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When he sits at his desk and talks about what he does, his interest in his work is evident. But when he is in the workroom, dragging a visitor from one worktable to the next, his love of work is unmistakable.
Jack Lenor Larsen, one of the world's leading fabric designers, practically leaps from one fabric to the next, so eager is he to explain its structure, its color, its history, its importance.
This crowded loft on East 11th Street, with swatches tucked here and there and works-in-progress around every partition, is home to Larsen Carpet, Larsen Furniture, Larsen Leather, and Larsen Textiles, the most diversified fabric firm its founder knows of, with production centers in 31 countries and 31 showrooms in 16.
He stops at one table, where two designers are working on replicating a 100 -year-old Chinese design, then rushes on to the next, where another is mulling over nuances of color.
He pauses to admire one of the newest Larsen carpets, "Fantasy," a whole treeful of leaves and buds sprawled across this sample in colors that crackle with both autumn and spring.
And then he wheels around one last precarious tower of shelves crammed with the flotsam and jetsam of weaving, back to his office.
Jack Lenor Larsen, who fell into weaving and then fabric design via a materials study course in architecture school, now has works in the permanent collections of 13 museums. He has written five books on fabric, and a sixth is in preparation.
He currently has a one-man show at the Louvre, a 30-year retrospective; he's only the second living American to be so honored.
Larsen's fabrics range from the sheerest of sheer to air-line seat-tough, some in colors that barely sigh, some that shout.
He is the acknowledged expert on art fabrics, works where the line between the fine and "decorative" arts becomes the thinnest. His two books on the subject, "Beyond Craft: The Art Fabric" and "The Art Fabric: Mainstream" (both with Mildred Constantine. New York: Van Nostrand Reinhold), not only chronicle the history of art fabrics but also explain the reasons for their existence, reasons which form the basis of Larsen's enduring passion for fiber:
"People relate to fiber more inherently than perhaps any other material," he says, settling into his office, itself a microcosm of his work, carpeted and upholstered with his fabrics. "The world that we were born into is fiber, and what distinguishes this planet from all others is its fiber, the trees and grasses, our native habitat."
In "Mainstream," he muses about why the art fabric -and fabric in general -came to such prominence recently: "Why are we now ready to enjoy the sensualities of fabrics in all of its myriad forms? Are we seeking relief from the austerity of standardized interiors or from the hard-surfaced, unrelieved facades of our topless buildings?"
To Larsen, the biggest challenge in furnishings is to "give a sense of roots and identity," which supersedes "the old notions of expressions of taste."
"Modern spaces have no character within themselves," he says. "Even worse is that they're alike, one to another, curiously, from Harlem to Park Avenue -eightfoot foot ceilings, one wall of windows, shoebox -and they're alike from Tokyo to Johannesburg. There is no regional variation in this mass construction."
Underneath, his own office is an off-white shoebox, but instead it is ablaze with a wall of yarn in every color imagined and unimagined. Plants dangle from the arched skylight, the old, many-paned type found in topfloor lofts such as this one, and shelves full of pottery clutter one corner. Opposite his desk are huge display racks of fabrics.
"These undifferentiated spaces are an insult to our sense of individuality and specialness, our uniqueness," he continues, pressing his fingertips together with a precision and care indigenous to weavers.
"The boom in fabric wall coverings of all descriptions is not accident or fashion. It's the best way to provide some shade and shadow and broken color and relief to the walls. A treat for the eye and the hand and often for the ear as well."
The treat for the eye is obvious after one glance at his fabrics. For the hand?
"It's an exercise for our poor fingers that tend to forget about the pleasures of touch."
For the ear?
"We go to a new breed of restaurants that has hard everywherem and we are bombarded with reverberations. Fabric is the most useful acoustical material."
He sees the emphasis in furnishings going toward the "surroundings," the wall and ceiling and floor rather than the objects in the room, which enlarges the role of fabric.
"We now control climate and sound within space," he writes in the catalog for his retrospective at the Louvre. "Why not as readily the visual elements? It is time for projected color and pattern to come into its own."
Art fabrics, he says, are moving away from the gigantic works (such as those found in the lobbies of buildings) toward a smaller scale.
"The trend is more collectors and private clients, more residential use," he says. The smaller scale of these wall hangings makes them affordable. "Few people could afford the novel, but most could afford the short poem."
Wall fabrics will become ever more important, he believes, as more and more people struggle to transform shoe boxes into their homes.
One of his current projects is designing vinyl wallcoverings, unusual for Larsen since he prefers to work with natural fibers. He says tactfully, "To make that pleasurable, either for us or the user, is a challenge." Larsen and his associate designers are striving to realize "the potential of that material" rather than merely imitate woven fabrics.
He has said it many times: "I most enjoy doing what I don't know how to do."
He also didn't know how to "do" ceramics when he undertook a project for Dansk, a three-part set of dishes. The first one, a porcelain pattern called "Bamboo," will be available next year. The set of dishes, and the Sunday dishes (as he calls them) all work together "as a wardrobe." The pattern is exquisitely textured, bamboo ridged in a wide band around the edges, the pure white plates rimmed with a deep red.
"Setting the table -the theater potential of that -is much more important than the cooking," he says, fetching a piece of "Bamboo" from the corner shelf for closer inspection. He demonstrates how snugly the cup fits into the well of the smallest plate (notm a saucer), delighted with this detail.
He seems to oversee most of the details on most of the projects, leaving the business bothers to a professional administrator.
"I don't go to meetings. I don't get minutes. He runs things very well. And I stay in the studio, and only do that. That's all I'm allowed to do, and I've learned to enjoy the privilege."
He designs full time -"more than full time" -these days, in collaboration with his design chiefs. But this man, whose name is reverently whispered by weavers, doesn't spend much time weaving.
"I have to ask myself what this means. I think that I'm a composer rather than a player these days, even an orchestrator, and I have woven so much that usually I can write the score without going to the piano."
In fact, the only loom in sight in this work area adjacent to his office is a tiny one used for weaving samples. It is threaded with silvery blue silk, which of course Larsen stops to examine when he is near it.
Sometimes, he says, he runs into problems when he can't explain what he wants:
"We're having that experience now in Thailand where we're starting to do very complex weaving in what's been a very simple weaving culture." The Thai weavers don't understand his written instructions, "so we have to weave it for them, they unravel it, and then they understand."
