text:
One thing physics has taught us is that events at the smallest possible scales can have consequences of cosmic proportions. And, in turn, studying some of the universe's most spectacular astrophysical phenomenon can reveal a lot about physics at its most elementary level.
The latest example of this has been proposed by a team of researchers in Europe – they say that studying the contours of burned-out remnants of stars thousands of light years away could provide concrete evidence for two of the most sought-after phenomena in fundamental physics.
The first phenomenon, gravitational waves, was predicted by Einstein's theory of general relativity, which explained the force of gravity as a curvature in spacetime induced by mass. Einstein's theory is typically illustrated by depicting spacetime as if it resembled a rubber sheet, which a heavy object (such as a star or planet) bends down into a dimple, into which other objects can roll. In this analogy, a disturbance of the heavy mass can produce a ripple in the sheet, radiating outwards like a splash in a pond. This is a gravitational wave, which carries away some energy from the source.
To create a ripple of any significant size, the disturbance has to be really big – for example, two stars colliding. Rather less dramatically, two star-like objects orbiting one another very fast and close are predicted to radiate energy as gravitational waves, so that they gradually lose energy and spiral in towards one another. This effect has been observed before: several times in so-called binary pulsars, and just recently in a binary white-dwarf system 3,000 light years away.
Although such discoveries provide indirect proof that gravitational waves exist, scientists would dearly like to see them directly. When a gravitational wave passes by, it distorts spacetime so that distances get very slightly shorter or longer in the direction of the wave. For a typical wave from some far-off astronomical paroxysm, the change in distance would be tiny: a kilometre would get shorter by about a quarter of a million-trillionth of a metre, or less than a thousandth of the diameter of a proton, one of the key subatomic particles in an atom's nucleus.
Catching a wave
Nonetheless, scientists think this might be detectable. They have constructed tubular channels several kilometres long, down which they fire laser beams that bounce off a mirror at the far end. If a beam is split and sent down two channels at right angles in an L shape, the peaks and troughs of the two reflected waves interfere with each other when they bounce back and meet. A gravitational wave would change one channel length more than the other, depending on its direction, slightly altering the interference between the two beams.
Several such gravitational wave detectors now exist. One project, called LIGO and run by scientists in the US, operates two such detectors in Louisiana and Washington. The different arrival times of a wave at these two detectors over 3,000 km apart would enable the source of the wave in the sky to be roughly identified. However, neither LIGO nor any other gravitational-wave project has seen anything yet. The European Union is currently planning to build a new, more sensitive detector underground, called the Einstein Telescope.
Now astrophysicist Kostas Glampedakis at the University of Murcia in Spain and coworkers have suggested a new possible source of gravity waves: mountains on rotating neutron stars.
Neutron stars are old, burnt-out stars that have collapsed under their own gravity so that its atoms are mashed together into a sea of fundamental particles that are mostly, as you guessed, neutrons. In fact, neutron-star matter is so densely packed that a thimbleful would typically weigh hundreds of billions of kilogrammes, equivalent to a mountain range. Some of these stars spin incredibly fast (sometimes hundreds of times a second), resulting in a lighthouse-like flashing of a beam of radio waves streaming from the star's magnetic poles, and these are called pulsars.
It's long been recognised that if such stars had any bumps – or "mountains" – on its surface, this would create a wobble that could spawn a gravity wave. Because the gravitational field of a neutron star is so intense, one might expect the star to be pulled into a perfect sphere. But that's not necessarily the case. Four years ago, Australian scientists showed that if a neutron star had an orbiting companion star from which it pulled off matter, this matter could accumulate at the poles, propped up by the star's magnetic field to prevent it from flattening out. In that way, mountains several kilometres across but only a few tens of centimetres high could develop, having about the mass of the planet Saturn.
