a Mommy and Me class in Cambridge, MA. The two became writing partners and produced the play EVE-olution, opening this month at the Cherry Lane Theatre.
Talking about the hard part
Modern-day, perfect wife-mother-careerwoman debunked
By JERRY TALLMER
Somehow, looking at these two slim, stunning women sitting there on a low concrete wall facing just outside the Cherry Lane Theatre, where theyd spent the afternoon interviewing possible actresses for EVE-olution, one couldnt help thinking of two women out of a different play, Julia Hersey Gibbs and Myrtle Webb of Thornton Wilders Our Town.
Wives and mothers, that was the be-all-and-end-all for Julia Gibbs and Myrtle Webb. Julia Gibbs had one husband and two children, Myrtle Webb also had one husband and two children; the two ladies snapped beans together and talked of faraway places and antiques buyers and lived their lives went right on living their lives and that was it.
That was their careers, and nobody wanted it otherwise (except perhaps Simon Stimson, the church organist and choirmaster, and he was a drunk).
Jennifer Krier, co-creator of EVE-olution, is an author, a playwright, a cultural anthropologist emeritus, a wife, and at 40, the mother of three.
Hilary Illick, co-creator of EVE-olution, is a fiction writer, an essayist, a journalist emeritus, a playwright, a wife, and, likewise at 40, the mother of four.
These two latter-day bean-snappers met in, of all environments, a Mommy and Me kids gymnastics class in Cambridge, Massachusetts, three-and-a-half years ago. The encounter between the two Belmont, Mass., suburbanites sparked a shock of recognition of self-recognition in each of them.
Out of that moment has come the doubly autobiographical EVE-olution in which two young women named Liza and Alison (read Hilary and Jennifer) spill out unvarnished truths about career, marriage, childbirth, motherhood, boredom, tedium, sex, struggle, frustration, role problems, accomplishment, satisfaction, pride, joy all of it, and a good bit more.
After readings and a triumphant week of performances by the two playwrights themselves in Cambridge a couple of years ago, the piece then titled Venus de Minivan arrives here, (renamed EVE-olution), in early October at the Cherry Lane with real actresses Sabrina Le Beauf and Carolyn McCormick under the direction of Carolyn Cantor.
From 1995 to 1999, Bryn Mawr and Harvard graduate Jennifer Krier, who had done anthropological research in Sumatra, worked as an assistant professor of anthropology at Cornell, along with being a wife and mother.
Now, sitting on that low cement wall outside the Cherry Lane, she said: When Hilary and I met that day at that gymnastics class, Id left my job at Cornell and was experimenting with new creative-writing styles.
And I, said Stanford graduate Hilary Illick, who had won prizes for short stories after working as a journalist in Paris and Boston, was at that juncture looking for a collaborator mostly because I was feeling kind of isolated as a mother and a writer. But I didnt want a job.
And I also felt isolated, said Ms. Krier. I had left my job at Cornell so as to live in the same city as my husband Boston businessman Rob Cosinuke and because Id found the job restrictive in terms of hours and creativity.
For the same reason that she quit her job, said Ms. Illick, I didnt WANT a job. We also both wanted to get our voices out there, to debunk the cultural myth of motherhood: that you can have it all, with no cost, and be perfect.
Krier: When I went to Bryn Mawr there was no question but that we would all go on and have careers. Most of us went on to graduate school in her case, to Harvard for a Ph.D. I didnt realize until later that none of my professors in college had children ...
Illick (with surprise): I never knew that about you!
Krier: I dont think it sank in until I was a professor with children, and wondering why it was so untenable. Also, a lot of us had mothers who were dedicated to raising kids. My mother had wanted to do graduate work in history, and her professor at Wisconsin told her to forget about it.
Illick: My mother didnt finish college, in order to have kids. She left Barnard to have me. Then, in the 70s, when I was 8 or 9, she went back and got her BA and MA at Bryn Mawr.
Krier: The point is, for me, I didnt foresee the struggle, the conflicts between job and family. It didnt occur to me, basically, until, at 30, Id had my first child.
Illick, whose husband is Pierre Valette, producer of TVs Arthur show for children sadi, I was 27.
Krier: I could talk about it in seminars or something, but I just thought it would be as easy for me as for my professors. It didnt occur to me that the women who were teaching these seminars and writing these papers had basically given up were never going to have children.
Illick: I was married and having babies while in graduate school at San Francisco State.
Krier: I think Hilary and I hit it off because we both realized the other was the kind of person who told juicy, truthful stories of what it is to be a mom, with all the mishaps and everyday conflicts
Illick: and doubts.
Krier: To all accounts, we both looked to be highly competent mothers. It was nice to be able to talk about all the dark stuff, the hard part.
They had started writing together almost immediately after theyd met, doing scenes, writing everything together.
We talked it out and turned to the keyboard, said Hilary Illick. Extremely collaborative.
The play doesnt pull any punches, or seems not to, about some pretty rocky moments, bed-wise and otherwise, in each of their marriages.
Illick: Id like to say something. I dont feel my marriage has ever been rocky. Even in this play. Its one of the happiest marriages I know. I say this with full gratitude. We do pay homage to the husbands and all they have to do. We dont think women are the only ones carrying a heavy load.
Krier: Even in healthy marriages you go to dark places, and you can emerge from them.
Illick: Thats the point. You can emerge within the same night. Or the same year. It depends.
Krier: What makes life so rocky is that theres so much to negotiate. Everythings up for negotiation.
Had any of their children attended the readings or the performances in Cambridge?
Krier: Its not for children.
Illick: Not appropriate.
Both together: Please say its sold out!
Illick: And that we appeal to all generations and sexual orientations!
Krier; And the reason were down here looking for actors is so we can take our kids to school.
Illick: We didnt want to be commuting mothers.
