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Jim Hendler wrote: > > While I'm not a details guy like Dan, I thought the definition of > equivalency was a simple one (i.e. not actually equality) -- I > thought we were striving for essentially "macro" like replacement -- > i.e. if (equiv XXX YYY) then it should mean replacing XX with YYY > leaves meaning unchanged. This may seem silly, but consider it where > one ontology has something called "automobile" and another has > something called "car" -- I may want some agent to know it can map > between these two so I would want to be able to assert that > ontology1:autombile is equivalent to ontology2:car. Jeff Heflin and > Sean Luke introduced this to the SHOE language, and it was quite > useful (and they can correct me if I haven't explained it well) -- > Jeff's versioning work (see the SHOE web page) also uses this. Hey all... What you want is a version of Leibniz's Law applied to intensional relations, in this case automobile and car, such that you can say (-> (forall (P) (<-> (P o1:automobile) (P o2:car))) (= o1:automobile o2:car)) Now, just what those properties P might be that apply to properties like automobile and car I don't know. One might be that they have the same extension. Also, your reasoner needs to take this equality of properties into account. Note that all of this can still be done in first order if your restrict yourself to *named* properties like car and autombile (see Pat Hayes' rant on SO vs reification). ...bill -- Bill Andersen Chief Technology Officer - Ontology Works 1130 Annapolis Road, Suite 203, Odenton, MD 21113 email@example.com / 410-674-7600Received on Wednesday, 11 October 2000 12:42:02 UTC
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Montgomery College is commited to reducing its waste stream and has been a leader in establishing a successful recycling program. In calandar year 2009 we recycled nearly 70% of our waste stream which exceeds the 50% waste stream recycling goal established by the Montgomery County Governement. Montgomery College has won recycling awards for the past 6 out of 8 years. Annual recycling reports are submitted to the Montgomery County Government and summaries are reported as part of the Environmental Action Plan and the Resources Conservation Plan. We ask all faculty, staff and students to embrace the practice of "Reduce, Re-use & Recycle." Please use recycling containers which are distributed throughout the campuses and help us reach the College's recycling goals.
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14 rockin' tracks, all written or co-written by Rayburn Anthony and recorded in the early Sun Records style.Rayburn was discovered by Carl Perkins drummer WS Holland and went on to play with Kenny Parchman and Carl Mann.He issued three singles on Sun, and as a songwriter has had material recorded by Jerry Lee Lewis.The Sun Records connection continues, as his more recent work includes joining W.S.Holland and Bob Wootton as part of Johnny Cash's Legendary Tennessee Three.So, it's no surprise that this great album of new, original material has strong influences of Johnny Cash and the classic '50s Sun sound.
Raucous Records is the longest establisted 1950s Rock 'n' Roll, Rockabilly and Psychobilly CD, DVD and vinyl specialist on the internet.A world of Rockabilly, Psychobilly, Surf, Swing and 1950s Rock 'n' Roll delivered to your door.
© Raucous Records 2019 All Rights Reserved


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AKRON, Ohio -- The Akron Zips' late-season men's basketball train continued to roll Saturday night, thanks in great measure to its potent bench and Creighton inability to pound the ball inside when the Zips were most vulnerable.
Add in some clutch late-game free-throw shooting, and the 76-67 BracketBuster win over the Bluejays made it five straight triumphs for Akron (17-10) and six of their past seven going into the final two weeks of conference play.
The Zips are loaded with swagger.
"We want to finish on the right note," Akron power forward Nik Cvetinovic said. "We owe some people some stuff. Everybody in the locker room knew we were going to win."
Senior forward Brett McKnight off the bench was part of Akron's problem on the boards, getting nothing off the rim all night as Creighton won that battle, 42-32. But he made up for it in a big way on the offensive end, scoring 21 points on a variety of scoring plays, inside and out, that had the Blue Jays befuddled.
McKnight was 9-of-13, making post-ups, fadeaways and trailing 3-pointers. Akron's bench posted 39 points to 17 for Creighton (17-12) as McKnight, Alex Abreu, Quincy Diggs and Mike Bardo posted double-digit minutes.
"It's huge," said Cvetinovic, who had 19 points and eight rebounds. "It's great now to play with eight or nine guys in the rotation."
The key is McKnight, the Sixth Man of the Year in the Mid-American Conference as a sophomore. He scored 13 of his 21 in the second. McKnight scored nine of those points after 7-0 Zeke Marshall picked up his fifth foul trying to defend against Creighton's two big post players, Greg Echenique and Kenny Lawson, who combined for 22 points and 13 rebounds.
But instead of Creighton taking the ball inside even more without Marshall, it seemed the Bluejays went completely away from post scoring.
"I don't know what happened," Cvetinovic said. "It was interesting. Bottom line, it was a relief."
In the first half, Creighton flexed its Missouri Valley Conference muscle, taking it inside against the Zips and getting both starting center Marshall and his backup, Bardo, saddled with foul trouble.
But the key to Akron's resurgence late in the season has been McKnight. His early-season suspensions for 30 days and later for seven games threatened to blow the Zips season up in smoke. Without him, Akron struggled.
But in the opening half, the 6-6, 245-pound McKnight showed his worth, anchoring a 13-7 run to close the half as Akron took a 32-31 lead. McKnight scored six of those points. After Marshall fouled out, McKnight scored nine points in a 12-6 run that turned a 47-46 Akron lead into a 59-52 advantage.
"They went to that zone some," Creighton coach Greg McDermott said. "More importantly they played the two power forwards [McKnight and Cvetinovic] together. That Marshall fifth foul probably hurt us more than helped us."
It certainly helped the Zips.