Extreme matter
Glampedakis and colleagues say that there is another way to build mountains on neutron stars which doesn't rely on their having a companion star to cannibalise – and this points towards the second sought-after phenomena in fundamental physics. It supposes that the incredibly high density of the star could squash its atoms not into neutrons but into a sea of the still more fundamental particles of which atomic nuclei are made: quarks.
It's not known if this "quark matter" can really exist. Some hope that it might be sighted in the Large Hadron Collider particle accelerator at CERN in Geneva, but a better bet could be to search for its signature in neutron stars – which would then in fact be quark stars, most probably with a core of quark matter coated with ordinary matter such as neutrons.
The researchers say that this quark matter will most likely form pairs, and as a consequence they can become stirred by vortices. The vortices will create something like a magnetic force that will make the star's interior lumpy, with some bits more dense than others. In effect, these lumps would act like "internal mountains", again producing a wobble that stimulates gravitational waves.
The calculations of Glampedakis and colleagues suggest that the Einstein Telescope might be able to detect gravitational waves produced this way. If, for example, the well-studied Vela and Crab pulsars – both produced by supernovae, the latter being the origin of the Crab Nebula – have cores made of paired quark matter, they should radiate strong enough gravitational waves to be just about observable. Depending on the details, they might even be spotted by upgrades of LIGO. In either case, this would not only vindicate Einstein but also offer a window on this weird, extreme form of matter.
If you would like to comment on this article or anything else you have seen on Future, head over to our Facebook page or message us on Twitter.


text:
Irish Prime Minister Enda Kenny: GLOBAL APPEAL TO STOP IRISH RACE HORSE EXPORTS TO CHINA!
This petition had 8,697 supporters
Irish plans to develop Horse racing and send Irish race Horses to China-please protest asap- worldwide response needed now from everyone!
Every protest counts from around the world
Please see these two articles here-
The racing venture and racecourse proposed in China will require 600 to 800 horses for its inaugural year, which is targeted to have approximately 40 race days. This venture is to be stocked with broodmares from Ireland, while stallions will also be sent out. Also it does not seem to matter to Taoiseach Enda Kenny that Hong Kong is the only venue on Chinese soil where betting on horses is legal and that authorities are unlikely to legalise gambling on the mainland anytime soon. While Ireland has no agreement regarding the export of horses, according to the DOA the changes are being drafted now.
'If there was any doubt that the new IRELAND-CHINA 'deal' will mean untold suffering to Irish animals, we only have to look at past and current horse events in China to foretell the future for our horses'.
Following is a chronicle of known HORSE ABUSE already part of life in China….
• Not many know that in 2005 at the Beijing racetrack over 600 healthy thoroughbreds were reported to have been slaughtered in the Chinese capital. This was as a consequence of the official reluctance by the Chinese Communist Party to tolerate gambling. This mass killing was unprecedented even in the harsh world of horseracing.
• Zoos across China are still putting on cruel exotic animal performances, three months after they were banned by the government. In one show in Guangxi Zhuang this month, crowds cheered as a tiger teetered on the back of a horse, while monkeys, with chains around their necks, rode bicycles around in circles.
• Horse Fighting is still rife in China where evidence and shocking photos of two stallions covered in blood and ferociously biting each other the annual horsefight in Antai, China, where such animal cruelty is considered 'sport'. At the annual event, which dates back a staggering 500 years, horses are pitted against each other as thousands of locals watch, with many cheering them on and taking photographs. The stallions are encouraged to fight by being lead to a mare in heat, and then taking the female horse away when the stallions are aroused. ( See petition image- Two horses fight against each other during a horse fight game held in Antai Township of Rongshui County, southwest China's Guangxi Zhuang Autonomous Region, Feb. 5, 2009. More than 30 horses took part in in the annual game on Thursday. (Xinhua/Long Tao). Please be fully aware that the loosing stallion is immediately slaughtered post-fight & fed as an after-entertainment refreshment to the crowd. How can any decent person sanction this cruelty & export horses to a country with this attitude to horses.