He blithely mixes metaphors talking about designing.
"I like to know all the limitations," he says. "Eventually it's like a corral -it creates the design." He makes a circle with his arms in front of his body, demonstrating how the factors of color, use, material, etc., become the fenceposts of the corral. Then, once the corral is made, he considers his options.
"It's like a bridge hand. You have some lovely cards, hopefully, and you have some losers which must be finessed."
When he set about designing fabric for airline seats, for example, he had to consider not only the airline's aesthetic desires but the practical matters of fireproofing, soil resistance, and weight limitations.
"It's first defining, the refining."


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Epoxies — Miracle Materials Don't Always Give Miracle Resultsby James Warner, (M.ASCE), Pres.; Warner Constr. Corp., Los Angeles, Calif.,
Serial Information: Civil Engineering—ASCE, 1978, Vol. 48, Issue 2, Pg. 48-55
Document Type: Feature article
In civil engineering applications, in the past 15 years epoxies have become widely used and have given excellent performance in floor surfacing, corrosion protection, repair of cracked structures, glueing together of precast concrete pieces, etc. But discouragingly often, epoxies have not performed as expected. Among reasons: epoxy formulation not matched to job at hand; epoxy mixture prepared or applied incorrectly, or (a common mistake) the surface to which the epoxy was to be applied was not prepared properly. Here is an introduction to epoxies — range of properties, how to match properties to job at hand, some types of problems, their causes, and factors to consider before using an epoxy. Case histories — some successful and some not — indicate range of applications, and some classes of problems and their causes.
Subject Headings: Epoxy | Precast concrete | Floors | Corrosion | Rehabilitation | Cracking | Concrete structures | Mixtures
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Now revised and updated, this groundbreaking volume by one of the world's foremost paleontologists presents the most complete visual proof ever assembled of the evidence for human evolution, displaying in full colour all the key fossils and artifacts of human prehistory.
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First Impression: Breezer Downtown 5
The Downtown 5 from Breezer is a fun little townie bike with lots of included features for not a ton of dough.
My typical ride involves riding to the grocery store, about a mile away. This is the perfect type of trip for the $550 Downtown 5, as the upright riding position and easy turning give you good line of sight and maneuverability in places like full parking lots. With an easy twist shift and five gears to choose from on the Shimano Nexus 5 speed internal hub, there is just enough gearing to make things easy and not so many shifting options to make it confusing.
Full front and rear fenders grace this sweet, teal blue beauty and there is even a full, retro-styled chain guard to keep you trousers clean. Touch points like grips, saddle and pedals are all of nice quality and have a refined, retro feel that's is aesthetically pleasing to me. Even the Breezer brake levers, with rubber finger pads, feel nice when engaging the linear pull brakes. The Downtown 5 also comes with a bell, kickstand and rear rack, making this stylish and comfy bike quite utilitarian to boot!
All in all, I'm really pleased with my time aboard the Breezer Downtown 5. Look for my full review in Issue #27 of Bicycle Times.Tweet Print


text: KIMBER 1911 CLASSIC STAINLESS .45 ACP 8+... Kimber Pro Carry II 1911 Friends Of NRA ... KIMBER ECLIPSE CUSTOM With Hard Case Fo... EASY PAY $67 LAYAWAY Kimber Crime Preven... Kimber Micro 9 Desert Night DN TFX Pro S... Guns Pistols Kimber of America Pistols Kimber Super Jagare Competition Pistol mm | 1663 | 77 | Lc | 640.7009ms View Category Kimber Super Jagare 1911 Competition Pistol (10mm) For Sale from MID STAR FIREARMS LLC | Positive feedback: 99% View | | 1407 Completed Sales View Sellers Items /UserImages/123119/985445514 10852187.jpg /UserImages/123119/985445514 10852188.jpg /UserImages/123119/985445514 10852189.jpg /UserImages/123119/985445514 10852190.jpg /UserImages/123119/985445514 10852191.jpg /UserImages/123119/985445514 10852192.jpg /UserImages/123119/985445514 10852193.jpg Description: Brand new Kimber Super Jagare 1911 Pistol (10mm). This competition pistol has a 6" ported barrel / slide and a red dot sight. Comes with the manual, gun lock, bushing wrench and one magazine. **Please do not offer to buy a product if you are not serious about purchasing. **Buyer must contact us within 48 hrs. of the offer to buy to make payment arrangements or a "non-paying buyer" report will be submitted. **We apologize to the individuals who are serious in their offers to purchase a product, we have been plagued by too many non paying buyers as of late which has caused us to have to take these measures. If we are not at fault, a 20 % re-stocking fee will apply to all returned merchandise. We will not ship any products out of the U.S. Alaska & Hawaii may incur additional shipping charges. MID*STAR FIREARMS JKD Professional Gunsmithing and Sales 8390 Highway 44 Middleton, Idaho 83644, 208 585 9922, 208 585 6715 (Fax) (FFL & SOT) – NFA TRANSFERS Located between Star and Middleton on Highway 44. Now selling Hunting and Fishing Licenses. Over 1300 new and used guns in stock. Hours: Tuesday-Friday 9am to 6pm Saturday 9am to 5pm Closed: Sunday & Monday. Read More Condition: New In Box Caliber: 10 mm (all) Location: ID Trades Accepted: Local Only. Read More Shipping Notes: See Description Read More Share Item Item #: 985445514 MID STAR FIREARMS LLC Seller Since: Aug. 2010 Seller Level: Gold Seller This seller is an FFL City: Middleton State: ID Price: SOLD Shipping: $65.00 (or Arrange local transfer) Accepted Payment Methods: Returns: 3 Days Your Recently Viewed Items


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Moderator App for PVP1
Post: #1
Moderator App for PVP1
Minecraft IGN: xXdesertsoulXx
How can you contribute as a staff member? As a staff member i will make sure things are in order and make sure people follow the rules and respect the admins,mods e.t.c. And i will report and hacking,glitching to Zombie or Xyloar over skype.
The reason why YOU should be moderator?
I think i should become a moderator because i will keep things in order and make sure people are following the rules.