Krier: We didnt in the beginning plan to write a play. We just wanted to do some cool, edgy mom thing and it evoluted into a play.
Illick: We got swept up in something. You know how Michelangelo said that David came out of the stone that David was already there in the stone?
Jennifer Krier: Right before we met we were like women at the end of our rope. We met, we talked, and this whole new thing turned around.
Hilary Illick: True creativity, true collaboration. One plus one equals more than two.
It did for Julia Gibbs and Myrtle Webb also. Only there, Mr. Wilder spoke for them.
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This is Why Rejection Hurts and How to Cope With it
Rejection feels bad and it can even turn your mood upside down. We over think rejection and take it as a loss. Here is why rejection hurts and how we can cope with it effectively.Loading...
Affects All
It is impossible to avoid rejection and the hurt it will cause. Everyday situations can lead to rejections that can affect even the strongest. However, the wise people cope with rejection nicely while some start holding back just avoids rejection which is not at all wise.
It Can Happen Anytime
It doesn't have to be a big issue like promotion or a date, rejection can happen even during a mild conversation when you feel nobody laughed at your nice joke. You may feel rejected when no one remembered to save a seat for you.
Its Normal
Feeling rejected is a feeling that everyone is familiar with. It feels quite opposite to feeling accepted however being rejected doesn't mean that you aren't liked or valued. Instead of trying to avoid rejection we must learn to live with it.
Respect the Rejection
One must accept rejection as a mere consequence of someone not reaction as per your expectation. However, it never means that the person is against you. You must not avoid or dislike such a person. Instead, respect their opinion, behavior and rejection as well.
Let Yourself Feel Bad
Rejection makes you feel bad but unfortunately we often try to suppress the feelings which makes coping with rejection. Allow yourself to feel rejected and feel bad for it, however don't think about it for too long. While stopping yourself from accepting rejection may turn you angry, feeling bad for too long can also stop you from being socially active.
Nothing Personal
People often take rejections personally which is like giving undue importance to them. Rejection is usually a result of behavior and nature. So don't take it personally the next time someone rejects your job application.
Don't Expect Change
People often begin to hope that the person who rejected them will change his mind one day. This is a common issue in cases where love and attraction is involved. Don't feel to make them change the opinion or wait for them to accept you. Care for those who like you the way you are.
Acknowledge and Move On
Accept and acknowledge the rejection with the fact that anyone can be rejected by someone. Instead of sticking to a rejection, move on with your life. You can't care about all the rejections as it is happening all the time.
Rejection Hurts Them Too
Always remember that usually a person feels bad while rejecting someone. So don't take them as inhuman or insensitive when they reject you. Understand these things to understand and cope up with rejection.


text: International Investment Courts: are they next in the evolution of ISDS arbitration? International Arbitration Newsletter Share this 15 DEC 2015 By: Liam Prescott Arndt Herrmann The controversies surrounding the use of Investor State Dispute Settlement (ISDS) clauses in free trade agreements were recently examined during Australia's negotiation of the Trans Pacific Partnership (TPP). That examination forms part of a global rethink on the use of ISDS clauses and some States, such as those in the EU, appear to be moving away from ISDS clauses and towards the establishment of permanent international investment courts. This update briefly examines issues surrounding ISDS clauses and whether international investment courts are next in the evolution of ISDS arbitration.


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Your wedding day should be truly magnificent and memorable. Uffculme is a grand Victorian house built in 1891 for Richard Cadbury. Your guests will be astounded by the beautiful setting in which you are to be married, original features within the house and well maintained gardens will be a perfect setting.
Offering 3 fantastic value "all inclusive" wedding packages The Forest has become known as a wonderful and sought after venue for wedding receptions. The twelve individually designed en suite bedrooms at The Forest combine carefully considered comfort with touches of luxury and subtle style of décor.
The Beverley Hotel has become renowned for its private dining facilities and its consistent quality of service when catering for Dinner Parties, Weddings, Christenings, and informal functions. We can also arrange entertainment such as a Disco to compliment your function.
Our wedding venue in Nottingham is one of the most beautiful and relaxing settings. Whether you would like very little input from us or our complete wedding package, we will be certain to provide a venue to make your dream wedding come true.
Nottingham Conference Centre is a vibrant, versatile and modern venue, comprising nine comfort-cooled conference and meeting rooms with fully supported audio visual packages. These rooms can accommodate 12 - 150 delegates, depending on your individual event needs.
We are idealy suited for wedding venues,birthday parties etc and within easy reach of Walsall, Wolverhampton, Birmingham, Dudley.
Woodborough Hall is truly one of the most beautiful venues in Nottinghamshire and a special venue for that perfect day for both you and all the guests you wish to share an unforgettable experience with. We are able to cater for every individual need and personal requirement.
The Ark is the ideal location for all your Wedding needs. The Ark can cater for around 100 people making this an ideal intimate and cost effective location. We work in partnership with carefully selected local businesses to make it easier for you to plan your wedding needs from one point.
Colwick Hall is the ancestral home of Lord Byron and is one of the most beautiful wedding venues in the Nottingham area. The country house mansion lies in over 60 acres of charming woodland, rolling countryside and lake. All our bedrooms are luxurious, boasting palatial designs and rich decorations.
Thrumpton Hall is delighted to be able to offer exclusive use of the Hall, Gardens and the Lakeside Pavilion for the wedding of your dreams.
Grimscote Manor offers couples their perfect Coleshill Wedding venue. The benefits of having your Wedding reception at the Grimscote Manor is that you will have the exclusive use of the Hotels grounds throughout your special day. Our experienced team can help plan your day from start to finish.
Your Wedding Day is one which you will remember for the rest of your life, and from start to finish our friendly, professional and dedicated team will be working with you to ensure your reception is everything you wish for...
Whether it's an intimate wedding for forty people or a society wedding for hundreds, Blotts offers two suites for the discerning Bride & Groom.