'We call on Enda Kenny, Taoiseach to reconsider his stance on Horse exports to China and to condemn both Chinas animal and human abuses without further delay'.
For the same reason we condemned the Irish to stop the proposed export of racing Greyhounds to China we are now asking all our supporters national and international to be a voice for these poor race Horses.China has no animal welfare laws and are generally renowned as a country for their adverse cruelty to animals. We cannot allow the Irish to export race Horses to China as God only knows what will happen to them once they are deemed useless.
Please therefore write to the Irish Prime Minister Enda Kenny asap keeping all correspondence polite at- email@example.com and Simon Coveney at the Irish Department of Agriculture - firstname.lastname@example.com
Please Urge these people to halt all plans for the development of Horse racing and export of race Horses to China. Yet again great shame will be put on Ireland for doing this! It must be stopped now!
Of course money is the root of all evil and this is precisely why the Irish government is doing it.
Thank you for your support for the voiceless.
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subset: commoncrawl


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The Persistence of Vision Raytracer (POV-Ray).
This is the legacy Bug Tracking System for the POV-Ray project. Bugs listed here are being migrated to our github issue tracker. Please refer to that for new reports or updates to existing ones on this system.
FS#287 - area_illumination shadow calculation
Opened by Paul (OJD) - Monday, 29 April 2013, 07:07 GMT
Last edited by William F Pokorny (wfpokorny) - Sunday, 29 January 2017, 14:26 GMT
not sure if this is something needing further work or an intended effect.
Shadows from and area light with area_illumination on seem to follow the same shadow calculation as a standard area light by giving more weight to lights near the center of the array. I would assume the shadows would be calculated similarly to individual lights in the same pattern as the array by evenly distributing the amount of shadow equally for each light. But this is not what I see.
The code sample below when rendered with scene 1 will show shadows grouped near the center from the area light with area_illumination. If scene 1 is commented out and scene 2 is uncommented then rendered, you will see evenly distributed shadows from individual lights. Area lighting with area_illumination I would assume should give a result identical to scene 2. If scene 1 is rendered with area_illumination off, the shadow calculation is exactly the same as with area_illumination on.
example images rendered on win32 XP
#version 3.7; global_settings { ambient_light 0 assumed_gamma 1 } camera { location <0, 3, -5> look_at <0, 2, 0> } background { rgb <.3, .5, .8> } plane { y,0 pigment { rgb .7 } } torus { 1.5,.1 rotate 90*x translate 4*z pigment { rgb .2 } } plane { -z,-7 pigment { rgb .7 } } /* // scene 1 light_source{ y 1 area_light 3*x, z, 7, 1 area_illumination on } union { sphere { 0,.05 } sphere { .5*x,.05 } sphere { x,.05 } sphere { 1.5*x,.05 } sphere { -.5*x,.05 } sphere { -x,.05 } sphere { -1.5*x,.05 } translate y hollow pigment { rgbt 1 } interior { media { emission 10 } } } // end scene 1 */ // scene 2 #declare Light = light_source { 0 1/7 looks_like { sphere { 0,.05 hollow pigment { rgbt 1 } interior { media { emission 10 } } } } } union { object { Light } object { Light translate .5*x } object { Light translate x } object { Light translate 1.5*x } object { Light translate -.5*x } object { Light translate -x } object { Light translate -1.5*x } translate y } // end scene 2
wonder if the fix for FS274 fixed this?
No, this one doesn't bear any similarity to
FS#274 , which only applied to subsurface scattering materials, and also affected the influence of each individual "lightlet". This one looks more like the center "lightlet" is given double brightness for some obscure reason.
This problem actually seems to be unrelated to the area_illumination feature, which is not responsible for the depth of individual shadows but rather for the proper shading of the (partially) lit regions.