How long have you been playing? A few months (4-5)
Have you spoken to a staff member about this. If yes then who?: I have spoken briefly to Varduka.
What times are you on most often? I am on at mostly 4-6 0 clock (UK TIME) as long as i dont have any homework :3
Any previous experience as a moderator? (If so, no need for names) Yes i have been mod on 1 server before.
Do you feel you are liked among the community? Yes i do as people have frequently asked me to help them with things.
Have you donated? If so, how much? Yes i have: $40
Thank you for reading this hope i get mod :3
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Top Reasons to Stay at Rocking Horse Ranch Resort
- Your stay includes three all-you-can-eat meals per day, a daily chef's tasting menu with wine and hors d'oeuvres, and unlimited access to all resort activities, including horseback riding.
- Scenic riding trails are open all year long; explore them on horseback or in a horse-drawn wagon.
- The AAA Three Diamond rated guest rooms feature wooden furniture, horse-print blankets, plush top mattresses, and other rustic decor.
- The award-winning resort has lots of kid-friendly activities, including indoor and outdoor climbing walls, miniature golf, euro bungee jumping, and supervised day camps.
- A year-round indoor water park entertains swimmers with a 250-foot water slide and a shallow play area for younger children.
- Enjoy the resort's exotic wildlife exhibit featuring a camel, zebra, and Scottish highland cow.
- The $100 resort credit can be used for anything at the resort, including spa treatments, good for snacks, alcoholic drinks, mining camp, the gift shop, child care, arts and crafts.
Poughkeepsie Area, New York: Historic City Set in the Rolling Hills of the Hudson Valley
Highland, just minutes away from Poughkeepsie, lies about 90 minutes north of New York City, right along the banks of the Hudson River. The Hudson Valley's gently rolling hills provide a beautiful backdrop to the town. The view is particularly nice from the Walkway Over the Hudson, a pedestrian-only bridge that connects Poughkeepsie to the hamlet of Highland across the river with a complimentary shuttle. You can also enjoy the great outdoors nearby at 22 public parks, which host art festivals and farmers' markets during the summer.
Enjoy the area's historic landmarks, with nearly 100 listings on the National Register of Historic Places. These include numerous 19th-century brick buildings on the campus of Vassar College as well as the home and presidential library of Franklin D. Roosevelt and Locust Grove, the Italianate estate of Morse code inventor Samuel F. B. Morse. Today, the home serves as a museum and nature preserve encompassing nearly 200 acres of gardens and grounds.


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Absa Bank Limited (Absa) is a wholly-owned subsidiary of the Barclays Africa Group. We offer a range of retail, business, corporate and investment banking, wealth management products and services primarily in South Africa and Namibia.
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Lightning Returns: Final Fantasy XIII should be out on PC in December, according to a recent message on the development team's official Twitter. The port, the tweet says, is currently getting some finishing touches, with the team promising to share more info soon.
Lightning Returns: Final Fantasy XIII should be out on PC in December, according to a recent message on the development team's official Twitter. The port, the tweet says, is currently getting some finishing touches, with the team promising to share more info soon.
Tetsuya Nomura Picks The Three Best Lightning Fanart
Kingdom Hearts and Final Fantasy character designer Tetsuya Nomura recently judged a fanart contest at deviantART, which featured the Final Fantasy XIII series' recurring protagonist and costume aficionado, Lightning. After looking through literally thousands of submissions, he picked three. Here they are.
How To Make Your Face Look Like Lightning From Final Fantasy XIII
You may think that cosplaying as Lightning from Final Fantasy XIII is just about getting the hair, outfit and skinny-and-tall body frame right, but in order to nail that look down completely you'll need to do some face work as well. Enter Emma Pickles, who has made this helpful makeup video tutorial for just that…
Do Final Fantasy Fans Really Want More Lightning?
Square Enix believes that Lightning, the main character of the Final Fantasy XIII trilogy, has a lot of fans.
One Easy Tip For Playing Lightning Returns: Final Fantasy XIII
I might not have recommended Lightning Returns, but I'm not going to let those grabbing the game anyway enter the fray unarmed. Though it goes against the hardcore role-playing game fan's pride, I'd highly recommend playing the game on Easy Mode first.
Lightning Returns: Final Fantasy XIII: The Kotaku Review
I've never been less emotionally invested in a character than I am in Final Fantasy XIII's pink-haired powerhouse, so when Square Enix tells me Lightning Returns, my response is "That's great. What else you got?"
You Can Cosplay As Lara Croft In Lightning Returns
Tomb Raider DLC for Lightning Returns: Final Fantasy XIII? Sure.
A Look Behind The Scenes Of Final Fantasy
The world of Japanese video game development can often feel mysterious to those of us in the Western Hemisphere, so it's always cool to get these behind-the-scenes peeks at studios like Square Enix.
Square's 16-Bit Final Fantasy XIII Retrospective Is Just The Best
This might be the coolest thing Square has done in a decade—instead of just making a boring ol' story recap video for Final Fantasy XIII and Final Fantasy XIII-2, they made one in the style of Final Fantasy VI for Super Nintendo.
Smash Bros. Creator Loves Lightning Returns' Battle System
Lightning Returns: Final Fantasy XIII, the third and final(?) chapter of the Final Fantasy XIII saga, came out in Japan last November, and what do you know, it's pretty good. At least Smash Bros. creator Masahiro Sakurai thinks so.
That Lightning Returns Aerith Costume Wasn't Meant for Everyone
One of the highlights of Lightning Returns: Final Fantasy XIII is all the costumes you can play around with. Aside from the costumes included in the game and the DLC costumes, Square Enix also has a limited Aerith from Final Fantasy VII costume and weapons. Well, it was supposed to be limited.
The Costume Editor Is My Favorite Time-Waster in Lightning Returns
Sure Lightning Returns: Final Fantasy XIII has great gameplay and fun musical quirks, but let's be serious: We don't care about that. We're all here just because we want to dress up Lightning in awesome costumes.
If You Love Final Fantasy X-2, You'll Love Lightning Returns
When people ask me what Lightning Returns is like, I always respond that it's a lot like Final Fantasy X-2. A lot of people seem to take this as an insult to Lightning Returns. It's not. While I feel like I am in the minority, I loved FFX-2 and much of what made it so fun to play is also present in Lightning Returns.