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Chapter 19 - Castle by the Sea
Something seems not quite right at this castle, and not just because of where it's built.
Traveling by the seashore turned out to be markedly different than going overland. The horses liked walking on the beach, but the shifting, sinking nature of the sand made them tire faster. Food was fairly easy to come by, but water had to be rationed carefully and harvested whenever possible from any small fresh streams they passed draining into the salty waves. Salt, a precious commodity everywhere else, was simply found lying in little depressions on the beach as though waiting for someone to pick it up; John had gathered a small paper full of it just on general principles. What few people they met were sea-weathered and rather salty themselves but not at all unfriendly, and they were more than happy to share their stories with a new set of listening ears. In one small village an old man even thought he remembered a 'couple of fancy people on horseback' passing through many years before, although he could not remember in which direction they'd been heading, just that they'd refused to give a destination when asked where they were going, which was what had made him remember them.
What was truly odd about that story, however, was the old man's assertion that the pretty lady he remembered had looked and spoken like Elsa and John rather than Adam. "Ye can always tell 'em from the North," he'd explained with a wink. "They says all their words funny and round-like."
That night around their fire, and this time with a little berm of ice-hardened sand protecting their camp as they'd been warned that 'the crabs were spawning' and would be coming up the beach with the tide, Adam was still considering that. "So we've possibly found the trail of one set of parents, just not the ones we thought to find."
"Possibly not," John countered. "Your mother was a foreign princess, Adam, remember? It's possible she was from the North – it's also possible that old man was confused by seeing Elsa, as by this point in his life one pretty blonde lady on the beach might well resemble another to him."
"True. And my mother was blonde, like me only bright instead of dark, although my father wasn't and his father before him hadn't been either." He smiled at Elsa, who was combing out her hair so she could braid it back up. "I remember watching her brush her hair like that when I was very small, it looked like a waterfall of gold to me."
Elsa hit a snag, and John took the comb – a fine one of carved ivory and silver gifted to her by the ghosts – and worked the tangle out for her before handing the comb back. "Elsa's sister Anna has brownish-gold hair, as did their mother, but the king's was nearly black. The portraits of the royal family in the palace showed most of them with brown-gold hair as well."
"They're all gone?"
John shrugged. "There was a plague, years and years before I was even born, but the census records show that it decimated the population of Arendelle. The king and queen and four of their children all fell victim to it, Elsa's mother was the only one of that family left. My father survived, of course, and he told me that the remaining courtiers tried their best to prepare Princess Astrid to assume the crown – she'd been a middle daughter, not expected to ever take the throne – but she was headstrong and wanted nothing to do with it. So they started looking for someone who could do the job to marry her off to instead, but she wasn't pleased by any man they found until Elsa's father showed up and then she insisted she'd not have anyone else. Father thought they let her have him just to put an end to the matter. He mostly let the councilors run things anyway."
"Where did he come from?"
Another shrug. "No idea, it's not written down anywhere that I've ever seen, and nobody ever spoke of it that I ever heard. I honestly don't think anyone cared at that point. He claimed to be some king's younger son and she was willing to marry him, that was good enough."
A few days later they were walking the horses down the verge of a rock-strewn cove when they saw a man walking on the beach as well, coming from the opposite direction. The man waved when he saw them, so they waved back and weren't too surprised when he moved to intercept them. He was a handsome dark-haired man about Adam's age, and although his clothing was in the simple style of a seaman it was far too fine to belong to one. "Hello!" the man greeted them happily. "Are you here to visit Lady Vanessa?"
"I'm afraid we don't know anyone by that name," Adam told him. "Is she the owner of the palace I see farther down the beach?"
"She is," the man confirmed. "That's where I'm staying – I was shipwrecked, her ward found me on the beach some little distance up the cove where the rocks are." He bowed. "Prince Eric, at your service."
Adam bowed back. "Prince Adam of Valeureux, and my companions Princess Elsa and John Kepperson, our Royal Bookkeeper."
Eric bowed again. "I'm Prince Eric," he repeated. "So you weren't coming to visit Lady Vanessa?"
Adam exchanged a look with John, who shrugged. "I suppose we could, as we're already here," he said. "We're following the trail of my parents, a man in one of the fishing villages remembered a couple who might have been them passing this way some years past."
"Do you think they came to visit Lady Vanessa?"
"Perhaps they might have," John told him when Adam didn't appear to know what to say. "Does Lady Vanessa receive a lot of visitors?"
Eric shook his head. "No, I believe I'm the only one."
Elsa tried this time. "Doesn't she like visitors?"
"Well, she likes me being a visitor," Eric told her. "I don't know about any others, as she hasn't had any while I've been here."
"How long have you been here?" Adam wanted to know. "You said you were shipwrecked, were you the only survivor?"
Eric shrugged. "I'm the only one her ward found, so I'd assume so. As to how long I've been here, though…perhaps a few days? I'm not really sure. Lady Vanessa is delightful company, though."
"She must be," John murmured under his breath. Which the strange prince apparently heard anyway, because he nodded most enthusiastically. John cleared his throat. "Prince Adam, I'm not sure we should intrude on the Lady Vanessa, it sounds like she…may have her hands full with her current guest."
"Well, sometimes she does, but not all the time." Eric's dark eyes went wide. "Why, you don't think she'd want to do that with both of you as well, do you?"
Elsa and John both went red – for different reasons, and Adam just hoped Prince Eric didn't notice the sharp little icicles protruding from the princess's suddenly clenched fist. He shook his head quickly. "No, I don't think she would – that would be most irregular and highly unlikely." He really needed to have a talk with Elsa sooner and not later, he decided, if just the mention of some other woman possibly taking an interest in John could cause a reaction like that. Thank goodness she hadn't noticed the…interest expressed in that direction by some of the female servants in the Castle of Asher, and John himself had been mostly oblivious to it as well. He shook his head again. "I suppose since we're here, and we've met you, Prince Eric, we really should stop and pay our respects to Lady Vanessa. We'll be sure to let her know we don't want to intrude, though."
"Oh, I'm sure you won't be. Things are rather boring around here right now." Eric thought for a moment – it didn't look like it came easy to him – and then nodded. "I'll just go back and let her know you're coming. That way if she doesn't want visitors I can come back out and tell you so."
"Perfect," Adam assured him. "We'd appreciate that, thank you." He watched the other man hurry back up the beach with a rather disbelieving expression on his face. "I…am really not sure what to make of that, I'm really not."
John shrugged. "Maybe he was injured when he was shipwrecked? I've heard a head injury can make a person go a bit off."
"I suppose that could be it – either that or his kingdom isn't missing him all that much."
"Point." John shook his head, frowning. "I'm worried about stopping to visit this palace, Adam. This Lady Vanessa will be obligated to ask us to stay once he tells her we're here, and I'm not sure that's a good idea." He waved a hand at the pretty little palace perched on a rise just above the beach. "That's too close to the water and sitting right on top of the sand, from what I can see. We have buildings on the coast back home, of course, but they're supported by piers with very thick wooden posts sunk deep into the ground because the sand shifts so with the pull of the tides."
Adam considered that – and the idea that John had no doubt also noticed Elsa's jealousy-induced icicles – but he didn't see a way out of visiting now that they'd been met and probably announced. "We'll be careful," he said. "And if things look odd, we'll leave."
It ended up not being that simple, of course. Lady Vanessa looked to be just a few years older than Adam, with curling dark hair, a voluptuous figure, and a sweet voice that seemed rather at odds with the sharpness of both her features and her words. She appeared none too happy to have visitors, but she still insisted that they at least stay the night before continuing on their journey and they couldn't politely refuse. Something odd was very obviously going on, however. Lady Vanessa was almost shockingly overt in her attentions to Prince Eric, although luckily for her she seemed to have no interest in Adam or John at all – although her offhanded question about whether Adam and Elsa's 'servant' would be sleeping in the stable with their horses had almost gotten her up close and personal with Elsa's magic anyway. She'd been suitably apologetic when Adam had somewhat stiffly corrected her, however, and had gone back to what she was doing – or at least, trying to do – with the prince. Her supposed ward was a little limping red-haired girl called Ariel who couldn't talk and who was mooning after said prince as well, a situation he seemed oblivious to, treating her like a little sister or a pet; the overly-amorous Lady Vanessa, on the other hand, never wasted an opportunity to put the girl down or taunt her somehow. And Prince Eric also seemed oblivious to the reality of his own situation –– no trying to contact his people or even speaking about them, he seemed far too content for a high-ranked shipwreck victim stranded on foreign shores.
Of course, Lady Vanessa's…attentions may have had something to do with that, but John and Adam didn't really think so. "I still think something's wrong with him," Adam said after they'd extricated themselves from the palace on pretense of having a walk on the beach before dinner. "He just doesn't act…well, like he's quite all there."
"No, he doesn't, does he? And she's…well," John colored up just a little bit, "somewhat inappropriate in her attentions to him."
"Somewhat?" Adam snorted. "You're too polite, John. She was hanging off him like fruit on a tree, it was all I could do not to clap my hand over her ward's eyes."
Elsa was frowning as she listened to this conversation. She'd been unhappy and more than a little agitated in the palace – one reason John had decided a walk before dinner was needed – and she was still upset by what she'd seen and heard. Finally she put her hand on John's sleeve to get his attention. "Why isn't he asking her to kill him?"
Adam's mouth dropped open, but John just patted her hand. "You mean, like the blue butterfly did?" She nodded. "The blue butterfly was created out of water and ice, Princess; it didn't ask to be alive, and it didn't want to be alive. Prince Eric was already alive."
She cocked her head. "So he asked her to make him alive, and that made it all right?"
"Her…Lady Vanessa?"
"No, Ariel."
This time John's mouth fell open. Adam had recovered himself by this time, though, and touched her arm to get her to look at him. "Sweetheart…are you saying the prince isn't actually alive? That Ariel made him alive – not just by pulling him out of the ocean so he wouldn't die, but by doing…something after she pulled him out to make him live again?"
Elsa nodded. "You couldn't tell?"
John found his voice, traded a look with Adam. "No, I think you must have to…have that kind of magic to be able to tell. What else have you noticed that we haven't?"
She thought. "Well, the palace isn't real, it was made by magic – it's made of sand and water and things you'd find in the water, enchanted to look like it isn't. And the voice Lady Vanessa is using isn't her own."
Adam raised an eyebrow. "Do you think Lady Vanessa knows the prince isn't really alive?" Elsa thought again, then shook her head. "So she has magic, but not that kind. Is there magic on Ariel too?"
But John beat her to it. "Her legs," he said. "She walks like she's still learning to do it, and like it hurts her to do it. So she's really…"
"A mermaid. A teenage mermaid with a crush on…oh dear god, she probably doesn't even realize she brought him back, she must have found him underwater and dragged him back to shore." Adam shook his head. "She's a little girl with a crush. And she wanted to join him on land…"
"So she traded." John was nodding. "Her pretty voice for legs – or at least the illusion of legs, anyway, it would be some pretty shitty magic that would make real legs that don't work right."
"Or some pretty evil magic. Lady Vanessa seems to really like using that beautiful voice to entice the prince, doesn't she?"
"She does." John thought for a moment. "How old is Ariel, do you think?"
Adam snorted. "My guess is around fourteen, not older than fifteen or sixteen at the most, but she probably lied to the witch and made her think she was older." John started to smile. "What?" Then he got it. "Oh…oh yes, exactly!"
Elsa was looking back and forth between them, confused. "What is it?"
"An illegal contract," Adam told her, smiling now himself. "She's a little girl, Elsa, she's not old enough to make a contract. Which means the contract can be voided, it's not legal."