Our modern hall stands proudly amid the timber frames of the original building. Light and airy, the courtyard with which it contrasts. The largest of our rooms, you may choose the Ashford Hall as the venue for your civil ceremony or perhaps as a flexible space for your evening celebrations.
Set amidst the architectural splendour of Nottingham's former lace making quarter, with beautiful views over the Georgian facade of neighbouring buildings and the magnificent St. Mary's Church, Lace Market Hotel offers a spectacular setting for weddings in Nottingham.
The Old Rose and Crown hotel, set in its stunning location is fast becoming one of the most popular wedding venues in the area. And we only ever cater for one wedding each day - so you will have exclusive use of the hotel. We hold a licence for Civil Weddings and partnerships and have 2 banqueting suites available.
A superb location ideally suited to hold wedding receptions and civil ceremonies. Berrow Court is wonderful in both summer and winter months alike. Your guests can enjoy Pimms under the Gazebo while the musicians play, or champagne and canapés beside one of our log fires.
Not just a wedding day, this will be one of the most important days of your life. Let us make your wedding celebration so special that you will remember it fondly, together, forever.
We pride ourselves on giving everybody a warm and friendly welcome, this along with the tranquil country setting and the excellent service that we provide, makes Fishley Park the perfectly venue for your wedding reception.
The conference room can accommodate up to 50 guests and is the perfect setting for training, meetings or conferences.
Goosedale is set in beautiful, picturesque grounds of over 100 acres of pure tranquillity with breath-taking views of Nottinghamshire. We offer an individualised and completely bespoke service to all our clients for the wedding of your dreams.
With such stunning character and a peaceful, waterside ambiance in the heart of Birmingham, Austin Court is the ideal city centre venue for your wedding or civil partnership ceremony. You'll have exclusive use of our stunning venue with a dedicated wedding coordinator looking after every detail of your day.
Wentbridge House is a beautiful Georgian Country House offering luxurious accommodation to suit everyone. Wentbridge House is the perfect location for creating a wedding that is uniquely yours.
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Let The Orangery, our beautiful and historic venue in the heart of Wakefield, be the setting for your special day. We can offer a tailored and cost effective wedding package, which directly meets your needs.


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It's not often that the Broward Center for the Performing Arts offers a concert by a singer whose songs are heard among the thumpy pop hits on Y100, but there are all kinds of new things going on at the big house on the New River.
To be sure, it's not much of a stretch for the Broward Center to host Tuesday's performance by suave and soulful singer-pianist John Legend, who himself may be a little uncomfortable having his ballad "All of Me" bumping up against the Chainsmokers' "Selfie" on pop radio. But we like to think we see a shift in the Venn diagram that illustrates the relationship between popular culture and the new and improving Broward Center.
The new riverside Huizenga Plaza — with its ground-floor restaurant and bar and second-floor ballroom, which opened last weekend with a performance by Sheryl Crow — is the most dramatic piece of a 40,000 expansion and remodeling that seems aimed at bringing a youthful energy to the Broward Center.
"It's part of it," Broward Center CEO Kelley Shanley says. "We hope that overall this generates a lot of new interest in the center."
Shanley says that initial discussions about the expansion to the center four years ago coincided with the formation of a young-professionals support faction called the Ghostlight Society.
"They are a really strong group, raise money for us and do all kinds of events, but it's also a younger generation that's a great sounding board," Shanley says. "They already have the propensity to attend, but they're also good for guidance on what experiences we should provide, what programming we should have. They can help us cultivate that audience, as well, in a really authentic way."
Two seasons ago, the center added the luxurious and popular Club Level suite, and in November opened the Intermezzo Lounge, a casual dining and socializing space.
Booking someone like Legend, who appeals to a diverse and monied pop audience is another step in that direction, Shanley says.
"Gestures like that don't go unnoticed. Just in terms of how they feel and how they get associated with the brand," he says. "It's one thing to say we're going to renovate the complex. It's another thing to say, who do we need to be for the next 20 years? What do we have to anticipate? Who is going to be our audience?"
John Legend will perform 8 p.m. Tuesday at the Broward Center. Tickets: $40-$120. Info: 954-462-0222, BrowardCenter.org. He also will play the Kravis Center in West Palm Beach 8 p.m. Wednesday. Tickets: $31+. Info: 561-832-7469, Kravis.org.
Despite a stretch of ark-worthy rain on Sunday, last weekend's second annual Rock the Ocean Tortuga Music Festival drew more than 44,000 attendees, organizers say, a major jump over the 25,000 crowd for 2013's inaugural gathering on Fort Lauderdale beach. If you want to relive the energy, Country Music Television will look back at Tortuga on "CMT Hot 20 Countdown," with hosts Alecia Davis and Cody Alan, airing 11 a.m. Saturday and Sunday. Get a preview here at CMT.com.
In this recent review of the punk-opera outfit Timur and the Dime Museum, the Los Angeles Times' music man Mark Swed offered a goulash of source material for singer Timur Bekbosunov, from L.A. by way of Kazakhstan, that included elements of Al Jolson, Ethel Merman, Maria Callas, Cathy Berberian, Liberace, Tim Buckley, Frank Sinatra, Boy George, David Bowie and Mick Jagger. The mind (and ear) reels. Timur and the Dime Museum perform at 8 p.m. Friday and 7 p.m. Saturday in one of the few places cool enough to hold them, the Light Box at Goldman Warehouse (404 NW 26th St., Miami). Tickets: $20-$100. Info: 305-576-4350, MiamiLightProject.com.
This weekend, for Record Store Day on Saturday, the late, lamented LCD Soundsystem will release on vinyl its final show in 2011, "The Long Goodbye: LCD Soundsystem Live at Madison Square Garden." Next weekend, on April 26, you can tell James Murphy how much you still miss his old band when he does a DJ set at Bardot in Miami. Tickets: $30, $40. Info: BardotMiami.com.