Lightning Returns Has a Lot of Fun Playing Around with Music
This past week, as I've been working my way through Lightning Returns: Final Fantasy XIII, I've noticed the game has—whether it's minstrels, treasure boxes, or even the crowd at the coliseum—loads of aural Easter eggs just waiting to be uncovered.
There Are Three Words for This Ridiculous Final Fantasy Costume
One of them is bad. But that's okay, I guess? Behold some of the latest Lightning Returns: Final Fantasy XIII downloadable content.
The Japanese voice track and lip sync animations will be available as DLC for the English version of Lightning Returns. The pack, per the latest announcement from Squeenix, will be free to download for two weeks after release, after which time it becomes paid DLC. Above is the newly-released "special effects" trailer.
11 Minutes of Lightning Returns: FFXII For Your Viewing Pleasure
The fine folks over at Japanese news site 4Gamer.net managed to get their hands on the shortly-releasing Japanese version of Lightning Returns: Final Fantasy XIII. So, of course, they immediately went and captured some footage for the rest of us.
Let's Play Dress-Up with the New Lightning Returns Trailer
Good thing mizz Lightning has the time to stay fashionable in between going on missions to save the world. Otherwise, we couldn't spend all this time looking at her fabulous outfits.
Lightning Returns Video Shows A Different Class Of Final Fantasy
Got your skepticism goggles on? Okay. After months of gameplay footage and details, I'm ready to call it: Lightning Returns looks like the best single-player Final Fantasy we've seen in years.
17 Minutes Of Hardcore Lightning Returns: Final Fantasy XIII Action
What's that you say? You can't wait for February, when Lightning Returns: Final Fantasy XIII comes out, and you need to watch footage in Japanese just to get your fix? No worries. We've got you covered.


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Game Analysis and Control by Means of Continuously Learning Networks
- Emory Bridges
- 3 years ago
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1 Game Analysis and Control by Means of Continuously Learning Networks Jürgen Perl University of Mainz Institute for Computer Science Abstract The paper deals with the question, if and how the process of learning can be modelled, analysed and maybe improved by means of Neural Networks. The problem is that most of the developed types of network are supposed for restricted technical purposes only. The similarity to neural brain structure is reduced to some basic formulas describing algorithms of static learning in the meaning of pattern recognition and activity selection. Using a more dynamic approach, however, it seems to be possible to model dynamic aspects of learning and decision processes as well. One step in this direction has been done with the Dynamically Controlled Network DyCoN, which in order to support continuous learning has been developed on the basis of a conventional Kohonen Feature Map KFM and successfully been tested in different areas of sport during the last couple of years. The approach presented here on the one hand shall demonstrate the performance that is induced by the ability of continuous learning. On the other hand, it is sketched in an outlook what could be future developments of this approach and what kind of basic work has to be done in order to better understand what is happening in a game. 1 Introduction The basic idea of the approach presented briefly spoken is as follows: On the one hand, learning is an adaptive physiological process in order to reduce a lack of information or knowledge. On the other hand, pattern learning is an important ability in order to understand and control behavioural processes as are known in particular from sport. So, models of physiological adaptation and models of pattern learning could be combined to physiologic adaptation models of pattern learning. Such a model then could help to understand and improve e.g. processes of motor learning as well as tactical processes in games. To this aim, in the following chapter 2 one model of physiological adaptation (PerPot) and one of dynamic pattern learning (DyCoN) are introduced, which have been developed by the author during the last couple of years, and which are successful in several applications. (See Perl (2001a), (2001d), (2002). ) Chapter 3 presents some of these examples from different areas of application. Chapter 4 deals with some current approaches and projects, the most spectacular (and a little bit speculative) one is to control the behaviour of simulated football players (so called "multiagents"), which act on the basis of there own "understanding" of the world they spot. The long term aim is to develop such agents and/or robots, which are able of "learning by doing" and so can be helpful as assistants not only in technical areas but in a lot of applications reaching from sport over health and care to medicine.
2 2 Pattern learning as an adaptive process 2.1 PerPot: Antagonistic metamodell of physiological adaptation The metamodel PerPot (i.e. Performance Potential) describes physiological adaptation on a very abstract level as an antagonistic process as is shown in figure 1: An input flow (which usually is called "load" rate) is feeding identically a strain potential as well as a response potential. From the response potential the performance potential is increased by a positive flow, while the strain potential reduces it by a negative flow. Additionally, we have the following two effects: If the strain potential is filled over its upper limit, it produces an overflow, which acts on the performance potential as a reducing negative flow. In turn, the difference between the upper limit of the strain potential and its current level indicates how far the situation is from such a dangerous overflow. We call that difference the "reserve" of the system. Finally, in order to model atrophy the performance potential continuously looses substance. By mathematical reasons, this loss has to be fed back to the response potential to preserve the potential balance of the system. (From the mathematical point of view, the load rate only plays the role of a pump, which moves the system potential around without violating this balance property.) All flows show specific delays modelling the time that components need to act. Delays are model parameters the model behaviour depends on in a quite characteristic way. DR: Delay in Response flow DS: Delay in Strain flow DSO: Delay in Strain Overflow DA: Delay in Atrophy flow load rate overflow strain potential response potential DSO DS DR performance potential DA atrophy Figure 1: PerPot: Structure and parameters adaptation atrophy DS < DR DS > DR performance load performance load load performance collapse reserve performance load Figure 2: Characteristic types of PerPot behaviour
3 In figure 2 three types of characteristic behaviour of PerPot are shown: The type of normal adaptation depends on the relation between the delays DS and DR. Too little load can effect atrophy. Too much load can effect overflow and collapse. (See Mester et al. (2000), Perl (2001c).) 2.2 DYCON: PerPot-driven Neural Network We use Neural Networks of type "Kohonen Feature Map" (KFM) for learning of patterns. The idea briefly spoken is (see figure 3) that so called signals, which are components of a complex pattern, change the topology of the network i.e. the neurones or nodes rearrange in order to approximate the signal impulse (see Perl (2001b)). Figure 3: Kohonen Feature Map, excited by a signal The result finally is (see figure 4) that signals that represent similar patterns effect clusters of neurones, which in turn are separated from other clusters that represent different patterns. left center left center center right right classes of similar patterns cluster of neighboured neurones Figure 4: Classes of similar patterns, represented by clusters of neighboured neurones So far, KFMs are very helpful for classifying process patterns and have successfully been used to analyse game processes in soccer, volleyball, and squash (see Lames & Perl (1999), Wünstel et al. (1999), Perl & Lames (2000)). The problem however is that KFMs on the one hand need a lot of information for learning patterns and on the other hand are not able to learn dynamically. This means, if the learning process is once closed the network can only be used for testing and is not able to learn any more.