(Hint: If you write flyspray issue IDs with a hash sign, flyspray will automatically make it a clickable link )
It's because the algorithm is not calculating the contributions per-light and averaging at the end, but instead, it takes four-point corner average and uses it as a light intensity for the next subsection of the light (descending in powers of two). The weights are only correct, if the number of lights is a power of two.
Case in point:
First stage: lights [0] and [6] are evaluated. If the adaptive algorithm stopped here, it would return <[0],[6]>, where <> denote averaging.
Second stage: Instead, the corner samples are replaced by average of (0..3) and (3..6) subsections. If the algorithm stopped here, it would return < <[0],[3]>, <[3],[6]> >.
It's already wrong here, as it gives [3] a double weight. Here, I assume that ceil(3)=floor(3) (judging from the code). The code actually continues subdivision.
There are two problems here:
1) ceil/floor functions repeat the midpoint in case of odd number of lights in the interval. This repeats midpoints and if it's not all just power of two, you get something like
[0,1],[2,3],[3,4],[5,6] (3 is repeated, has double weight)
2) if you do it correctly: not repeating the midpoints, it should be integer division, followed by +1 for the second interval, let's say, splitting [0,6] in to [0,3]+[4,6], then at the end of splitting, if it's not power of two, you will get lights without a pair. Something like [0,1],[2,3],[4,5],[6] (6 is alone, has double weight).
You see that you cannot pair up the numbers into uniform intervals, if they are not power of two. Recursive adaptive algorithm cannot give correct weights this way, unless it takes into accounts the unbalanced interval sizes. The correct way would be this one:
Take interval [0,6]. Split it into [0,3],[4,6] (splitting is mandatory). Now, you measure the interval sizes, and assign weight 4/7 to the first one and 3/7 to the second one. NOW you can recursively call the function and everything will be ok.
This fix could go hand-in-hand with the circular light uniformity bug.
Edit: both changes will affect appearance of existing scenes, although not by much.
But this isn't an adaptive light...?!
The same code is used for both cases AFAIK, it just goes all the way in (uses all the lights instead of just some of them). Default adaptive level is set to 100, which is effectively infinity.
some testing with 4 and 8 light arrays confirms what Simon explained as the shadows were identical to individual lights.
found that adaptive should not be used if area_illumination is desired as the lighting calculations go way off. This is to be expected but maybe a note can be added to the help docs to alert others.
in scenes with area light sources close to objects jitter causes radical offsets to the shadowing. see example files rendered from tha code originally posted adding jitter. Is it possible to add a setting for jittter amount to control the amount of offset or can the distance from the light source be added to the calulation so close shadows have a small random offset while objects further away have a larger one??
my scene using an area light with area_illumination and a 7 light linear light source similar to the submitted code has a substantial speed increase over 7 individual lights. The scene has many reflective surfaces and some media to deal with. Removing most of the scene and using minimal AA and radiosity for a fast test, results below...
with area light
Radiosity Time: 0 hours 1 minutes 9 seconds (69.422 seconds) using 2 thread(s) with 115.234 CPU-seconds total Trace Time: 0 hours 6 minutes 34 seconds (394.453 seconds) using 2 thread(s) with 746.343 CPU-seconds total
with individual lights
Radiosity Time: 0 hours 1 minutes 59 seconds (119.125 seconds) using 2 thread(s) with 209.655 CPU-seconds total Trace Time: 0 hours 9 minutes 39 seconds (579.625 seconds) using 2 thread(s) with 1101.624 CPU-seconds total
so thank you for adding the area_illumination feature. The light distribution is right on. The area light and individual lighting show the exact same light distribution on highlights, light fading, intensity etc. Though the shadows exibit the above distribution errors.
Paul (OJD) wrote:
> found that adaptive should not be used if area_illumination is desired as the lighting calculations go way off. This is to be expected but maybe a note can be added to the help docs to alert others.
Before I make a doc addition (which I think is probably the best/easiest), I'd like to float the idea having adaptive default to 0 if area_illumination is used. What do you guys think?