Record Store Day happens all over, of course, but closest to us is Radio-Active Records (845 N. Federal Highway, Fort Lauderdale), where you'll find live music (from Sweet Bronco at 5 p.m. to Ketchy Shuby at 9 p.m.), food trucks and giveaways. Make a purchase and get a raffle ticket to be in the running for tickets to Revolution Live shows including Band of Skulls, Ghost, Neon Trees, Say Anything and Earl Sweatshirt. Doors open at 9 a.m., with raffle at 5 p.m. Info: 954-762-9488, Facebook.com/RadioActiveRecords.
For all the exotic allure of the leaf-chomping giraffe and the Malayan tiger, the most captivating animal making its home in West Palm Beach at the Palm Beach Zoo and Conservation Society may be the capybara, the world's largest rodent. The zoo has wisely decided to leverage your curiosity (or, maybe, your kids') with the opportunity to meet and feed the 140-pound cousins of the guinea pig during 25-minute sessions in the "Capybara Experience." Guests must be at least 8 years old, and accompanied by an adult if younger than 12. Cost is $15 through May 23, when the price goes to $20 for nonmembers ($15 for members). Pre-registration required at PalmBeachZoo.org/Animal-Experiences.
My Gator and Seminole friends suggest that it was his year at the University of Miami, and not his graduation from clown school at Ringling Brothers and Barnum and Bailey Clown College, that best prepared London-born comedian and stuntman Steve-O for his roles as a professional "Jackass." Ask him yourself when Steve-O brings his stage act to the Fort Lauderdale Improv at 8 and 10:30 p.m. Friday (tickets are $22 at FTL.Improv.com) and the Palm Beach Improv at 7 and 9:45 p.m. Saturday (tickets $22 at PalmBeach.Improv.com).
The Gulfstream Polo Club (4550 Polo Road, Lake Worth) is the setting for the Built Ford Tough Polo and Balloon Festival, with polo, food, vendors and hot-air balloon rides. Friday's events begin at 6 p.m. with a polo match followed by tethered balloon rides from 7:30 to 9 p.m. Saturday is the big day with dozens of balloons lifting off in a mass ascension just after 7 a.m., with tethered balloon rides at 8 a.m. and 7:15 p.m. Saturday (and 8 a.m. Sunday). At 8 p.m. Saturday, the polo matches end as the balloons return to the field for the balloon glow light show. Admission to the festival is free with a donation to the Semper Fi Fund for injured Marines. Tethered balloon rides cost $5, with proceeds to the Marines fund. Traditional rides will be offered at 6 p.m. Friday, and 7 a.m. Saturday-Sunday. Cost $200. Call 803-652-1181. More info: PoloAmerica.com.
No one is more familiar with the architecture of a pop song than Jimmy Webb, who won the first of many Grammy Awards for the 1967 Fifth Dimension hit "Up, Up and Away" when he was barely out of his teens. Most of his best know work was done at the intersection of rock and country that is even busier today than when he was writing "Galveston," "Wichita Lineman" and "By the Time I Get to Phoenix." But his most ambitious song, one that still confounds the pop music establishment, was the single that put actor Richard Harris (most widely known now as Harry Potter's Dumbledore), on the pop charts: the seven-minute love poem "MacArthur Park." In an interview with Jimmy Webb linked here, the songwriter offers an explanation, and he suggested that he'll paint in more details during his performances at the Arts Garage in Delray Beach Saturday and Sunday. But the video below shows how polarizing "MacArthur Park" is and may always be for music experts. The word "genius" is thrown around a few times. Hit the link for more on Jimmy Webb's Delray Beach performances.
Listening to Jimmy Webb may rekindle your appreciation for the well-written song. At 2 p.m. May 4, some of South Florida's best songwriters will gather for "Remembering Pete and Toshi Seeger: A Musical Tribute" at the Unitarian Universalist Church of Fort Lauderdale (3970 NW 21st Ave., Oakland Park). The afternoon will include performances by event co-producer Rod MacDonald (Susan Moss of the Labyrinth Cafe is the other producer), longtime Seeger friend Allan Aunapu, Amy Carol Webb, Grant Livingston , Annie Wenz, Ellen Bukstel, Laurie Jennings, Marie Nofsinger, Rod Koppelman, Tracy Sands and Vanessa Gilyard. Tickets are $20, and can be reserved before April 28 by sending a check payable to UUCFL (noted "MAY 4 CONCERT"), along with phone number and email, to Susan Moss at the church (address above). After April 28, email Moss at firstname.lastname@example.com. to see if space is available.
The bubbly Young at Art Museum will celebrate 25 years of art exploration with its third annual fundraising gala on April 25, with a couple of familiar names going for it. The essential pop-culture banter will be handled by "Daily Show" correspondent Aasif Mandvi, who will tell you what you really want to know about Jon Stewart. The pop art will come from renowned street-art interpreter Kenny Scharf, who will create one of his "Karbombz" on a 2003 Toyota Celica that will be raffled off. Tickets cost $250 (members $200). The museum is at 751 SW 121st Ave., in Davie. Info: 954-424-0085, YoungAtArtMuseum.org.
The 2014 Miami Dolphins Cheerleaders tryouts are fast approaching, May 3 at Sun Life Stadium. We feel compelled to mention that here because, hey, who else is going to? And it's important business. The audition doors will open at 8:30 a.m. with on-site registration, but those who have pre-registered online will be first to enter. All contestants must have an application, bio sheet and photo at the registration table. More info: DolphinsCheerleaders.com.