4 These problems were the reasons to improve the original KFM-approach by combining it with the dynamic adaptive concept of PerPot resulting in the type of Dynamically Controlled Network DyCoN. Without getting into technical details, every neurone of such a DyCoN is controlled by its own specific PerPot, enabling an individual learning behaviour of each single neurone. DyCoN can learn continuously over time and can continue learning processes after interruptions. It so, besides other advantages, in particular can learn using only very small amounts of specific data e.g. if they are used to coin networks, which are already pre-trained with similar or virtually generated data. Moreover, as the following figures demonstrate, DyCoN shows specific properties from the controlling PerPots, and so can be used for modelling learning processes under the aspect of adaptation. In detail, figure 5 on the right hand side shows a network with two coined patterns, each represented by a collection of equally coloured squares. The red one was learned first, reaching a certain level of "presence" meaning something like the probability of getting positive response when testing the pattern on the this way prepared network. After the red pattern the green one was learned, reaching the same level of presence the red one reached before. Note that the green pattern increases its level of presence already during the learning phase of the red one. This is due to the fact that both patterns are not disjunctive but have some components in common. Finally, "training intensity" characterises the level of "load" the neurone-controlling PerPots are run with, and which can be used to speed up or slow down the learning process. pattern presence training intensity presence of the first pattern of the second pattern training intensity training step Figure 5: Cooperative pattern training with a DyCoN second pattern first pattern pattern presence training intensity presence of the second pattern of the first pattern training intensity training step Figure 6: Replacing pattern training with a DyCoN
5 Different to the cooperative training from figure 5 the following figure 6 shows a replacing training, where the first pattern is getting erased during the training process of the second one. The reason is that the training intensity was reduced when starting the training of the second pattern. So, together with a rather high starting presence of the second pattern and an atrophy of the first pattern the second one becomes dominant although it is learning on a rather low intensity. Finally, figure 7 demonstrates how high training intensity can speed up learning. However, this approach in reality also well-known as over-training eventually can result in break downs, which are caused by collapse situations in the neurone controlling PerPots. pattern presence training intensity pattern presence training intensity training step Figure 7: Speed up and break down on a DyCoN, effected by high intensity caused collapse The above presented behavioural phenomena of DyCoN can be used in two ways. On the one hand they can support learning and analysis of patterns given as data from original games or other time-dependent processes (see chapter 3.1). Here DyCoN in particular helps to handle small data amounts and/or complex data structures (see chapters 3.2 and 3.3). Moreover, continuous learning enables an adaptation of the network to changing situations (as e.g. are tactical situations of teams) and so helps to analyse time-depending development processes. On the other hand, the similarity between the learning phenomena of DyCoN and that of learning individuals could be a reason, first to check whether it in fact can be used for modelling learning processes (validation) and, if so, then to model such learning behaviour in order to better understand and to improve the respective processes (calibration). First steps in this direction are discussed in chapter 4. 3 Examples: DyCoN-based pattern learning and analysis 3.1 Clusters as quantitative process patterns of games In the first example, which is presented in figure 8, a game process in football is modelled as a sequence of positions on the play ground, where "position" can mean that of players as well as that of the ball (or even of the referee). In order to keep the number of possible situations small, the positions just separate the five main values "right" (1), "centre right " (2), "centre" (3), "centre left" (4), and "left " (5). Even
6 with only 5 positions the number 5 t of possible processes of length t becomes horribly large with increasing t e.g. for t =10 we have about different processes. Assumed that each process needs about 10 seconds, the whole game consists of less than 600 processes. So the probability of each of the possible processes of being got to work during a game is about 0, much too small for any significant empirical result. The way to handle this problem is to build clusters of similar processes, which in turn needs an idea or a model what "similar" means and which clusters are necessary. Here a KFM can help to automatically detect proper clusters and so to separate the game processes into classes which represent the characteristic structure of the game (also see figure 4). state / position process step Figure 8: Pattern of a game process (also see figure 4) time The procedure described above does not work if the number of processes available for the network training is not greater then at least about One way to avoid this problem is to generate data by Monte Carlo methods, which however need information about the structure the data are generated from. If such a structure is known, a basic DyCoN can be prepared using virtually generated data. The so pre-trained network then can be used to learn and test the original game data as is shown in figure 10: Here the DyCoN-Network was trained with virtual process data generated using a model of the characteristic process structure of squash matches. In the case of squash, this model was derived from the following idea (see figure 9): Figure 9: Squash process as a sequence of striking positions
7 Understanding a player specific squash process as a sequence of striking positions of that player, mainly the four positions "back-right" (BR), "back-left" (BL), "front-right" (FR), and "front-left" (FL) have to be distinct. A process then is characterised by moves from one position to the following one (via the "T", of course), which in general can be described by the probabilities of changing positions and so feed into a stochastic transition matrix, from which finally arbitrary processes by Monte Carlo method can be generated. In order to make processes of different lengths comparable the processes are normalised to length 4. In case of original processes this means to cut them continuously into pieces of length 4. In order not to loose any transition information the procedure of cutting was done using a sliding window, such that each position in a process defines the start of a single 4-step-process (except the last three ones, of course). The special number "4" number as well. Figure 10 shows turned out to fit best but can be replaced by any other not too large a DyCoN that is pre-trained with virtually generated processes of length 4, where the most frequent ones are marked by circles and explained by legends in the regarding boxes. This network has been the basis for squash specific trainings and tests, some of which are presented in the following figures. BR-FR-BL-BL BR-BL-BL-BL BR-BR-BL-BR BR-BR-BR-BR FL-BR-BR-BL BL-BR-BR-BL BL-BR-BR-BR BL-BL-BL-BL BR-BL-BR-BR BR-FL-BR-BR Figure 10: DyCoN, pre-trained with virtually generated squash processes A B BR-FR-BL-BL FL-BR-BR-BL BR-FR-BL-BL FL-BR-BR-BL BR-BL-BL-BL BL-BR-BR-BL BR-BL-BL-BL BL-BR-BR-BL BR-BR-BL-BR BL-BR-BR-BR BR-BR-BL-BR BL-BR-BR-BR BR-BR-BR-BR BL-BL-BL-BL BR-BR-BR-BR BL-BL-BL-BL BR-BL-BR-BR BR-BL-BR-BR BR-FL-BR-BR BR-FL-BR-BR Learning and testing player-specific squash data on such a pre-trained DyCoN results in proc- ess patterns that characterise specific playing structures, as is shown in figure 11: Player A and B were well-qualified opponents in a semi-final of an international tournament. Figure 11: Process patterns of opponent players in a squash game