Jim, that was the first thing I tried. If you render the above scene with adaptive 0 you will change your mind.
If I understand correctly, "adaptive 0" refers to the most loose adaptive level (no forced light, everything is conditional to the light contrast). If no "adaptive" is specified, it is set to 100, which means that it always uses all lights. Let's say we have 8 lights. Then, adaptive 0 would always use lights 0 and 7, but the ones in between only in case 0 and 7 were different enough. adaptive 1 would force 0,3,4,7 and adaptive 2 would already force all of them. You can easily check this with your scene: set it to 8 lights and check. You will see the pattern I described (although inside the shadows, you get more precision, because "adaptive" still uses the lights in between, if it detects enough contrast between shadows. In this case, because the components lights are too far apart, it does not work so well (the shadows don't overlap, so this automatic system does not notice the shadows in between).
In essence, it is splitting the interval.
adaptive 0: [0,7]
adaptive 1: [0,3][4,7]
adaptive 2: [0,1][2,3][4,5][6,7]
And if you have more lights, higher "adaptive" value is needed to force everything. This also shows why subdivision is unfair if you don't have powers of two.
The shadow test function is the only one that uses the adaptive parameter. The area_illumination does not use it at all: the diffuse illumination is calculated exactly as if there was and entire array of lights.
To repeat: no adaptive means the same as adaptive 100. And that's ok for default settings. You need to know what you are doing to use adaptive. It does not always work as expected.
I just checked the code, and you're right in that non-adaptive area lights use essentially the same algorithm as adaptive ones, which isn't really ideal for "odd" light dimensions.
You're wrong about your power-of-2 assumption though: Actually, area light dimensions should ideally be 2^N+1, because each splitting step only samples one additional lightlet, and then decides whether to subdivide the left and/or right half of the interval further:
0-------8 0---4---8 0-2-4-6-8 012345678
It looks like you're trying to use area_light to simulate an array of individual light sources. This is not what the feature is intended for: Its purpose is to simulate a single line-, rectangle-, disc- or sphere-shaped light source; the effect you want to achieve - visibly breaking up the light into distinctive point lights - is entirely contrary to that use case, so it's no surprise you encounter effects that you consider problematic.
The code specifies the left interval to be
new_u1 = u1;
new_u2 = (int)floor((u1 + u2)/2.0);
and the right interval to be
new_u1 = (int)ceil((u1 + u2)/2.0);
new_u2 = u2;
Note the floor and ceiling functions.
For 8 lights this becomes u1=0, u2=7, so you get [0,3][4,7]. This is correct, because no light is sampled and averaged twice.
For 9 lights, u1=0, u2=8 and u1+u2 is divisible by 2, so you sample the middle light twice, like you have shown, [0,4][4,8]. But this is WRONG, because averaging in this case counts the middle light twice, making its shadow twice darker. And it cannot even be compensated with weights, because the doubled lights are in different recursion calls and are already mixed in the average before returning the result. The average will be
0.5*(0.5*(light[0]+light[4])+0.5*(light[4]+light[8]) )=
which is the reason for the artifacts we are seeing in this bug. If the subinterval size is again odd, even more weights are wrong. For instance, 11 lights create a very funny pattern.
The correct version should be:
left subinterval:
new_u1 = u1;
new_u2 = (u1 + u2)/2;
right subinterval:
new_u1 = (u1 + u2)/2 + 1; #never repeat the middle light
new_u2 = u2;
And the weights should be (new_u2-new_u1)/(double)(u2-u1) in each subinterval. Well actually, because it is 2D, the weight is a product of weight for u and v. The weights must replace the expression on the bottom instead of 0.25*(sum of corners).
With this change you must also be careful that averaging for the case of just 4 corners should still use 0.25 factor. So the code becomes
#code for recursion
lightcolour = sample_Colour[0]*weight[0]+sample_Colour[1]*weight[1]+... #added line
lightcolour = 0.25*(sample_Colour[0]+sample_Colour[1]+...) #added line
#removed global 0.25-weighted color.