"And which means that we should be able to get whoever's responsible for her to come settle things," John added. He laid a gentle hand on Elsa's arm. "Princess, let's send someone a message, shall we?"
The sun was still a handspan from setting, and the ocean's blue-green waves were restless and sharp-tipped. They made sure they were out of view of the palace and then John had Elsa lob a few ice-cannonballs into the water, followed by a fat, hollow tube of ice once one of the balls was violently fired back up out of the waves. "Hello!" John yelled into the tube. "Sorry about that, but we need to talk to a girl named Ariel's parents!"
A distorted, heavily accented voice echoed back faintly a few moments later. "You want to speak wit King Triton? "
"We didn't know he was a king," John answered. "But we think his little girl is in over her head, she seems to have brought a dead man back to life and now some witch is trying to get him to sleep with her." Some sort of roar came back, and the ice-tube vibrated into pieces. John shrugged. "I'm guessing that was Daddy and we'll be seeing him soon."
"Really soon," Adam said, pointing. A large, bearded head appeared above the waves, then ducked back under and a large finned tail flicked up. The head reappeared near some rocks, and muscular arms levered a broad-shouldered body connected to a powerful fish tail up onto them; one hand was holding a trident, and the merman used it to point at them. "My daughter did what ?!"
"We don't think she knows she did it, Your Majesty," John quickly disclaimed. "My name is John Kepperson; this is Princess Elsa and Prince Adam. We were on a quest when we ran into this situation and decided that someone needed to get hold of Ariel's parents – Princess Elsa has powers like that, and she didn't understand what she was doing at first either."
King Triton considered that. "I've heard of that sort of thing, but I've never known anyone who could do it." He raised an eyebrow at Elsa. "You didn't know?"
She shook her head. "I made a snowman, to be my friend. And then I made a blue butterfly out of ice…but it begged me to kill it. John explained why."
"Hmm." The king thought some more, then nodded. "Probably a water power, then – for you it works with fresh cold water, ice and snow, so for my daughter…she must have used the seawater in the drowned man's body. Without knowing she was doing it," he hastened to add when Elsa looked alarmed. He held out a hand, and she came closer and took it; he looked into her eyes and then shook his head. "Poor child," he said softly, letting go of her hand to pat her hair. "It's all right, my dear, there's no way you could have known – this 'gift' is so rare most think it's just a legend. Now," he addressed John and Adam, "what else can you tell me?"
"We suspect your daughter entered into a contract with the witch who calls herself Lady Vanessa, her voice for legs," Adam told him. "But Ariel doesn't seem old enough to enter into a contract on her own."
"Which means that if whoever's in charge of Ariel," John waved at the king, "calls the witch on it, the contract should be voided. And then, of course, we'll have to deal with the dead prince they both have a crush on, who also doesn't realize he's dead."
The king winced. "This is going to be an interesting discussion." He gently moved Elsa to one side, then did something with his trident and jumped down off the rocks, striding up onto the sand on two sturdy, muscular legs. He was a giant of a man, powerful and kingly and completely naked except for the crown and jewelry he was wearing. He took the princess's hand again. "If you gentlemen would be so kind as to lead me to my daughter, I believe we can sort this out rather quickly. I can't stay out of the water forever," he explained before anyone could ask, "but I'll have plenty of time to take care of this."
They walked back up the beach, King Triton following along behind John and Adam, asking Elsa questions as they went. The two men exchanged a look, but didn't interfere; in this case, Elsa's thoughts on the matter were probably more valuable to the king than theirs would be. Once they came in sight of the enchanted palace, however, the king stopped walking and scowled. "Oh so that's it, is it?" he growled, letting go of Elsa's hand. "My dear, stay behind me – you have great powers, yes, but you haven't fully mastered them yet and this…witch could harm you, or cause you to harm someone else by accident. If you boys could secure the dead man?"
"We can do that, Your Majesty," Adam assured him, and then Triton started up the hill to the castle at a run and the three of them followed him as quickly as they could.
Lady Vanessa was in the main room with Prince Eric, and when Triton burst in she screamed. "No, you can't, we have a contract!"
The king shook his trident at her. "Ursula, the child isn't of age to make a deal like that. The contract is void. However, if you want to keep this…man, that is your choice. If not, he must be returned to his previous state and I'll be teaching my daughter not to make a mistake like that again."
"Mistake?" Prince Eric was confused – especially since the two male guests had taken hold of him right after the big naked man had come roaring in. He came to a conclusion that seemed right to him and stiffened, radiating offense. "Sir, I can assure you I haven't touched your daughter. I'd have to be blind not to see the way she looks at me, of course, but she's just a child!"
"Nice to know you're not as dumb as we thought," Adam told him. "Not what he's talking about, though."
Elsa came in from a side door, pulling a terrified Ariel along with her. "No, he's not," she was saying. "He's worried about you, Ariel – what's going on here isn't what you think is going on."
The girl's mouth opened in a silent denial of that. "It isn't," John assured her. "And next time don't lie about how old you are. Although I think that's probably not the biggest problem we have to deal with."
"No, it isn't," Elsa agreed. King Triton and Lady Vanessa – whose real name was apparently Ursula – were still yelling at each other, and she frowned. And then she hit Ursula in the face with a snowball, which put an end to the yelling pretty quickly. "Stop that!" she ordered. "You have to undo it, it wasn't legal – and you did it wrong anyway, because if you'd done it right it wouldn't hurt her to walk."
"You did what ?!" King Triton bellowed. His trident was pointing at Ursula now. "Call it off, this instant!"
For a moment Ursula looked like she was going to start arguing with him again…but then the trident spat out some blue sparks and Elsa called up a ball of ice and she quailed. "All right! Fine! I declare the contract VOID!"
Several things happened all at once when she said that. A green mist of sparkling liquid magic rose up around Ariel, dissolving the dress she'd been wearing, and her legs turned scaly, green and finned before melting back into a scaled green fish tail. Her human half's appearance changed slightly as well, eyes becoming rounder and wider, a little trail of iridescent scales running up each side of her neck across delicate fluttering gills and then up the sides of her face to disappear into her hairline. Her hair lengthened and darkened, tumbling down over her shoulders to well past her waist like fronds of curling seaweed in the shallows. The little scream she let out as she hit the floor came out as a multi-tone octave…and John and Adam both froze, their eyes going unfocused. Eric stepped away from them. "What…"
"My wife was a siren," Triton told him. "It runs in the family. If you would wake them both up, Princess…" Elsa hit both men with a snowball and they blinked and staggered, shaking their heads. "Thank you, my dear. Ariel, not another sound – you don't know how to control it, and mortal men aren't meant to hear that unless you're trying to kill them."
The little mermaid looked horrified, and Elsa immediately knelt down beside her and gave her a hug. "Oh, sweetheart, it's all right. You didn't know."
"That's true, she didn't – she's still in a great deal of trouble, but not for the things she did unknowingly. You, however," he glared at Ursula, "you knew all about that. Why the hell would you want to be a siren? You pretty obviously have the same two-legs kink my little girl has picked up – and isn't someone going to be on my dinner table when I find out where she got that idea – so why would you want to lure these men you want to have your way with to their deaths?"
"Hopefully not because of an entirely different kink," John muttered to Adam, who choked.
Triton raised a bushy questioning eyebrow at Ursula, who gasped and shook her head. "Of course I wouldn't…with a corpse? That's disgusting!"
"You sure didn't seem to be feeling that way when we came in," Adam pointed out. "I mean, I can see not being able to read the magic, since apparently it's rare as hell…but how could you not notice that the man you were climbing all over doesn't have a pulse?" Eric stared at him in shock, and he rolled his eyes again. "Okay, I am so not explaining this to Prince Clueless."
"My name is Eric."
Adam snorted. "I rest my case."
This time John rolled his eyes. "Eric, think – I know it doesn't seem to be your strong suit, but give it a try. Ariel is a mermaid, where do mermaids live? Where do you think you were when she found you?" Eric blinked at him, and John shook his head. He gave the confused dead prince a push, shoving him right into Ursula's arms. "You know what, he's your problem, you deal with it. Elsa, would you go upstairs and get our things while Adam moves the horses? I don't think this palace is going to be here much longer, you might need to stabilize the floor if it starts to turn back into sand."
She frowned. "You want to talk about something you don't want me to hear."
"Yep, sure do." He walked over and kissed her cheek. "I will explain it to you later, but right now we need to get this settled and get out of here – I have no desire to be buried in a collapsing sand castle. Okay?"
She pouted but nodded, and then Adam took her arm and they left the room. John sighed. "Now that the person who could get upset and accidentally turn you into an octopus popsicle is gone…" He pointed at Ursula's dress, which was morphing back into tentacles. "Nice illusion, by the way. If you really want power over humans, you should market dress designs to them; fashion is one of those areas where you're expected to be ruthless and evil. But yes, your idiot boytoy here was drowned and then magic apparently charged the seawater in his body and gave him artificial life. If it works anything like Princess Elsa's magic does he'll most likely stay 'alive' as long as you let him, but I'm not sure if he'll stay this…fresh, if you know what I mean, without the magic around to sustain him."
Ursula apparently did know what he meant, because she used a plump purple tentacle to hold Eric away from her, wrinkling her nose. Which was prominent and lumpy now, because her natural form was apparently a middle-aged overweight octopus woman, wide-mouthed and double-chinned. Eric himself was looking horrified. "You…but you were young and beautiful! And now you're…" He ran his hand over the tentacle, horror abruptly mixing with a certain amount of interest. "Okay, maybe I don't mind, at least not this part. My ship docked at this island once, and the people there had these paintings…"
Ursula's eyes glowed, and the prince turned into a sand statue. "I hate Japan," she growled, twitching the tentacle to make the sand lose cohesion and collapse into a pile. "Too many lonely fishermen with an artsy streak. I would never use my tentacles with a human for…that!" Ariel shrieked, and John's eyes rolled back in his head; he collapsed. The sea witch made a face, peering over at him in concern. "He's not dead, is he? I really don't want to be an octopus popsicle when his little ice princess comes back."
"He's not dead," Triton assured her, summoning a ball of water and dropping it on the young human, who sat up spluttering and swiping at his glasses. "See? He's fine." He strode over and scooped up his now-sobbing daughter. "He's fine, little one," he soothed. "And you didn't know what you'd done to the other one, that wasn't your fault."
"No, it wasn't." John pushed himself back to his feet, blinking, and made his way over to Triton so he could pat Ariel's cheek. "It's okay, really; I understand. You'll learn to control your powers, just like Elsa is learning to control hers. And you've got your father to help you, too."
Ariel looked up at her father, who nodded. "The gift is rare, but I can teach you how to manage it," he assured her. "You won't have any more accidents like this. Shall we go home now? You're grounded, and I believe Sebastian and I need to have a…conversation about the stories he tells you." She sniffed, but shook her head and pointed at the door. Triton nodded. "Of course, we can wait until you've said goodbye to Princess Elsa."
He walked out into the foyer with her, John and Ursula trailing behind. The palace was already visibly sandy, ornaments on the walls becoming more shell-like, carpets beginning to look more like sea grass and a fine rain of sand starting to fall from the ceiling. Adam was just coming back inside and Elsa appeared with their packs a few moments later, freezing the crumbling stairs as she came down to keep them stable underfoot. She frowned when she saw John. "Why are you wet?"
"It was an accident," he told her. "It's fine. But King Triton and Ariel need to get back home, they're just waiting so she could say goodbye to you."
"Oh!" Elsa handed the packs to Adam and hurried forward, giving Ariel a hug and, on impulse, kissing King Triton on the cheek. "You''re a good father, I think," she told him. "Please don't punish her too much. Love can be very…confusing."
Triton smiled and patted her cheek. "My dear, you don't know the half of it – yet, anyway."