8 As in figures 6 and 7, the diameters of the coloured circles represent the frequencies of the regarding processes and so represent a pattern of the player specific game structure. As can be seen, the quantitative distribution of position sequences for both the players are rather similar, which means that none of the players is able to dominate his opponent from a general tactical point of view. In the contrary it seems that both players tend to find something like a "common rhythm". We found similar effects in a lot of examples and discussed it with squash expert who confirmed our result from practical experiences. However, the clustered processes of course build extremely aggregated information. Deeper analyses show that there are also different tactical structures, depending on the player as well as on the phase of the game. Again, DyCoN can help to find such details and to prepare more specific time depending processes. This is done in Section 3.2 using trajectories as appropriate mappings of complex processes. The current section 3.1 will be closed with a different approach of the network-based cluster analysis, which has successfully been used in the case of tennis and volleyball. One problem with that games is that not so much the positions are of interest but more the phases of the game or specific techniques used in the phases. So in tennis we e.g. have the phases of first and second service, the return phase, the base line phase, or the net phase. In volleyball besides others we have e.g. field defence, assist, or block. All these phases can be handled like attributes describing the playing process. They have, however, in common that they cannot be measured numerically like positions. This in particular means they do not define natural similarity and so a priori cannot be used to define clusters of similar processes. The way we handled this problem is as follows: At any step in a process, different phases are possible, which have different values of probability (stochastic approach) or degrees of membership (fuzzy approach). Therefore each step of the process has to be mapped to a distribution vector regarding to the set of possible phases (or techniques or whatsoever). As an example, this is done in figure 12 (compare figure 8), where the numbers on top encode the phases and the lines from top to bottom mean the process step. For each process step we have a distribution measuring the probability or the grade of membership of the respective phase to that step. It can be seen in the example, that the first steps are quite unambiguously determined, where the later steps become more undetermined and fuzzy. Because the distance of such distributions can be measured, this gives a way to measure the similarity between phase oriented processes Figure 12: Phase pattern of a pattern oriented process
9 3.2 Trajectories as qualitative process patterns The examples of network-based process analysis from above are quantitative in so far, as the patterns are focused on the frequencies of processes (diameters of circles and squares in the graphics above). In many cases, however, the sequence or time-series of the processes play the important role. One main example from the area of games is squash itself: In Figure 11 the frequencies of the 4-step-processes are represented by the diameters of the circles, giving a quantitative understanding of the respective distributions of activities. This presentation, however, is not informative if we want to know how specific playing processes look like e.g. in order to get a qualitative understanding of the game. In this case we need the time-oriented sequences, i.e. the so-called trajectories, of that 4-step processes, as is shown in figure 13. BR-FR-BL-BL BR-BL-BL-BL BR-BR-BL-BR BR-BR-BR-BR FL-BR-BR-BL BL-BR-BR-BL BL-BR-BR-BR BL-BL-BL-BL BR-BL-BR-BR BR-FL-BR-BR Figure 13: Qualitative patterns: trajectory of 4-step-processes in squash The particular example from figure 13 represents a trajectory from (FL,BR,BR,BR) over (BR,BR,BL,BR) and (BR,BL,BR,BR) to (BL,BR,BR,BR) and so altogether represents the activity sequence (FL,BR,BR,BL). Figure 14 compares the quantitative with the qualitative presentation, where the upper graphics show the frequently activated 4-step-processes imbedded into areas meaning "mainly BR" (red line), "mainly BL" (green line), "mainly F" (blue line) and, regarding the same areas, the lower graphics show the corresponding trajectories. Figure 14: Quantitative patterns (frequencies) vs. qualitative patterns (trajectories)
10 Although the trajectories in this particular example surely give too much details and so are not very informative, the different process structures in the three pictures and there correspondence to the frequencies are obvious. (Note that in the upper graphics only the most frequent activities are marked, while in the lower graphics necessarily each step of the regarding sequence had to be marked.) We need those trajectories in particular if the activities associated to neurones are not whole processes like in the examples of football, volleyball or squash, but are single events in a time-series. E.g. in a motion process the single event is a time-dependent vector of coordinates, angles, and speeds, which together build the pattern of the motion and the best presentation of which is a trajectory. The following section gives a couple of examples: 3.3 Trajectory detection from complex processes Structure analysis of 2-dimensionl movements The following example (see figure 15) deals with the well-known experiment of learning to follow a (green) light on a screen with a (red) pencil. (x 1,y 1 ) (x 1,y 1 ) d 1 (x 2,y 2 ) (x 2,y 2 ) d 2.. (x r,y r ) (x r,y r ) d r 1 2 r Figure 15: Analysis of visually driven movements The example shows that it depends on the point of view what information is necessary and what presentation fits best: (1) If only a sequence of values is of interest, as e.g. the deviation d i in the example from figure15, there are two ways to handle it: (a) If the focus is on the complete process (like in football, tennis or volleyball), then the process as a whole can be trained to the network and will be represented by a specific associated neurone. (b) If the focus is on single steps together with their close process context (like in squash), then k-step-processes as consecutive parts of the whole sequence should be trained, leading to results and presentations comparable to that from squash. This in particular means that similar to squash either the quantitative frequency-oriented presentation or the qualitative trajectoryoriented presentation can be chosen. If the complete data-vectors are of interest, e.g. consisting of light coordinates, pencil coordinates and deviation in the example from figure 15, they can be handled as components of a process as in case (1). The problem however is that compared with case (1) the dimension of the event space now multiplies that from case (1). Hence, the resolvability of the network is reduced significantly and so information, which should better be separated, might be aggregated into clusters. In this case, the following alternative fits better:
11 (2) If the focus is on the data vectors, they themselves can be handled as complete "processes" (i.e. they play the role of the 4-step-processes in squash) and can be associated to neurons. Similar to squash then either the quantitative frequency-oriented presentation or the qualitative trajectory-oriented presentation can be chosen. In the particular project figure 15 stems from, we chose the approach (1)(b) with absolute coordinates and quantitative representation. The result was that only the most frequent k-stepsequences were mainly represented by neurones which means that the network automatically selected the interesting regions, i.e. regions where the moving direction turned (marked by rectangles in figure 15). Reduction of attribute dimensions Another approach of using Neural Networks is that of reducing complexity: Figure 16 shows the situation that the original data are high-dimensional vectors, where the numbers of data are comparably small. In this case, stochastic analysis normally is useless, and even training of "conventional" KFM does not work. The reason is, as was discussed in the example of football from above, that the space of possible events is so large that the small number of recorded data cannot represent its specific structure. However, using a stochastically pre-trained DyCoN we can "burn in" the