(using # for comments, because double slash means italics)
Heh, you seem to know the code better than we do
I actually looked at these details of the area light code for the first time. It does need a major overhaul I guess.
Well I was interested in the problem so I studied the code - it's just one function that has the problem, so it's not so bad.
I have the fixed code (including the circular light fix for FS#275), I'll post it together with test scenes in a couple of hours.
Changes are only in functions
Trace::TraceAreaLightSubsetShadowRay (circular light fix and weights fix)
Trace::ComputeFullAreaDiffuseLight (only circular light fix)
It's based on RC6 code - I hope no other changes happened in these two functions.
I applied the method we discussed in FS#275 that makes the circular light uniform in angular distribution - you can see the gaps are all equal now.
You can do with the code whatever you want.
In revision control I see that the last change to trace.cpp was change #5846 on 08Mar2013 fix for
Who wants to take this one on?
Just noticed that using trigonometry for circular lights makes simple scenes run almost 2x slower on my machine. If max ~1% difference from perfect distribution is acceptable (it is, because the entire thing is an approximation anyway), you get the old speed back by using approximations for sin/cos. Attaching a code snippet.
I've reviewed and tested your fixes. Everything went just fine until I applied the changes posted in code_snippet.txt when I ran into a couple of scoping errors. Logic hid the setting of: phi,phi2,usign and vsign.
Wouldn't it be better to set those at the top of the function rather than having to set them inside each conditional statement that they are used?
Well you can see what I meant even if it didn't work out of the box, it's just a couple of tests to avoid unnecessary calculations, and a shortcut for sine and cosine. Could you let me know if it makes it faster on your machine too?
Anyway, that should not happen, it worked just fine in my compile (gcc on linux). Maybe some brackets are missing or something. Unless there are some portability issues I don't know about.
From what I know about c/c++ compilers, the compiler can optimize better if variable declarations are as "deep" as possible inside the code. If you declare it outside, it might want to keep the value for later use and waste register space (modern compilers should be smart, but it's better to make their job easier). It's also less confusing for programmers to have the variables in the inner scope. The top-declarations are seen mostly because of old c standards. But anyway, if it causes problems, put them outside, it shouldn't matter much, it's more a matter of style at this point.
"lightsource" is also named differently in the two functions.
Yes your changes were clearly documented, and it didn't take me very long to integrate the changes. I'm using gcc on linux as well, the problems I encountered more accurately described is inside a nested if else block. The outer test is:
if(jitter_u!=0 && jitter_v!=0)//save time by not doing anything that is not necessary
when it falls into this block usign and vsign gets set. Inside that block the else clause of the following test sets phi, phi2, usign and vsign:
if(jitter_u==jitter_v)//diagonals: avoid expensive division and (fake) trigonometry
then again in the else clause of the outer if/else block sets phi, phi2, usign and vsign which seems redundant. Rather than setting those at the top of the function Trace::ComputeFullAreaDiffuseLight after looking at it again maybe just after the test ...
if(lightsource.Circular == true)
... would be a better place.
Could you be a bit more specific about lightsource being named differently ... It's been a long day and I must be looking right past what you're talking about.
Sorry, my mistake, I was talking from memory and I remembered there was something different. It's just axis1/axis1temp that's different in ComputeFullAreaDiffuseLight and TraceAreaLightSubsetShadowRay. So everything should be just fine.
I attached a piece of code that documents how I see things. Just to make sure we agree on the code. I changed indentation to make it obvious how the three if's are nested.
Thank you for the clarification on axis/axix1temp being the issue and not lightsource. I had also already indented and honored the same style that was already present in respect to opening/closing brace usage ... that is the brace on the next line rather than the same line as the test, so the 2nd code snippet was unnecessary. However, thanks so very much for your interest and help with this issue!