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NHS England publications from January 2016 can be found in this section. If you can't find the publication you are looking for please use the main search. Our main corporate documents are included here and also on our corporate publications page.


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What does the future of Twitter look like? According to Seesmic founder Loic Le Meur, Twitter will be used more by devices than humans and replace chat applications for many people.
Le Meur said, "I recently gave a short talk at Jeff Pulver's 140conf in Los Angeles and since I did not have enough time and some of you were interested I put together this video with the 30 predictions."
What are your predictions?


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Buy buy buyBuy buy buy was selected for preservation by the State Library of Victoria. This title is not scheduled for re-archiving. The publisher's site may provide more current information.
|Archived 22 Jan 2008 12:59
|Please send your comments and suggestions about sites archived by the State Library of Victoria to firstname.lastname@example.com


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PYONGYANG, North Korea, Jan. 27 (UPI) -- Recent executions in North Korea under Kim Jong Un targeted not only his uncle but relatives of the man, including children, sources told Yonhap.
Kim's uncle Jang Song Thaek, 67, who had been called the second most powerful man in the country, was executed in December after being accused of attempting to overthrow the Communist regime.
South Korea's Yonhap News Agency, citing multiple sources Sunday, said since then there have been executions of all direct relatives of Jang, including children and the country's ambassadors to Cuba and Malaysia.
In his New Year's address, the North Korean leader said purges, including the execution of his uncle, helped remove "factionalists lurking in the party."
Jang's execution was seen as part of Kim's effort to consolidate his leadership in the isolated country since succeeding his father, Kim Jong Il, who died in 2011. Jang had been married to Kim Jong Il's sister.
"As our party detected and purged the anti-party, counterrevolutionary factionalists at an opportune time and with a correct decision, the party and revolutionary ranks were further consolidated and our single-hearted unity was solidified to the maximum," the younger Kim said in his address.
Yonhap, quoting one of its sources, said there had been "extensive executions" of Jang's relatives "including even children."
Sources told Yonhap the executed relatives included Jang's sister Jang Kye Sun, her husband and Ambassador to Cuba Jon Yong Jin, Jang's nephew and Ambassador to Malaysia Jang Yong Chol and the ambassador's two sons.
All of them were recalled to Pyongyang in early December, the sources said. They said the sons, daughters and even grandchildren of Jang's two brothers were executed.
The dates when the relatives died are not clear.
"Some relatives were shot to death by pistol in front of other people if they resisted while being dragged out of their apartment homes," a source told Yonhap.
The sources said some relatives by marriage, including the wife of the ambassador to Malaysia, had been spared but were sent to remote villages along with their families.


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It may become necessary in your deployment to configure your MS switches for compatibility with another vendor's core or distribution layer switches.
In order to ensure that Spanning Tree is properly configured, it is important to understand the following terms and concepts:
When connecting your MS series to an existing infrastructure, it is key to note what type of spanning tree you are currently running. Please note that the MS series is compatible with industry standard STP (IEEE 802.1D and RSTP (IEEE 802.1w) and runs RSTP by default. MS switches do not currently run MSTP (IEEE 802.1s), and neighboring MSTP topologies will need to be configured accordingly. For best practices, be sure that your existing switch fabric is running a protocol that is compatible with that of the MS series.
Before connecting your MS series switches, be sure that you have configured STP/RSTP for your environment. This can be done globally for all of your switches in the network by navigating to Configure > Switch settings. From here you can enable/disable the protocol as well as select priority for each of your switches. Once you have configured RSTP, you should be able to see the reported root bridge when viewing the status for any of your switches (Monitor > Switches).
It is recommended to configure all LAN ports used for client devices (e.g. laptops, workstations, etc) as access as this will cause the ports to transion directly into a forwarding state, thus reducing the time it takes for the port to begin functioning.
For more compatibility information, Meraki recommends checking documentation for your respective switch model.
Sources: Wikipedia, Spanning Tree


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The Building Department oversees building permit applications and conducts building inspections in accordance with the Ontario Building Code and the Township of Guelph/Eramosa Zoning By-law.
Code of Conduct for Building Officials
Click here to visit the Staff Directory
(519) 856-9951
(519) 856-9596 ext. 150
For urgent Township matters that are
non-medical or non-police related.
Monday - Friday
8:30 am to 4:30 pm
Guelph/Eramosa Township
8348 Wellington Road 124
P.O. Box 700
Rockwood, Ontario N0B 2K0
© Copyright 2019 Township of Guelph/Eramosa |Site Map|Disclaimer|Accessibility


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Your Source for Education Design and Planning
McKinley & Associates, Inc.
Ohio County Schools
34,000 sq.ft.
J.B. Chambers Performing Arts Center was constructed as an addition to the front of an existing school. The primary elevation is articulated with several materials, including a matching brick base, arranged to visually integrate the large structure into the sprawling scale of the existing building.
The theater is a three-level gallery configuration, providing ADDITIONAL INFORMATIONCAPACITY1,200COST PER SQ FT$270.60FEATURED IN2013 Architectural PortfolioSUB CATEGORYSpecialized audience with optimal proximity to the stage. The upper galleries are shallow crescents. Ground-floor seating is elevated and curved at the back, designed to be within 100 feet of center stage, and to enhance the acoustical performance for even unamplified, untrained voices.
The stage includes a professional rigging system and an attached scene shop, with direct access for large scenery and equipment.
The theater is linked to the existing school with a compact but dynamic two-story lobby space. It features a suspended monumental stair connecting the open balcony of the upper lobby to the curtainwall-glazed ground floor. The oversized mid-point landing on this stair looks out onto the entry plaza, and into the dramatic cascading hillside of the adjoining park.
David Carenbauer
© 2019 Penton Media, Inc.


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Polyethylene foam (PE foam) and Polypropylene foam (PP foam) are common packing materials because they're light weight, cheap to manufacture, and perfect for protecting items. The only problem is that they're often not easily recyclable. However, they are reusable and here are a few other things you can use them for.
1 – Pipe Insulation
In some areas, winter means extremely cold temperatures. It also means loss energy through hot water pipes. However, PP and PE foam is the same material used in many of the current marketing insulation packages for water pipe insulation. If it's flexible enough, you might as well use it to wrap around your pipes.
2 – Projects and Presentations
Some of the PP foams tend to be very coarse, strong, and slightly brittle. However, that makes them perfect for using as presentation holders. You can draw on them with marker, use them to tack items to, and, since they're light weight, you can also haul them around easily.
Of course, depending on what you need, you can use both for various carving or sculpting projects, too. Some of the PE foams are perfect for tracing and cutting out various shapes that you can use for art projects. You can easily cut out shapes and simple figures to dip and paint and stamp on paper. Alternatively, you could use the foam for three-dimensional modeling.
3 – Spacers
When you buy paintings, mirrors, or furniture, you may be worried about scraping up your walls or hardwood floors. Depending on the harshness of the foam, you can easily trim and cut them out to use them behind or under objects to keep your home safe from unnecessary scratches that can lead to extra work painting or rebuffing.
4 – Jungle Pits
If you're the crafty type and have an abundance of foam sitting around, you could always use them to construct tiny (or large) jungle pits that your kids and their friends can jump into. Some of the foam acts as a natural cushion, and the kids can enjoy jumping into them all day. Additionally, if you're worried about sharp edges, you can always line them with the foam, too.
5 – Furniture Repair
If you happen to have any bean bag chairs lying around, you can easily repair them by cutting up small pieces of foam. Likewise, depending on the foam, you chop them into tiny pieces to repair stuffed animals as well. Large pieces of foam can even be traced and trimmed to temporarily replace the insulation in couch cushions and other padded furniture. You might have to get inventive, but it should work.
6 – Soundproofing
If you're an avid audiophile or just want to spend more time recording sounds, you can use some of the insulation foam to cut down on feedback and ambiance. Typically speaking, you'll need a lot of it to cover an entire room, but there are some projects available that allow you to create small boxes that help create richer and smoother sounds using simple microphones.