recorded data resulting in a 2-dimensional trajectory meaning a reduction from high-dimensional data vectors to the 2-dimensional coordinates of the associated trajectory points. Figure 16 shows two examples of those (x,y)-trajectories, which now can be analysed or manipulated much easier than the replaced original (a,b,,z)-data. (a 1,b 1,...,z 1 ) (a 2,b 2,...,z 2 ) (a t,b t,..., z t ) (x 1,y 1 ) (x 2,y 2 ) (x t, y t ) Figure 16: Reduction by transforming attribute vectors to pairs of coordinates Figure 17 gives an example from a current project dealing with running: The data vectors are of dimension 20 and consist of coordinates, angles, and velocities. Each time series consists of about 20 vectors, recorded at equidistant time steps. The aim (besides others) is two find out intra- and inter-individual similarities as well as reference patterns. Obviously, neither stochastic nor deterministic conventional method fit for a situation like this. Using the "burning in" method from above, however, results in a 2-dimensonal trajectory representation of the high-dimensional data vectors and so enables a rather simple analysis of the movement patterns. This way, we successfully did the following analyses: Intra-individual comparisons of the movements of the right and the left leg. Intra-individual comparisons of movements with different speed. Inter-individual comparisons in order two find similarities and reference patterns.
12 In particular, we were able to separate relevant from irrelevant or redundant attribute data and so, as is shown in figure 17, could reduce the dimension of the data vectors itselves (a 1,1,...,a 1,20 ) (a 2,1,...,a 2,20 ) (a t,1,..., a t,20 ) (a 1,1,...,a 1,10 ) (a 2,1,...,a 2,10 ) (a t,1,..., a t,10 ) Figure 17: Reduction by selecting relevant attributes Even more extreme was the situation in a project dealing with the process of rehabilitation, where 12-dimensional data vectors characterised the time-dependent states of the patients, and time-series of only about 5 to 10 points in time had to be analysed in order to estimate the success of the healing process. We did it the same way as in the example above and got satisfying results: In particular, key situations could be marked and compared with the trajectories, indicating whether the process run successfully or not. Moreover, this type of analysis not only gives a quantitative value of the rehabilitation process like "good" or "bad" but also gives an idea of its qualitative dynamics, showing that in some of the processes the situations were not at all improved from "bad" to "good" but showed cycles or even contra-productive developments. (The trajectories from figure 16 are examples from the rehabilitation project.) So far, the presented approaches, projects, and results were to demonstrate that the DyCoN concept is useful for dynamic learning and recognition of patterns as well as for reduction and evaluation of information. The following paragraph will sketch some ideas, how to use and improve these skills in order to support un-supervised acting of so-called multi-agents and even robots. 4 Outlook 4.1 Situation patterns and activity selection Acting in a game, for a player means (1) to recognise his situation in the context of the game, (2) to select an appropriate action, and (3) to value and to learn the success of his action in the context of the game (see figure 18). The three marked phases require three different types of network application: The situation recognition can be done using KFMs, the action selection can be controlled by feed forward networks, and the feed back and learning should be done using a DyCoN. This last step, however, needs a lot of additional investigation and is currently dealt with in a sponsored project. Some main aspects of this project are briefly sketched in the following: First of all there is a discrepancy between the number and the relevance of events. This means that very frequent events in a process often are not the most relevant ones. In contrary, often the really relevant events are very seldom key events, which in turn are not recognised by networks because of its low number. So one first step in the project has to be to connect Dy-
13 CoN with a database in order to find out relevant events that have not been recorded in associated neurone clusters. Here the term "relevant" has to be discussed: There are a lot of quantitative and qualitative interpretations of that term. What we mean briefly spoken is an event that triggers a nonfrequent or non-standard process with a very specific successful or non-successful result. The second step than should be the additional integration of those relevant events into the situation recognition of DyCoN. This means to control not only the neurone-training but also the structural development of a DyCoN dynamically, where methods and strategies have to be developed for. Finally in a third step DyCoN should be given the skill of being "creative". This means that the selection of an activity not only should depend on highest frequencies but also on special contexts and specific associated processes. situation recognition environment game feed back player activity selection Figure 18: Player's feed back measuring the result of recognition and selection prozess data process type I striking feature process type II data base process type I process type II process type III process type III creative cluster striking feature type I creative channels type II type III network Figure 19: Dynamically completing a trained DyCoN by "creative" clusters and channels
14 Figure 19 shows how "creative" completion of an already trained DyCoN will be done by implanting an additional cluster representing the associated striking features of the learned process data. The result could be not only additional clusters but also associative channels between clusters, which cannot appear in conventional networks of Kohonen type (also see figure 20): If a player recognises his current situation, he normally connects to a specific standard type of activity, i.e. type I, II, or III in figures 19 and 20. If however the recognised situation is "close to the border" of the selected type, it might be a striking feature and so trigger an "creative" decision for an unusual activity. Moreover, such an association could be repeated in a reflected way, eventually leading back to a different standard activity, as is also shown in figure 20. situation player standard activity 1 standard activity 3 creative decision standard activity 2 Figure 20: Associations between activities, due to striking features and creative decisions Note however, that in the scenarios sketched above "player" always means multi-agent or robots, where multi-agent is a more general term: It means the member of a collection of structurally identical objects, which on the basis of an though identical software individually recognise their environment and select their activities. Multi-agents this way can learn individually, can make their own experiences, can develop their specific skills, and can communicate with each other. So finally they are able to collaborate on common tasks as e.g. a game is. Different from multi-agents, which normally are simulations (i.e. a software together with data), robots are material agents, able to move and to act in reality. During the last six years, an international community of working groups called "RoboCup" has developed, which, sponsored by international business', deals with football played by teams of simulated multi-agents or real robots. Although the long term goal of that multiagents of course is not to play against human players but to study and to improve robot behaviour, the similarity in the problems of learning, decision making, and acting between human beings and agents are striking. Therefore in both directions it seems to be worth to deal with those questions: On the one hand, the analysis of human acting can help to improve virtual agents and robots. On the other hand, the analysis of self-controlling and improving tactical behaviour of multi-agents might help for better understanding and improving human tactical behaviour as well. References Perl, J. (1999). Aspects and Potentiality of Unconventional Modeling of Processes in Sporting Events. In: B. Scholz-Reiter, H.-D. Stahlmann & A. Nethe (Eds.), Process Modelling, (S ). Berlin-Heidelberg: Springer.