- Field changed: Status (Assigned → Tracked on GitHub)
Now tracked on github as issue #224.


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In partnership with the Communities in Bloom committee and Niagara-on-the-Lake Hydro, the Niagara..
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Deadline: January 10, 2020.
The eight-week residency periods, which bring together four artists and..
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Each year, the Multifaith Action Society invites artists to submit works of art..
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Submission Deadline: Sunday, March 1st, 2020 --
Exhibition Dates: March 30 – April 18,..
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VOYZX Exhibition of Contemporary Surrealism 2020 is an annual international art exhibition, dedicated..
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Light Space & Time Online Art Gallery announces its 14th "Solo Art Series"..
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The #CallForArtists for @TorontoOutdoorArtFair, Canada's leading outdoor art fair, opens November..
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Every year KIRA awards eighteen artists with a one month residency. Artists are..
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Fusion Art invites submissions for the 5th Annual Landscapes online art competition.
For this..
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Beacon Original Art is thrilled to announce our Call for Artists to apply..
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Portraits of people and animals tell such great stories. They evoke..
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Award-winning Toronto-based literary magazine and publisher Into the Void seeks visual art for..
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Register for the 2020 North Shore Art Crawl, a weekend event where you..
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Calling for entries into our juried show. Three categories; Drawing and Painting, Photography..
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Diana Ohiozebau was born in Leeds, England and raised in Nigeria. She is..
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Eva Lewarne is the featured artist on ARTSY SHARK!
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These Canadian artists create their own original portraiture capturing likenesses and interpreting the essence of the subject. Many of the artists listed may be approached to create portraits on commission. Their work might include family, friends, pets, or just an interesting face.
Madoc Canadian artist Donald Gordon Fraser,1921-2003, AOCA 1944, studied under Franklin Carmichael , John Alfsen, Yvonne Mckague-Housser, George Pepper, Rowley Murphy, Manly MacDonald and Eric Aldwinkle. more...
Madoc Original fine art in charcoal, oils and acrylics more...
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text: It seems to me that the Fixx MB member status has changed a lot through the years. What is the status tier now, and what does one have to do to rank each one? What are the rules now? Or is it at the whim of he moderators? I've noticed some members now have the status, "Fixx Master", which did not exist before. How do they earn that? Not that I'm envious..OK. I am. Fairly enough, kudos to my friend, Jeanne Thelen, who is probably the hugest Fixx fan I know..and recently earned Fixx Master status. I, a lowly Fixx Legend, must now, bow at her feet.


text:
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text:
Last night, when the world still didn't know who the next American President would be, Mitt Romney spoke to journalists while tens of thousands of feet above the Earth on a flight from Pittsburgh to Boston. When asked by the gathered reporters, he told them that yes, he did have a victory speech ready, and that it was "about 1,118 words long".
This morning, VICE came into possession of a speech that appears to have been written by someone who has just won a competition to be the President of the United States of America. It is also 1,118 words long. We're not saying that it is or isn't the victory speech Mitt Romney wrote that seemed destined to go forever undelivered. Judge its veracity for yourself.
My fellow Americans.
Thank you. Thank you all.
First of all I want to thank you all for being here with me tonight. Not just our party workers. But more especially the ethnically selected demographic-representers who are standing directly behind me so that the TV cameras will catch them. There are many people who have made my victory possible. But you guys have made it seem plausible. Thank you.
[Wait for applause]
In the past few minutes, I have spoken to Barack Obama on a telephone. He has conceded defeat in this election. I congratulated him on a hard-fought campaign, and asked him to please make sure all the bedding was well laundered for when I arrive tomorrow. He informed me that he will remain President until January. In the new spirit of bi-partisanship I hope to promote, I have granted him this concession.