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Eternal Life of the Digital Solo
At the start of a course on vocal improvisation/scat singing, one of the first things I ask my students is to discuss what, exactly, defines musical improvisation. The room usually goes silent for a few uncomfortable moments as everyone waits for someone else to stick her neck out first. Then they begin to toss out ideas, usually having to do with rhythmic variation or making up a new melody based on the written one – both of which are true, by the way. But the most succinct way to put it is to call improvisation spontaneous composition, period. You, as a musician, are tasked with instantaneously composing a new melody over the chord changes, whence the term "making the changes," meaning simply using the existing harmony ("changes") to improvise a new melody. And you have to do it in the moment, on the spot, just like that, no matter what else is going on around you. Right now. Compose. GO. And it better be good, or at least competent, or you'll have a train wreck on your hands and the band will refuse to make eye contact with you at the end of the set.
No pressure, though.
To me, as a jazz singer, being a great vocal improviser has always been the musical grail; I believe that in order to be considered jazz musicians, we vocalists should be able to do like the cats and take a solo. (If you disagree, flip the paradigm: would you for a moment consider an instrumentalist truly a jazz player if s/he couldn't produce a decent improvised solo?) And after years of study and countless hours in the woodshed and many solos sung, I'm still refining my vocabulary, something I don't expect will end in this lifetime. Jon Hendricks, Betty Carter, and Ella Fitzgerald – three singers whose styles couldn't be more different but each of whom created a totally unique and instantly identifiable improvisational vocabulary – have always been my scat singing idols, but I've also transcribed lots of instrumental solos (Dexter Gordon, Lester Young, Bill Evans, and Miles Davis, to name a few) to analyze each musician's approach phrase by phrase. This is music school 101, something every competent jazz musician does. But as I was recording my first album as bandleader/producer/arranger last month, I was forced to decide if I want to take any vocal solos and allow one (or more) to have eternal life, to exist in digital perpetuity for all time. No going back, no do-overs, no quarter. And I found myself resisting the idea thanks to that nasty little voice in the back of my head begging the question: can my spontaneous compositions withstand that kind of close (and repeated) scrutiny?
At this point in my development as an artist, I do feel, finally, that I have an improvisational style of my own; I long ago stopped imitating all my favorite vocalists and instrumentalists and simply repeating licks I learned over the ii-V-I progression, which is how I started and, frankly, how most jazz musicians internalize this stuff. And by the way, it's the right way to start: find masterful artists you love and play/sing like them. Eventually, when the rhythm section starts comping and you're up, the individual artistic voice you've developed will take over and you will tell your own story, replete with its own beautiful idiosyncrasies. But the question remains: am I going to allow my own solo(s) eternal digital life? Do you seriously think I'm giving away a spoiler like that before the album release? Stay tuned, my friends! :-)


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Privacy Statement & Terms
Updated July 7, 2018
Pueblo Horizons FCU is owned by its members and run by a Board of Directors elected by the membership. You can be confident that protecting your personal information and using it in a manner consistent with your expectations is a high priority for everyone associated with our credit union. We are committed to making available financial products and services that will enable you to meet your financial needs and goals. This necessitates that we share information about you with our affiliated third party financial service providers that provide data processing and other services, to complete your transactions and to provide you with certain financial opportunities. In order to do so, we have entered into agreements with other companies that provide either services to us or additional financial products for you to consider. Our operating partners, such as our check and credit card processors, also handle some of this information.
To protect our members' privacy, we only work with affiliates that agree to maintain strong confidentiality protections and limit the use of information we provide. We do not permit these companies to sell to other third parties the information we provide. To ensure that you can rely upon the quality of products and services we make available, our credit union stands behind our privacy policy. We collect, retain, and use personally identifiable financial information concerning you for the express purpose of conducting the business of Pueblo Horizons Federal Credit Union or providing products and services to you, our member. We use nonpublic information to safeguard and manage your records and accounts, to comply with certain laws and regulations to help us design or improve our products and services; and to understand your financial needs so that we can provide you with quality products and services to fit your future financial goals.
How your Personal Information is Collected & Used
Our Credit Union will collect only the personal information that is necessary to conduct our business. That means just what is necessary to provide competitive financial products and services no more. Our Credit Union will protect your personal information. Our credit union will maintain strong security controls to ensure that member information in our files and computers is protected. Where appropriate, we will use security-coding techniques to protect against unauthorized access to personal records, ensure accuracy and integrity of communications and transactions, and protect member confidentiality. You will always have access to your information. As a member of Pueblo Horizons Federal Credit Union, you will always have the opportunity to review your information and make necessary changes to ensure that our records are complete and accurate. If you have any questions, please contact a member service representative at 719-542-5773.
Our Credit Union will partner only with businesses that follow strict confidentiality requirements. The businesses we select will offer products designed to enhance our members' economic well-being. Under no circumstances will we authorize these firms to charge your account without your express consent, and we will not sell member information to telemarketing firms.
We collect and may disclose nonpublic personal information about you from the following sources:
- Information we receive from you on membership and loan applications and other forms;
- Information about your transactions with us, our affiliates, or others;
- Information we receive from a consumer-reporting agency;
- Information obtained when verifying the information you provide on an application or other;
- Forms such as your current or past employers or from other institutions where you conduct financial transactions.
We may also disclose information we collect about you under other circumstances as permitted or required by law. These disclosures typically include information to process transactions on your behalf, conduct the operations of our credit union, follow your instructions as you authorize, or protect the security of our financial records.
If you terminate your membership with Pueblo Horizons Federal Credit Union, we will not share information we have collected about you, except as permitted or required by law.
How We Protect Your Information
We restrict access to nonpublic personal information about you to those employees who have a specific business purpose in utilizing your data. Our employees are trained in the importance of maintaining confidentiality and member privacy. We maintain physical, electronic, and procedural safeguards that comply with federal regulations and leading industry practices to safeguard your nonpublic personal information.
Parties Who Receive Information from Us
We may disclose nonpublic personal information about you to the following types of third parties:
- Financial companies, such as insurance companies
- Non-financial companies, such as consumer reporting agencies and retailers.
We maintain relationships with companies whose products are designed to perform services on our behalf to aid us in providing services to meet the financial needs of our members. At times we may provide information to these partners or affiliates to communicate about financial products or services they provide. We do not provide any personally identifiable financial information to third parties (excluding credit union affiliates) about you to parties outside Pueblo Horizons Federal Credit Union unless:
- You request or agree to it;
- The information is provided to a consumer credit reporting agency;
- The disclosure is permitted or required to comply with federal, state, or local laws;
- As necessary to effect, administer, or enforce a transaction, service or financial product requested or authorized by you;
- To protect a member's accounts or the financial institution from potential frauds, unauthorized transactions, claims or other liability.
Our Credit Union will only share information when absolutely necessary. We will only share information to administer the products and services we provide when required to do so by the government, or when we partner with other businesses to offer a broader array of products and services. Pueblo Horizons Federal Credit Union does not and will not sell or provide personal information to third parties for independent use. We may, however, share personal information with our affiliates as allowed by federal law, if that information is required to provide a product or service you have requested.
As a member of Pueblo Horizons Federal Credit Union, you also have a responsibility to safeguard your financial information. The Credit Union intends to exercise reasonable procedures in order to assure the accuracy of our records and your personal information. Inaccurate information, when brought to our attention, is corrected as promptly as possible. If you have any questions regarding the accuracy of your personal information, please call a Credit Union representative at: 719-542-5773 or e-mail us at email@example.com.
We request that you keep your personal information as current as possible so that you may get the maximum benefit from the Credit Union. Protect your account numbers, card numbers, PINS (Personal Identification Numbers) and passwords. Never keep your PIN with an ATM, Debit or Credit Card that can provide access to your accounts if your Card is lost or stolen. Use caution when disclosing your account numbers, social security numbers, etc. to other persons. If someone calls you, indicates the call is on behalf of the Credit Union and asks for your account number, you should beware. Official credit union staff will have access to your information and will not need to ask for it. If you have a question, do not give information to the caller. Pueblo Horizons FCU does not at any time solicit information from you by E-mail or text messaging or any other electronic device. If any persons attempt to solicit information from you, do not give them any information and contact the Credit Union at 719-542-5773.
Website Information
Pueblo Horizons Federal Credit Union may collect standard non-personal information about visits to its Website, such as date and time visited, IP address, city, state, and country. Use of this information is restricted to compiling standard statistics that measure the use of the site. Visitors to our Website remain anonymous until they choose to provide personal information which is made available online.
ONLINE TRANSACTIONS: After you sign up for our services, the data system records certain online information including transactions you conduct online. This data enables us and our operating partners to process and confirm your transactions. We do not store any member information on that portion of the Web Server that is accessed by the public. Pueblo Horizons Federal Credit Union will not be liable for any direct, indirect, special, incidental, consequential, or punitive damages or lost profits arising in conjunction with the use of our Internet sites, including any interruption in availability of our Internet sites, delay in operation or transmission, computer virus, loss of data, or otherwise. Pueblo Horizons Federal Credit Union expressly disclaims any liability for errors in or omissions from the information contained within this site without prior notice. Access to, and use of this site and the content thereof is at the risk of the user. We may provide links to certain other World Wide Web sites solely for your convenience and cannot be held responsible for the content, privacy policy, viruses, worms, Trojan horses, and other items of destructive nature. Your access and use of Pueblo Horizons Federal Credit Union's Internet and terms contained therein are governed by and will be construed in accordance with federal laws and the law of the State of Colorado. In the event any provision of these terms in held unenforceable, it will not affect the validity or enforceability of the remaining provisions.
PROTECTION OF YOUR CHILDREN'S ONLINE PRIVACY: We do not knowingly SOLICIT OR COLLECT DATA FROM CHILDREN. We realize that protecting the identity and privacy of children online is important and that the responsibility to do so rests with both the online industry and the parents.