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Chris Hanson
I turned professional after gaining my Level 3 Diploma and Foundation Degree in Golf. I'm now competing at tournaments on the PGA European Tour and PGA Challenge Tour. I work hard on my game, the schedule can be tough and you need real dedication, but the rewards are worth it – I'm out there doing what I love!
My 2011 season set the ball rolling, winning the PGA EuroPro Order of Merit, with victories in the Motocaddy Masters, the Northern Ireland Open and the Network Veka Classic at Mottram Hall - with a second round 63 and a fifteen under par 201 total, worth £10,000! Things have really taken off since then, with top ten finishes in 2015 at Challenge Tour events in Madrid and Copenhagen and then onto the European Tour Qualifying School, gaining the last card for the 2016 Race to Dubai!
This year has produced some strong performances, including a fantastic 5th place European Tour finish in the Trophée Hassan II, at Rabat in Morocco, worth €58,000 and, most recently 8th place at the KLM Dutch Open - worth another €42,000.


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This blog is based on using the Inlay Kit of which has been the subject of many reviews so I will not be going into any detailed description of the kit here, just its application a littile out of its intended design.
I was cleaning up and found a short piece of Camphor Laurel timber with a knot hole in it, pretty usless I thought and was going to dump it.
I didnt have much to do this day so put it on the table saw. It was there I noticed it had a massive twist in it also rendering it almost certainly rubbish.
I thought I would see if I could remove the twist as an experiment, no loss iif it didnt work it was off to the bin anyway..
First up I cut off the worst part of the twist and ran the remainder through the table saw to return it to parallel.
Not content with that result I decided to cut the twisted section down and make a medalion to cover the knot hole.
I made a template jig to match the medalion,and then centered it over the knot hole.
Next I used the Inlay kit to route out the base material
Here is the setup with the collar fitted.
If you have one of these kits and wonder where the sipral bit is, well it broke early in the piece when I let the trimmer chatter. A replacement bit was more them a complete kit, so I sourced alternatives, bought four for the price of one.
Be aware they are very easy to break.
Here is the base material routed out
With that done I replaced the medalion in the jig removed the collar and routed the medalion.
Applied a 45 deg chamfer applied some glue and fitted it up.
View No 1
View No 2
View no 3
I was so impressed with the result I did another one just to see if i had fluked it.
View No 4
After a sand.
And after a coat of Orange Oil
A fitting annotation.
Conclusion: The Inlay Kit can be used to do medalion work quite sucessfully.
Just ensure you orient the timber grain to 90 deg from the base or any angle to suit I guess!
Use: Well it will go back on the shelf and reappear as a box top possibly, I liked the double diamond pattern , I guess because it reminded me of our MZ Force badge.
-- Regards Rob


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Our site will list below York Harbor, ME hotels/lodging that have a comparable rating of a Hampton Inn.Booking a group or meeting? Set up a group hotel block in York Harbor ME
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High Tease at the Grosvenor Hotel:
What would you say to an invite to High Tease? Sounds good doesn't it…particularly if you love afternoon tea and chocolate cake as much as I do.
I was, nevertheless, unprepared for the grandeur of the Victorian Lounge and the amazing selection of cakes and cocktails that greeted us. Somehow drinking a gin cocktail out of a vintage teacup seemed absolutely appropriate in the circumstances.
And then of course there was Bettsie Bon Bon, a gorgeous and provocative burlesque performer who danced for us, paying homage to the Hotel's most famous former guest, the Parisian courtesan Cora Pearl.
Now I genuinely approve of lipstick feminism, a cultural feminist movement that reclaims feminine symbols including make-up, suggestive clothing and embraces sexual allure as a valid and empowering personal choice (n.b. that's paraphrased from Wiki;)) It's much more fun that flat shoes and dungarees and I think a lot more powerful. The Victorian Lounge continues to embrace feminism by commemorating powerful women from the Victorian era with portraits of famous ladies including the first ever female MP, Nancy Astor, and actress Lillie Langtree, adorning the walls alongside Cora Pearl herself.
And, if you want to celebrate further, you can stay in the gorgeous Cora Pearl Suite with a roll top infinity bath and luxuriously appointed kingsize bed.
Our preview was of a deliciously provocative monthly event –An Evening of High Tease, which the Grosvenor is planning to run in its newly refurbished Victorian Lounge starting on the 20th December. For £65 a person you can enjoy a welcome cocktail followed by a champagne evening tea and performances by Bettsie Bon Bon.
If you are really looking for a decadent experience then you can enjoy an indulgent 'Weekend of High Tease' available on group bookings from £199 per person per night with the entire weekend themed around seductive burlesque antics and fine dining. What a perfect idea for a Hen weekend or a special Birthday treat.
For more information about High Tease, contact the Grosvenor Hotel
101 Buckingham Palace Road
London SW1W 0SJ