In case you missed it, Steve Aoki's poolside appearance on Friday at the Seminole Hard Rock Hotel and Casino sold out and has been moved inside to the larger-capacity Hard Rock Live. The concert hall will be reconfigured to include an open dance floor, pedestals for go-go dancers and VIP sections with bottle service. A limited number of general-admission tickets are now available for $54 (advance) at MyHRL.com, all Ticketmaster outlets and at 800-745-3000. Tickets will be $79 day of show, which begins at 7 p.m., with doors open at 6 p.m. South Florida native Kat Lane will perform at the afterparty at Passion Nightclub. More info: 954-797-5531.
Get daily updates on South Florida entertainment and things to do at SouthFlorida.com, on Twitter at @BenCrandell and Instagram /BenCrandell. Email: email@example.com.


text:
Linked by Thom Holwerda on Sat 2nd May 2009 10:23 UTC, submitted by Luis
Yes boys and girls, it's Net Applications time. Sure, their figures are flawed, and sure, they're misused all over the non-scientifically educated media, but that doesn't mean they do not indicate trends. One of those trends was a slowly rising popularity of Linux, which hit 0.93% market share in August 2008, only to sink back again during the following months. Well, it's
April May 2009 now, and Linux has finally crossed the 1% market share line!
Permalink for comment 361387
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by Dolphin on Sat 2nd May 2009 10:27 UTC


text:
Applications have opened for the Digital Dividend, with the auction to be held 16 April, 2013.
As part of the Digital Dividend, 45MHz of spectrum will be available in the 700MHz band. Spectrum will also be available in the 2.5GHz band.
The spectrum is important to the mobile industry because it can be used for 4G LTE services.
"This spectrum will further transform the way Australians communicate and do business," Chris Chapman, ACMA chairman, said in a statement.
"Australia is on the cusp of realising the very significant social and economic benefit from this valuable public asset."
Communications Minister, Stephen Conroy, set the reserve price of the spectrum at $1.36 per MHz per head of population in the 700MHz band in mid-December last year.
The reserve price was set at 3 cents per MHz per head of population in the 2.5GHz band.
Telstra is the only telco to signal its intention to bid for the spectrum.
David Epstein, vice-president, corporate and regulatory affairs at Optus, has slammed the reserve price, stating it is "unworkable and out of line with international outcomes" and has hinted it might not particpate in the Digital Dividend due to the high price.
However, Paul O'Sullivan, Optus chief executive, has previously stated the 700MHz spectrum would be "vital for delivering 4G LTE, especially in regional Australia, because of its ability to deliver LTE over longer distances", and the telco has already been involved with trials on the 700MHz band in Bendigo, Victoria.
Vodafone has also stated that it would not participate in the auction under the current terms, confirming earlier predictions the telco would pass on the auction as it already has sufficient spectrum to operate its 4G network on.
Bidders for the auction will have until 24 January this year to submit an application and will be charged a $25,000 application fee.
The auction will be held online 16 April using the combinatorial clock auction method, which will allow bidders to make different combinations of bids across the two spectrum bands.
Follow Stephanie McDonald on Twitter: @stephmcdonald0
Follow Computerworld Australia on Twitter: @ComputerworldAU


text:
QUIP: There is nothing that grinds me more than opening the freezer to be greeted by a bag of frozen vegetables tumbling out and then scattering its contents throughout the kitchen- Argh!
Not only is this a great waste of food but also time and energy to clean up the giant mess it creates – don't ask me how I know this!
What is even equally upsetting is that no matter how many bag closers you buy, you never – EVER – seem to have enough and the ones you do have are either quick to break or become difficult to find. What can we do?
TIP: There are a number of ways to secure food bags, especially those we place in the freezer and my favorite way you can do for free- rubber bands!
I especially like the ones that come on produce because these are new, clean, and ready to stretch. Plus, if a bag of corn happens to fall out of the freezer, the rubber band will keep the bag securely closed, guaranteeing no mess will be left behind. The best part is if you save them on doorknob in the kitchen, they will always be easy to find and endless in supply.
Another clip, which I like to use on chips and such, is just a good old clothespin. These you can buy in a 50 pack at a dollar store and have an endless supply of as well and you can even use them to hang your laundry outside and save more energy there too!
Another way to secure a bag is to simply slice a straw lengthwise then slide it across the top of the package. It has a tension that will keep that bag closed. However, I would not recommend this for the freezer because if the bag falls it can fly off.
If you lack for anything else, a good old paper clip or paper binder works just as well too!
Finally, if you have none of the above, try cutting a quarter inch off the top of that frozen veggie bag and using it as a tie to close that bag- it's that simple!


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In a recent interview with Vice, NASA Scientist Rich Terrile talks about his theory that Real Life itself may just be a simulation like any of todays computer games.
He then goes on to compare his theory to Grand Theft Auto IV running on a Playstation 3.
"One explanation is that we're living within a simulation, seeing what we need to see when we need to see it." - That's funny I have joked with my friends about that very thing. I tell them that I am the only real person in existence and that everything and everyone is just drawn when they are around me. Works good, I haven't suddenly seen a tree drawn in the distance yet :)


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Your relationship with your parents changes many times during your lifetime. When you were a child, your parents were responsible for you. They helped you overcome hurdles that you faced for the first time, and they gave you their emotional and financial support. As a young adult, you sought and achieved independence for yourself, but your parents were still there as a source of advice and guidance. And if you eventually had children of your own, you gained a little insight about why your parents made the choices they did.
Yet as your parents age, you may become increasingly concerned about them. The health problems they experience can make even routine daily living difficult. You may know little or nothing about their finances. They may be having great difficulty accepting the limitations that growing older places on them. And they may be unwilling to discuss anything with you, even if you bring up the subject yourself.
Nevertheless, there are a few things you really need to know so you can be there for your parents. Although discussions about these sensitive topics can be challenging, take comfort that it's not necessary to know every detail of their personal lives. Getting the answers to some basic questions should be enough to take care of most situations your parents are likely to face.