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Vacant Land
- $145,000 price
- 924692 mls id
Did you say you wanted VIEWS! How about 360 degree views! This lot is easy-build and mostly flat with some slope. Absolutely beautiful community with amenities: heated pool, hot tub, BBQs, kitchen, amphitheater and trail heads and only 23 minutes to Albuquerque -- or 40 min to Santa Fe. Build your dream home or second home where security comes with a guard house and guard and concierge service. HOA maintains a sophisticated community well system and natural gas is at the lot line. Come enjoy high-desert living at its finest!
- Site Link
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A premium Nature Preserve 14+ acre lot in the beautiful San Pedro Creek Estates. Mostly level topography gives you plenty of options for siting your Dream Home. Spectacular views abound in this secluded haven only 20 mins from Albuquerque and 45 mins from Santa Fe. Bring your horses!
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Lot 40 Anasazi Trail Sandia Park, NM
Listing Agent: Melanie Peak
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Courtesy of: Legacy
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Listing Agent: Melanie Peak
Updated: 18th August, 2019 11:16 PM.
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Project Description
Shilo Shiv Suleman
Nature + Art + Technology | Interactive Art and Stage Design
A visual artist, inter-disciplinarian, storyteller, illustrator, and technologist, Shilo Shiv Suleman brings together nature, art, and technology to transform the way we interact with ourselves, each other, and the world.
Combating isolation caused by technology, Shilo instead uses technology such as biofeedback and touch screens to engage participants and viewers – immersing them in a world of magical realism, creating moments of wonder and awe. Whether it be a grove of 12ft tall trees that come to life with your breath, a Steve Wozniak approved app that send children on quests in nature, or a sculpture that changes with tidal patterns, her tactile and/or responsive pieces of art are characterized by beauty, abundance, and interconnectivity.
Recognized by Rolling Stone, BBC, and Techcrunch for her interactive artwork, Shilo's installations explore wonders of the body and express the relationship between body and nature. Pulse and Bloom, called one of the "most incredible works of Burning Man art ever made", visualizes the biosynchronicity between participants through glowing lotuses; while the trees in Grove breathe in as participants breathe out showing the symbiotic relationship between our breath and nature.
Her gallery work and illustrations are inspired by mythology and stories, while drawing attention to self-awareness, interpersonal and universal connectivity. In Brindavan and Beloved, she explores ideas of body, nature, and intimacy with embroidered petals, laser-cut metal, and poetry hand-painted in gold. With Khoya, an interactive ipad app, children are sent outdoors on quests related to Indian myths and rituals.
Shilo's stage designs, she brings to life the ideas and magic to take place on stage by performers and speakers. For TED, panels of silk were illustrated with the essence of the Indian Archetypes in the quest to share their ideas with TED audiences; while at NH7 Weekender – one of India's largest music festivals, she became the cartographer for the diverse musical universe that audiences would experience, with a stage that included giant metal 3D animal constellations, and an LED screen projecting star studded skies.
Sprinkling magic onto people's lives with gold paint, Shilo Shiv Suleman represents the future of art – one in which art is an immersive experience and technology brings us closer to nature and each other.
In addition to her work as a technologist and artist, she is a social activist use arts for social change and healing as the founder of the Fearless Collective.
Interactive Art Installations
Pulse and Bloom
Pulse and Bloom is an interactive and social art installation that creates group experiences of magical synchronicity. The installation visualizes participants' heartbeats and invites people to share and sync their human heartbeats in a rhythmic pattern. Remembering the ancient philosophers and mystics that speak of the human heart as the vehicle for union between individual and environment, Pulse and Bloom recreates this experience through modern heart-quantifying biosensors embedded within public art.
Named one of the top 50 installations at Burning Man ever, Pulse and Bloom consists of up to 20 lotuses of varying heights of 10 to 14 feet with pulse sensors mounted on the base of the stem. When a participant places their hand upon the pulse sensor, the stem and the flower in the sky start to beat with their heart. Furthermore, when more than one person places their hand upon the pulse sensor, the stem starts to pulse with both participants' heartbeats, making it possible to watch how heart rates of different people in intimate spaces start to beat in sync, much like fireflies flashing in patterns.
Grove : The Forest inside your Lungs
Grove is an interactive installation that is a reflection on the interdependence of breath. A magical forest of low hanging metal trees, the forest breathes with you through custom created breath sensors, reminding us of the constant interdependent relationship of breath we're in with the forests around us. Every time we breathe in, we inhale the 'out breath' of a tree around us, placing ourselves a constant state of union between the macroforest outside, and the microforest of alveoli within our lungs
Each tree is made of intricately cut laser petals and leaves, breath sensors that combine humidity and flow sensors, mechanical flowers with proximity sensors that open as you approach them, and an LED forest undergrowth that encourages you to breathe at an optimal rate for meditation. As you breathe out, the tree fills with breath represented by LEDs.
Shilo is currently working on new large scale interactive art installations that respond to "Forces of Nature," in addition to developing commissioned site-specific interactive art installations.
Gallery Work
Shilo Shiv Suleman's current gallery work – Beloved is an exploration of Nature and Intimacy. Through 'Beloved', she explores the hypothesis that perhaps the greater longing is to be united not just with the beloved, but with nature itself. The exhibition consists of works in several mediums, including wood-cut murals, watercolor paintings, and an interactive art installation.
"When I was a child I used to believe that I was in constant communication and conversation with the natural world. The moon followed me home at night; the clouds would hide shapes for me. When one grows up and falls in love, this relationship with nature is intensified. We give flowers to our lovers, have butterflies in our stomach when touched.
And Nature responds too, the Wind caresses, the waves rise and fall and lap up against the shore; we are brushed by leaves and cradled by the earth."
Stage Design
Shilo Shiv Suleman brings magical realism to her stage designs, while incorporating the theme and energy of the event to which her work provides the backdrop. Her work incorporates multiple mediums including animations projected on LED screen, laser-cutting, metal work, hand illustrations, and more. Shilo's designs have been seen on the stages of India's biggest music festivals, TED, the INK Conference, and more.