Powers of attorney
People don't like giving up control of their affairs. However, seniors do often face some situations that require getting help from others. The legal document that one uses to pick such a helper is called a power of attorney. When the document allows the helper to help even after the person needing assistance no longer has the ability to make decisions, it is referred to as a durable power of attorney.
Often, a person will choose one helper to make financial decisions and another helper to make medical decisions. Although a helper can assist with finances from a distance without much difficulty, seniors usually feel more comfortable if the person helping with medical decisions is close at hand to go with them to the doctor or hospital.
The biggest concern that older people have is that by creating a power of attorney, they have given up control of their lives. If you will be the one helping your parents, assure them that you have a duty to follow their instructions and that you will act independently only when they no longer can instruct you. Make sure you know how to find the power-of-attorney document, because you will need to show it to the financial and medical institutions that work with your parents. When you must act, be respectful of their past decisions and try to avoid major changes unless absolutely necessary. Remember that you must do what's in your parents' best interests, not yours.
Health-care options
As your parents lose the ability to care for themselves, their biggest fear may be having to leave their home and go to a nursing home. As recently as 25 years ago, nursing homes were often the only option for people needing regular medical supervision. Because they are expensive and Medicare generally doesn't cover the expenses, nursing homes scare older people with limited financial resources.
In part because of our aging population, a lot has changed in the types of care available to seniors. For those needing minimal care, health-care workers are available to visit seniors at their homes for an hour or two at a time. And as care needs increase, those workers can provide around-the-clock care at home. Although this care is not cheap, it sometimes compares favorably with the costs of other alternatives.
In addition, seniors have many choices beyond nursing homes if they decide to leave their home. Retirement living communities offer amenities such as home-cooked meals, transportation to local medical facilities and stores, and regular entertainment programs. Many such communities also offer assisted-living options that allow seniors to get medical supervision. The result is that seniors no longer need to go to a nursing home until their needs become high enough to warrant it.
You may want to look into the costs of obtaining long-term care insurance for your parents. Some companies will write policies for older seniors, and although the cost of insurance generally increases with age, paying premiums may be preferable to paying the full cost of care. Make sure that if your parents get long-term care insurance, it will cover the types of care your parents prefer.
Estate planning
It's especially hard to talk about estate planning with your parents. Your parents may interpret your questions as being motivated by greed. The key to communicating successfully with your parents is to know the appropriate boundaries.
The most important thing to remember is that your parents don't need to tell you anything specific about their plan. Although knowing more may be helpful to you and other family members, your parents do have the right to keep these matters private. For your purposes, it's sufficient that you know two things. First, your parents should have some type of plan in place. And second, the people responsible for implementing the plan should know how to do so when the time comes. If your parents can assure you that they have taken care of these two things, then you can take comfort that all will probably work out well.
On the other hand, if your parents don't have their affairs in order and look to you for guidance, your knowledge of resources available at The Motley Fool can give them the information they need.
Keep your family in the loop
If you have siblings, remember that even though you may be providing the most help, your parents don't want to create any discord in the family. Part of your responsibility to your parents is to keep your siblings aware of what you're doing. Giving your siblings periodic updates can avoid a lot of tension later on.
It's hard to take care of your parents. Yet after all they've done for you, it's nice to be able to repay their care and love with your own.
Want to become your family's most cherished person? Then ...
This article, written by Dan Caplinger, was originally published in November 2006. It has been updated by Dayana Yochim. The Motley Fool has a disclosure policy.


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Taking of the Pelham 1 2 3, The (US - BD)
...if you want a funky Blu-ray review then come see Gabe. Strictly hand-held...
Pending an ongoing investigation into his conduct, MTA dispatcher Walter Garber (Denzel Washington) is assigned to the Rail Control Center. His first day on the post the unthinkable happens—a group of heavily armed men, led by a man named Ryder (John Travolta), take a NYC subway train hostage. Ryder contacts Garber, and demands ten million in one hour, or he's going to start killing hostages. Garber tries to pass the case off to Emergency Service Unit Lt. Camonetti (John Turturro), but Ryder demands his participation, and things go from there.
Joseph Sargent's The Taking of the Pelham One Two Three isn't the most obvious choice for big budget, superstar remake treatment, but it makes sense after taking the time to think about it. There's some minor room for improvement, I suppose, but so many films have used the same basic formula throughout the years it seems counter productive to bother using the title. Sargent's film, which was apparently re-made for television in the '90s, is a solid heist flick, teeming with '70s style, but remains a compelling exercise for the interaction of its stars rather than its plot or action quotient. What cooler actors to watch bounce off each other than Walter Matthau and Robert Shaw? Denzel Washington and John Travolta? Eh, not so much, but they're both pretty fun to watch. Washington and Travolta play the characters differently than Matthau and Shaw, which is nice. Both actors bring a lot of baggage to their roles, and both treat the baggage differently. Travolta, as far as I'm concerned, overplays the part, and gives us more of the same crazy criminal bluster he trademarked back in the Face/Off days. Washington, on the other hand, makes an effort to underplay his character, and keep him separate from other similar characters like John Creasy from Scott's Man on Fire, or Detective Keith Frazier from Spike Lee's Inside Man.
More on the actors later, because this brings up a problem that one can't help but compare the film to Inside Man, and the comparison unfortunately comes up in Lee's favour almost every time. This comparison is subconsciously driven. Even when I made a concerted effort to not to compare the films I found myself doing it. For the sake of the obvious, both films feature Denzel Washington working through a hostage situation in New York City. John Turturro's presence recalls Lee as well (though he wasn't in Inside Man). The more important, and non-cosmetic comparison comes from the subtext of both films. Inside Man is practically a remake of a '70s heist flick too, just a less specific one, and Lee made the film as a not very subtle statement on post-9/11 relations in New York. Pelham director Tony Scott is less concerned with making statements, but he and his screenwriter Brian Helgeland are sure to point out all the post-9/11 reality of a modern heist flick. The comparisons don't negate the filmmakers' efforts, but surely hurt the film overall, especially Washington as a casting choice.