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We are offering you a private accommodation in a first class (***), newly built apartmants in Orebic - Croatia. Marina apartments Orebić are statuated in quite place not very far from the town centre. Private parking places are reserved for all our guests. Near Marina apartments you can find a supermarket, restoraunt. Location of Marina apartments in Orebić gives you an opportunity for relaxation and peace and at the same time, all important facilities are nearby. Orebić is perfect vacation place for all those who enjoy in natural beauty of nature, silence, pebbles beaches and clean blue sea. We have to offer you four brand new eqipped apartmens in house which is app. 300m away from nearest beach.
Every apartment have 48m2 (for 2+2+(1) persons) its own entrance, balcony, fully equipped kitchen, bathroom, one bedroom, dining room with living room, satTV, air-condition, private parking, use of barbecue, garden...Apartmens are on first and groud floor, all day in sun.
Here are detailed informations about every apartment:
More information about APARTMENT 1
More information about APARTMENT 2
More information about APARTMENT 3


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5-5 stars based on 25 reviews
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If you're a regular reader, you remember my many postings before we launched Cell Nutritionals Constant Health.
My newest project is our "Soothing Greens" formula, something I've been collaborating with Dr. Hugo Rodier on. There are many greens products, with all the great phytonutrients from veggies and algae, and I didn't want to do some kind of "me too" product.
Instead, I wanted to optimize a greens product for the gut, where most of the immune system resides and where absorption of nutrients happens. Dr. Rodier works with a lot of chronic conditions affecting the gut and asked for "more slippery elm" (a lot more) in our Constant Health product. Alas, no room in that jam-packed formula.
I had been planning a greens product as a complementary product to Constant Health and decided to put a really significant amount of slippery elm in the formula, along with glucosamine, which has been shown to help with mucous membrane health in the gut.
Questions arose such as: will the mucilaginous nature of slippery elm make for a gummy fluid?
I was a guinea pig and pulled some two dozen capsules of slippery elm apart and shook them up in a Constant Health drink. Not bad, I said. Tess and Marc looked at me skeptically as I sipped on the unsightly potion an hour later to see if the consistency had changed, which it hadn't, fortunately. :-)
When it comes to taste, the greens product will not be anywhere near as hard to flavor as was the spicy, antioxidant and bioflavonoid-rich Constant Health.
We're making some final formulation decisions on Soothing Greens tomorrow, and then it will be time to create a sample, which is the exciting part of this process. Stay tuned for more on Soothing Greens!
Oh yeah, for those of you who have already tried Constant Health, we're expecting a "new and improved" flavor sample to come in tomorrow or early next week.
Personally, I love our current French Vanilla flavor. Yet, enough people cannot seem to abide the flavors of turmeric and ginger (however healing they are) and thus we're working on richer flavors to mellow out those spicy notes!


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In this hour webinar Ross explains the origins of codependency and pathological narcissism, that is detailed in his Human Magnet Syndrome book and in his full-length 5.5 hour Human Magnet Syndrome seminar video.
This is the long-awaited update to Ross Rosenberg's breakthrough seminar that was given in 27 states/60 cities in a two-year period and was the basis for his highly acclaimed best-selling book, "The Human Magnet Syndrome: Why We Love People Who Hurt Us." The seminar has already changed the lives of tens of thousands, who fall prey to narcissistic abuse.
Ross Rosenberg, a codependency and addictions expert, Introduces his codependency addiction model and outline treatment objectives and protocols. His "codependency addiction" concept picks up where his breakthrough book, The Human Magnet Syndrome, left off. Not only are codependents reflexively and irresistibly attracted to pathological narcissists, but they are also driven and controlled by a powerful and insidious addiction.
The Codependency Cure™ is the much-anticipated follow-up to Ross Rosenberg's Human Magnet Syndrome work (book and seminar). While Rosenberg's best-selling first book, The Human Magnet Syndrome, explained why codependents repeatedly and reflexively fall in love with people who hurt them, this seminar takes the next step of redefining the problem and offering an actual long term solution. Like with his Human Magnet Syndrome work, Rosenberg has created persuasive and intuitively accessible psychological theories, explanations, and techniques to support his new work.
The 10 Stage Self-Love Recovery™ Treatment Program represents the latest thinking and theoretical formulation on codependency, attachment and addiction treatment. This revolutionary model is the backbone for Ross Rosenberg's internationally recognized work on "The Codependency Cure™" and "Self-Love Deficit Disorder™." This innovative paradigm provides required conceptual information to move beyond Rosenberg's Human Magnet Syndrome explanation, toward the solution for it.
Expect a fascinating multi-media seminar that is highly relevant to both the clinical and general audience. The Pathological Narcissistic Disorders will be deconstructed, redefined and re-conceptualized in a manner that is clinically accurate, interesting, and useful. Rosenberg will present cutting-edge information on the Pathological Narcissistic Disorders (NPD, BPD, ASPD & Addictions), and how a psychotherapist, friend, husband or mother, can safely manage them.
This is a 65-minute discussion with two international experts on narcissism and narcissistic abuse. Ross Rosenberg and Wendy Behary impassionate share their thoughts about the spread of narcissism in our culture and society. They compare and contrast their treatment methods and theoretical understandings on Narcissism and Narcissistic abuse.
Like many of Ross's seminar's, gaslighting is everywhere is an ideal seminar for the general public and mental health and medical professionals. This life-changing seminar puts into words what so many people have experienced, but have not had the psychological concepts and explanations to understand it. Up until this time, very little has been written about the phenomenon; and what has, has lacked depth and details. Ross Rosenberg provides the first comprehensive explanation of gaslighting. He creatively and astutely re-defines the problem as much as he explains the perpetrator or it, the victim, and the relationship dynamic that pulls them together. More Info
Ross Rosenberg introduces, explains and demonstrates his revolutionary and much heralded narcissistic abuse defense strategy. The viewer will learn how and ODA empowers and assists recovering codependents to set boundaries with manipulative pathological narcissists (NPD, ASPD or addicts). By "observing and not absorbing," one maintains emotional equanimity while preventing themselves from losing control to the manipulative narcissists.
Banishing fear and finding courage to heal or recover from codependency, or what Ross now refers to as Self-Love Deficit Disorder is the perfect seminar from those who want to heal and grow into more complete self-loving, self-caring and self-respecting individuals. Ross Rosenberg and Lisa Romano, two internationally renowned experts in the respective fields, will jointly participate in a life-changing seminar that focuses on the codependency/Self-Love Deficit Disorder and trauma recovery.
Healing the Inner Trauma Child Method, or HITC, is the psychotherapy technique developed by Ross Rosenberg over his entire (29 year) career. It is the culmination of both his clinical work and his own journey in resolving the childhood trauma responsible for his Self-Love Deficit Disorder™ (codependency). HITC is an amalgam of various psychological theory and treatment methods that, over time, morphed into Ross's own unique treatment approach to trauma. HITC was highly influenced by the seminal trauma resolution work by Besser van der Kolk and Peter Levine.
This video seminar explains in detail how and why early childhood trauma, especially the type perpetrated by pathologically narcissistic parents, results in the psychologically debilitating condition of Self-Love Deficit Disorder (SLDD). As Ross explains in his Codependency Cure™ seminars, SLDD cannot be resolved unless a trained, knowledgeable, and experienced psychotherapist taps into the underlying and invisible forces that created it, which in the case of SLDD are: attachment trauma, core shame, pathological loneliness, and SLDD addiction.
Healing the Inner Trauma Child Method provides a psychotherapist with the necessary treatment tools so that they can dig deep into the hard-to-reach parts of a person's psyche and resolve SLDD. HITC driven psychotherapy facilitates the psychological breakthroughs necessary for a client to break through to "Self-Love Abundance" to become a SLA - the "Codependency Cure."
The Codependency: Cure: Treating Codependency as a Trauma and Addiction Disorder taps into Ross Rosenberg's 28 years of experience working with codependents and trauma survivors, to create clinical frameworks, techniques and strategies to treat codependency, trauma and addictions. Like his previous work, he delivers the information in manner that is topical, personal, clinically relevant, entertaining and personally transformative.
This video seminar focuses on the role dreaming and unconscious brain functioning has on trauma management, trauma storage, dissociation, Posttraumatic Stress Disorder (PTSD), Attachment Trauma, and trauma resolution. The video provides Ross Rosenberg's foolproof method of dream analysis.
As a result of numerous requests, SLRI is releasing a video package of its Self-Love Recovery (intensive weekend) Retreat. Licensed psychotherapists Ross Rosenberg and David Rennard co-facilitated a life-changing and immensely healing event. For those who can't experience the retreat, this might be what you need!


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When the Beynac church bells chime 6.30pm, we grab our bottle of wine and glasses and trek down the cliff to "our spot".
With only the noise of the river and the birds, we feel like we're the only people here.
As we watch the sun slowly set, we talk about how lucky we are to be here.