If I do everything I can to ignore these comparisons, along with comparisons to the original film, I still come up against the fact that Tony Scott drives me insane. Sometimes his audio/visual overload style, which has defined his direction since the days of Top Gun, is the perfect comfort food for a non-thinking pizza and a movie night, but other times his films are like headaches on screen. Sometimes they make me feel like an old man begging the neighbour kids to turn down that damn rock and roll music. Pelham 123 sees the director sleepwalking through his usual bombast. The guy has enough raw talent to ensure the movie doesn't devolve into a mess, and that the look is consistently interesting, but he doesn't appear to be putting much love into the project (I wasn't a fan of Domino, but it's clear that the director loved it). A director with love for the project would show patience. A director with patience would've pulled suspense from the clock ticking on the money drop, but Scott turns the scene into a middle movie car chase, complete with flipping vehicles.
In the end it feels like Scott doesn't really matter, it's the actors, and to a lesser extent the script. Despite his aggressive and familiar take on the character it's hard to not enjoy Travolta when he's firing on all cylinders, especially when he's placed in a decidedly R-rated world. Washington's solid performance is a non-story. The secret weapon is actually James Gandolfini, who I tend to overlook in these post- Soprano days. Gandolfini's character's success actually depends on audience preconceptions of both Gandolfini himself, and of New York City mayors. The performance both validates and inverts these preconceptions with minimal screen time. The rest of the cast follows similar lines of fulfilling stereotypes while maintaining a degree of genuine realism. The script runs hot and cold. At worst it's predictable, even for a remake. All the changes, of which there are quite a few, are still genre standards, and the twists in the plot are. Yet the storytelling is deft, assuming you aren't looking for surprises, the majority of the narrative is pretty realistic, and there are some well placed breaks for well pitched dialogue. Again, no matter what Tony Scott brings to the table as a flashy action director, this film is about the two leads working off each other, and this is where the success is best measured. As a character piece I'm surprised to admit the film works very well. The supposed gravitas of the finale is fumbled, but the majority of the journey is as good as can be expected.
Welcome to the Tony Scott overload, where cameras never stop moving, and there's a cut every minute or less. Tony Scott loves high contrast and plenty of fine grain. This consistent high contrast makes for a good high definition experience, full of sharp edges, deep blacks, pin-pointed highlights, and bright primary colours. Scott coats each set in a basic hue (the tunnel is gold, the train car is green, etc.), and then bounces coloured highlights off specific people and set pieces. The colours here are free of noise, and they never bleed, unless of course its Scotts intension. The crisp blacks are a definite high point as well. Overall sharpness is about as perfect as we can expect from film, and Scott's love of wide angle lenses makes for some deep focus compositions that really up the ante on detail consistency. The high contrast and deep black edges certainly don't hurt, and neither do Washington and Travolta's faces, which are teeming with all kinds of nooks and crannies. The high detail also makes it easy to see all the Sony product placement.
And it wouldn't be the Tony Scott experience without an overwhelming wall of abstract, hyperactive noise. The sun appears from behind a building? Whoosh sound! The wide angle satellite shot suddenly zooms? Zip sound! Man takes a sip from his coffee? Tidal Wave! Those of you that haven't seen the film can only imagine what the guy will do with something as noisy as a subway train. The sheer quantity of screeching steel wheel sounds is enough to put your teeth on edge, and the rumbling bass of the train as it passing camera is as close as you'll get to the real thing without leaving your house (unless you live in one of those crappy Chicago apartments that practically touches the elevated track). That last one is hyperbole, but the rest aren't. It's all a bit silly, but it makes for an exciting DTS-HD track. Harry Gregson-Williams' score is practically a parody of the kind of scores he's worked on over the last decade-plus, specifically his video game music (parallels to the Metal Gear games series are so thick you half expect Solid Snake to tackle Travolta from around a blind corner at any minute). At the very least the music adds some extra stereo and bass elements to the mix, and audiophiles can enjoy the subtly of the mix, which allows dialogue and effects to escape for the even the heaviest musical moment.
The extras start with two commentary tracks, one featuring director Tony Scott, the other featuring producer Todd Black and writer Brian Helgeland. Scott, whose voice is almost identical to his brother Ridley's, is pretty down to business on the story behind the film, and the technical aspects of production, while Helgeland and Black are more concerned with the whys, and spend more time comparing this film to the original. Scott fills the space of the track very well, with very few silent stretches, but he's not a lot of fun to listen to, so if you're aiming to spend the time on only one of the two tracks I suggest the latter. The content of the two tracks is pretty similar, Helgeland and Black are just a little more entertaining to listen to, especially a story Helgeland tells about the behind the scenes of Man on Fire.
'No Time to Lose: The Making of Taking of the Pelham 1 2 3' (30:30, HD) is a good little EPK that covers the stuff from the commentary, including differences between this film and the original, development and research, the logistic difficulties of technical, on-site shooting, casting and characters, production design, and set construction. The major cast and crew are interviewed, along with the real-life people the production used for assistance and inspiration, and the whole thing is set to plenty of behind-the-scenes footage. All this seems to go against my assumption that Scott wasn't in love with the film, of course. 'The Third Rail' (16:00, HD) takes a look at the reality of the New York subway system, and features more behind the scenes information. 'From the Top Down: Stylizing Character with Danny Moumdjian, The Lab Salon' (05:00, SD) is a look at hair dressing…
Things are finished off with trailers for this and other Sony releases.
Tony Scott's Taking of the Pelham 1 2 3 is definitely better than expected, but I still kind of find the whole exercise a bit of a waste. The differences between the original film and this one are many and varied, but the basic premise is still kind of generic. Scott is kind of a non-entity as a director, but the performances are strong, and the script is decent. Fans should be very happy with this disc, which takes full advantage of Scott's high contrast visuals, and the DTS-HD sound takes full advantage of his overwhelming aural assault. The extras are good, but not great.
* Note: The images on this page are not representative of the Blu-ray release.
Review by Gabriel Powers
BoBoi Member Join Date: June 2005 Location: Australia Posts: 1,109
Some of the editing in this film is shockingly bad, and some of the scenes seemed pointless and overdone for example Spoiler the motorcycle fiasco scene was poorly articulated and didn't add any excitements to the film, rather it makes the film more annoying than anything else. Also, the flashy color bleaches really disrupted the flow of the film. I know that Tony Scott loves to put in these color bleaches in his film, but I don't recall them being this badly done.
As for the film itself, I just found that it lacks intensity and while Denzel and John tried to give their best, the direction of the film was so poorly orchestrated that despite their best effort, they couldn't help elevate the film. Overall, I found this to be fairly underwhelming.
As for the film itself, I just found that it lacks intensity and while Denzel and John tried to give their best, the direction of the film was so poorly orchestrated that despite their best effort, they couldn't help elevate the film. Overall, I found this to be fairly underwhelming.
ryan_hunt17 Member Join Date: April 2009 Location: Canada Posts: 10
I thoroughly enjoyed the Beastie Boys reference on the main page. Thank you for that.
Gabe Powers Editor Join Date: September 2004 Location: United States Posts: 4,721
Happy someone caught that ryan.
Cinque Member Join Date: June 2007 Location: United States Posts: 710
Not Denzel and Tony Scott's best collaboration, but I still enjoyed it for what it was....
stevepulaski Member Join Date: June 2009 Location: Niger Posts: 741
I'm gonna pass. It seems a little redundant watching yet ANOTHER f**king remake.
Worst Nightmare Senior Member Join Date: July 2002 Location: Australia Posts: 6,716
stevepulaski wrote: I'm gonna pass. It seems a little redundant watching yet ANOTHER f**king remake.
Huh? On the new release page for this film, you indicated you have watched it?
I quote:
kacman11 wrote: Very forgettable film. It should have been great but was so lacking. Skip.
steve pulaski wrote:Yeah I know, I forgot about this. Great idea, forgettable flick.
Huh? On the new release page for this film, you indicated you have watched it?
I quote:
kacman11 wrote: Very forgettable film. It should have been great but was so lacking. Skip.
steve pulaski wrote:Yeah I know, I forgot about this. Great idea, forgettable flick.
Under 17 requires accompanying parent or adult guardian
Disc Details
Release Date: 3rd November 2009
Discs: 2
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 2.40:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 5.1 English, Spanish, French, Dolby Digital 5.1 Catalan, Dolby Digital 5.1 Audio Discriptive Track
Subtitles: English SDH, French, Spanish, Portuguese
Extras: Director Commentary, Writer/Producer Commentary, No Time to Lose: The Making of Pelham 1 2 3, The Third Rail: New York Underground, From the Top Down: Stylizing Character, Trailers, Digital Copy
Easter Egg: No
Feature Details
Director: Tony Scott
Cast: Denzel Washington, John Travolta, Luis Guzmán, James Gandolfini, Victor Gojcaj, John Turturro
Genre: Crime
Length: 106 minutes
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NEW YORK ( TheStreet) -- Banks are ramping up the marketing of home-purchase loans to borrowers as refinancing volumes plummet, but there are still few signs that they are ready to ease lending standards materially. According to the latest Senior Loan Officer Survey conducted by the Federal Reserve, "a modest net fraction" of large banks said they had eased standards for prime residential mortgages over the past three months, while small banks had left standards unchanged. There was no significant change in standards for sub-prime and nontraditional mortgages. The survey, sent out following the 100-basis-point rise in mortgage rates in May, asked respondents special questions about the impact of rising rates on lending. Banks reported having experienced weaker demand for prime and nontraditional mortgages in the past three months. A modest net fraction of banks reported that the composition of new mortgage applications, including applications for both home purchase loans and mortgage refinancing, shifted away from fixed-rate mortgages and toward adjustable-rate mortgages since the spring. More than 90% of the respondents reported "substantially lower" refinancing applications. In response to the drop in refinancing volumes, many banks reported having reduced the processing time for home-purchase loan applications and said they had increased their marketing of home purchase loans. Still, few reported reducing origination and processing fees or minimum downpayment requirements and FICO credit scores for approving home loans. Banks remain extremely tightfisted in approving applications for mortgages eligible for purchased by the government-sponsored enterprises Fannie Mae ( FNMA) and Freddie Mac ( FMCC). Banks said they were less willing to approve loans to borrowers with combinations of FICO scores between 620 and 720 and down payments between 10% and 20%. Banks saw mortgage production revenues and profitability crater in the third quarter, with JPMorgan Chase ( JPM) reporting a small loss and Wells Fargo ( WFC) seeing a 43% drop in mortgage production income. The decline in refinancing volumes, which have been exceptionally high in the last few years due to low interest rates, is unlikely to be offset by revenue from the purchase market. A modest fraction of lenders said they expect purchase applications to increase. Some industry observers have suggested that banks faced with declining refinancing activity might be more willing to relax standards and compete for business but so far it looks like borrowers are still waiting for banks to open the spigot. -- Written by Shanthi Bharatwaj New York. >Contact by Email. Follow @shavenk
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text:
Florida Museum Guide: National Naval Aviation Museum, Pensacola
It's the world's largest naval-aviation museum with 37 acres of outdoor exhibits and 300,000-square-feet inside. The Navy's Blue Angels do practice runs regularly during the show season from March-November, when the weather is nicer for being outside. 1750 Radford Blvd., Pensacola, 850-452-3604, www.navalaviationmuseum.org
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