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Salaskar's daughter wants death sentence for Kasab
December 27, 2008 01:07 IST
The daughter of slain encounter specialist Vijay Salaskar, who was killed during the Mumbai [Images] terror strikes exactly a month ago, on Friday called for the death sentence for Ajmal Amir Iman Kasab [Images], the lone terrorist captured in the attack on November 26.
"It (killing of Vijay Salaskar) angers me. I feel that the worst death sentence should be given to him (Ajmal)," his daughter Divya Salaskar said, reacting to the death of her father during the shoot-out with the terrorist.
Describing her father as her life's 'control room', Divya said she had time and again fallen back on Vijay Salaskar if anything went wrong in her life.
"On my cell phone, his name is entered as 'control room'. So I knew that if I have someone as the control room, he will take care of everything for me. It (his killing) was a major setback. Just three or four hours earlier, we had our dinner together. How is it (his death) possible?" she said.
What angered her most was the lack of weapons and protective equipment for the policeofficers and men, who were fighting the terrorists on the fateful day, Divya told a TV channel.
"How can you face a terrorist with a small service revolver? If every policeman were given an AK-47 or an AK-56 in his hand, even the terrorist would have thought twice before striking in Mumbai," she said.
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Between budget cuts, layoffs and diminishing page counts, it's rare to see newspapers publish long-form stories of several thousand words or so. The Wichita Eagle puts its readers to the test by publishing a 3-part series of about 7,000 words. Its readers appeared to respond with hits, since the series "Promise Not to Tell" is the most-read story on the newspaper's website this week.
The narrative of two girls' rescue from their own family is a story you might see in a book, hopefully fiction. Reporter Roy Wenzl produces a sobering piece about Kellie and Kathie Henderson, twins who were raped and assaulted for years by their older brothers and father before they were rescued by neighbors and police.
Start with the part one and work your way through this compelling series for an example of how a reporter gets religion. Early on, he explains how the girls' neighbors Jim and Shelly Vasey participated in Bible studies and Countryside Christian Church, which explains their later involvement in the girls' lives.
With Brad [the father] gone and no longer able to object, Shelly Vasey had the girls come to a Christian discipleship class at her home. The few Bible passages about sex upset the twins: right and wrong, love and affection. Couples. Consent. Trust.
The girls almost spilled the secret, but fear stopped them.
Sometimes at night Kellie lashed out, and for once Kathie agreed with everything Kellie said.
"Where is God?
"If there is a God, if He is perfect, if He wants everything perfect, why does He let this happen to us?"
Sometimes Kellie ran out of her house, wanting to shout "rape" to all the neighborhood. But she feared for her sisters. So she kept the secret.
Faith clearly played a further role in the neighbors' involvement in the girls' lives.
One day when the girls were 12, Jim Vasey with his big arms and gentle manner dipped the three Henderson girls into the baptismal tub at Countryside Christian and welcomed them to the faith.
Andrew watched, a bulky and muscular lineman for Southeast's football team. At close to 240 pounds, he outweighed his little sisters by about 140, and always had an angry look. Kellie thought this had gotten worse the more he smoked pot.
The girls had told Jim they wanted Andrew there because they loved him.
Apparently so, Jim thought. The boy, now 17, was sobbing like a child; Jim thought he was deeply moved by the baptisms.
But Kathie knew better.
Andrew raped her that night.
A few months after that, he molested his youngest sister.
There's more, but I can't copy and paste everything (and there are photos and video to see). You'll have to read more about the rescue and where the girls ended up. The reporter made a later effort to find out how Kellie--now 19 and taking classes at a community college--feels about religion.
She does not often call her biological mother, because she has nightmares every time she talks to her. She does not often go to church, though she wants to go someday, as Shelly has gently prodded her to. "But I still pretty much think the same thing that I sometimes said to Kathie back when we were being raped. I can't quite get over it. If there is a God, how could he let this thing happen to us? We didn't deserve it."
These quotes shows how religion remains complicated but still present. The third part deals with the efforts to reach out to the primary abuser in the family.
Almost immediately after she saved them, Shelly began doing things that baffled and upset the twins.
She wrote Andrew in prison, hinting at kindness.
She worried that judgmental inmates might hurt him. His answer surprised her.
Putting him behind bars was the best thing anyone did for him, he told her. He said he would not have stopped. He said he was sorry.
The twins scoffed when they heard this. And after she reached out, some neighbors confessed to disgust.
They should burn, one said of the Henderson males.
Why are you being nice to them? Monsters.
Shelly felt sorry for these critics. What kind of Christianity was that?
"I'm not foolish about Andrew," she said one day, with Kathie sitting beside her on the couch. "He hurt the girls too much. I want him to be punished too. But of course he can be forgiven. What Christian should think otherwise?"
You'll have to read the rest to find out what happens to the relationship between the neighbors and Andrew, but it's a really good read.
These kinds of packages offer reporters the time and space to include those kinds of religious details. Nieman Storyboard wrote last year that the Eagle is trying to use narrative to connect to local, larger audience. As an example, the post pointed to Roy Wenzl's 17,000-word 2009 series on a U.S. Army chaplain ordained in Wichita. Hopefully we'll see other daily newspapers follow the Eagle's lead in 2011. Image via Wikimedia Commons.


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Freedom of the Seas
Two cruises on this ship
Pharaoh's Palace
Royal Promenade
Ben and Jerry Ice Cream on the Royal Promenade
Cafe Promenade and stairs down to the casino
Vintages Wine Bar on the Royal Promenade
Vintages Wine Bar
Royal Promenade Aft
Under the floating bridge on the Royal Promenade
Schooner Bar - Deck Four Forward
Boleros Latin Bar
Main Dining Room
The MDR has three levels with each level having a different name. Isaac, Leonardo and Galileo
On Air Club
Arcadia Theater
Sorrento's Pizza
Guest Relations located aft on the Royal Promenade
Cafe Promenade
Open 24 hours a day with the exception of about an hour very early morning for cleaning.
Bull and Bear Pub on the Royal Promenade
Main Dining Room - Three Levels- Isaac
Studio B
Home to Center Ice and several dance parties.
Crown and Anchor
The symbol of Royal Caribbean Cruise Lines
Forward Centrum Staircase
Champagne Bar on the Royal Promenade
Bull and Bear Pub
Aft stairs down from the Royal Promenade
Located near Studio B and On Air Club
Main Dining Room - Three Levels - Leonardo
Home to Karaoke and Sports Programming
Center Ice at Studio B
Champagne Bar
Floating Bridge and aft stairs
Main Dining Room - Three Levels - Galileo


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Spirited Production to Commemorate Village's 150th Anniversary
The Warwick Dance Collective is a ballet and contemporary dance company, formed this year by Warwick resident Melissa Padham-Maass, who is a dancer and choreographer. The Warwick Dance Collective is based out of the newly opened Warwick Center for the Performing Arts.
The recently developed dance company will make its debut performance with "Patriotic Suite" at the Warwick Summer Arts Festival's (WSAF) evening of dance and musical entertainment on Sat., Aug. 5 from 7 to 7:30 p.m. at Veteran's Memorial Park, located off of Forester Ave. in the Village of Warwick. The WSAF has added this special line-up to the festival schedule in recognition of Warwick's Sesquicentennial Celebration, marking the 150th anniversary of the corporation of the Village of Warwick.
A special guest performance finds local ballet dancer Pierson Hall, joining the Warwick Dance Collective for the performance. Pierson has been studying dance since he was four- years-old beginning with hip hop then tap and jazz. He began ballet classes at the Black Dirt Dance in Pine Island.
Seeking a pre-professional program, Pierson auditioned and was accepted to the tuition-free program for boys at the School of American Ballet at Lincoln Center. While there he had the opportunity to appear in productions of George Balanchine's The Nutcracker, Romeo & Juliet, and Swan Lake. Pierson, nearly 15, will be attending the American Ballet Theatre Jacqueline Kennedy Onassis School in the fall on a Full Merit Scholarship.


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featured this week on Over the Moon
On the lunar calendar, we welcome the 2016 Fire Monkey year on Monday, February 8th. This is also referred to as Chinese New Year. In feng shui, we celebrate Chinese New Year with much joy, as it represents the shift in energies and marks the start of spring on the lunar calendar.
In 2016, we are leaving the Wood Sheep year, which was more about growth and community, and heading into the Fire Monkey year, which has more of a theme of heart-focused passion and playfulness. As we welcome the new year, there are a few feng shui-specific ways of celebrating and preparing for the year ahead.
Space Clearing with Intention
One of the most important things to do for Chinese New Year is clear the space of your home and fill it with positive intention. In feng shui, one preferred method for space clearing uses the scent of oranges. You can scatter fresh orange peels around your home or use an orange essential oil mist to uplift your space. Oranges represent and create life-affirming, bright, yang energy.
I like to start at the front door and go around the whole home in a clockwise fashion. Visualize sunlight filling every corner of your home and the new intention filling your space and every cell in your body. It's especially effective to do this on Chinese New Year's Eve or day.
Declutter Nine Items
Removing nine pieces of clutter on Chinese New Year's Day or on the eve of Chinese New Year will create movement and activity on a physical and energetic level in your environment. This activity works in two ways. First, you'll be moving the qi (or life energy) around by moving the objects in your home. Sometimes we get stuck, and we can see that manifesting as clutter around our homes. By moving these nine items around, we'll be "unsticking" that qi.
On a second level, when we remove those nine items from our homes, we essentially create a vacuum for the universe to fill with something better! A new opportunity, inspiration or insight. When the environment is static, our inner lives also become stagnant, so shake things up in your life by removing nine items!
Carry a Chinese Zodiac Charm
Many people might read this and think it would be beneficial to carry around a monkey charm in the monkey year. But in my feng shui lineage, we have been taught that it's especially auspicious to carry around the current year animal's best friend! The idea is that the year god (animal) will see its best friend and be so enamored that it will do you no harm.
In the Chinese zodiac system, the monkey's best friend is the snake. A snake charm acts as a protective talisman and provides support as well. So find yourself a little snake figurine to carry around with you at all times in this Fire Monkey year. As a note, the snake must be three- dimensional and realistic looking.
In the Western world, we don't often celebrate the Chinese New Year as much as the beginning of our own calendar, but in the world of feng shui, the beginning of the lunar year is a very important time for starting anew and taking control of the energy in our lives. Even if you don't want to celebrate this occasion, clearing and refreshing your space can be a start to making positive and much-needed changes!


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