[Look meaningfully at camera]
Friends, when I was young, my father used to take me on his knee and ask me what I wanted to be when I grew up. I told him that one day I'd like to lead this great nation. To his credit, he never laughed or smiled indulgently. He just believed.
But that was my dad. He worked his fingers to the bone to give us the basics in life. An elite private education. An Ivy League degree. The first few million to get us going. A network of contacts on Capitol Hill. The things every dad wants for their kids.
He worked so hard. Yet he never forgot about the importance of family. Even when he was ordering the National Guard to suppress the Detroit Riots by any and all means necessary, up to and including live ammunition, our dad still made time to play football with us in the backyard. I remember the day they killed those kids over at Kent State. Dad came home from the office and simply took us in his arms, hugged us, and whispered softly in our ears: "We got 'em, Mitt. We got em..."
My father believed. And now I have achieved. Only in America.
[Smile, showing gums]
Ha ha, yup, only in America. Some people will tell you that the American Dream is dead. Well you tell them that, once, the son of a Michigan state governor dreamed he could become President. And tonight, that dream came true.
Which is why I have always believed in an America where every child is given the chance to grow up. And where not only the children of the rich have a chance to grow up richer. But the children of the super-rich too. Because if you're going to have a rich nation, you're going to need people richer than the super-rich. This is something President Obama could never seem to understand.
An America where it doesn't matter if you're protestant, or if you're white, or if you're Anglo-Saxon, or Republican, everyone has the opportunity to eat at Michelin-starred restaurants if they are capable of paying the $200 cover charge.
That's what being American means. We have the largest GDP in the world. And why? Because we are truly great at spending money. Our enemies, our detractors, claim that we don't make anything any more. That may well be true. But they forget about the American genius for spending. You only have to turn on your TV to know that your average American has a talent for needing things that far surpasses that of any other nation on earth. Some people look at a passive exercise bed and see the American failure at working out. I see the American genius at reclining while fat is bobbled away by a series of tensile bands.
[Wait for applause]
Yet in an increasingly globalised world, we have to look again at the central question of what it means to be an American. Now, I accept that we are all the children of immigrants to some extent. But that is precisely my point. Aren't 400 million children-of-immigrants enough immigrants? Isn't it time America stopped being composed of all the races of the world, and started just being composed of Americans?
Which is why my administration will be the first in history to only issue Green Cards to people who wish to become American citizens who can prove that they are already American citizens. We have to accept that if we're prepared to bend the rules for Hispanics – and let's face it, everyone here likes a clean swimming pool – then one of these days we will wake up living next door to a Frenchman.
Sadly, our grave challenges are not only internal. You have elected me at a time in our nation's history where the outside world is ever more dangerous. I have to tell you now, I believe in a Middle East where we have peace through security. Because peace without security is as meaningless as the sentence "Bobble dong Wednesday intercourse boatshed of drive to Canada with dog in a roof rack oblong nasty?" It should be evident that there can be no true peace without mutual acceptance. Which is why I now call upon the Palestinians to accept that they are crushed already, and the Israelis similarly to accept that the Palestinians are crushed already. There can be no peace without violence. There can be no violence without peace.
[Smile. Gums partially-visible.]
I think it was Ghandi who once said: "An eye for an eye leaves everyone blind." And it is in that spirit that I say to the Iranians: we are quite prepared to poke out our own eyes if it means we get to poke out yours, too. So do not mess with us. Because Uncle Sam spends a trillion dollars a year on weapons that your cave priests could only view as magic, and believe me if you're still rubbing plutonium together trying to make nukes, then you are about 70 years behind us, bozos. When we were doing that, there were still Crimean War veterans alive. Imagine how far we've come since we invented the microwave and the iPad. Precisely. The iPad. Work that one out, towel-heads. The iPad.
[End on an up-note. Wait for crowd to rise to their feet.]
Thank you. Thank you.
It has been a long campaign. And frankly, I look forward to returning to my pod tonight to get some shut-down. Once again, my undying thanks to everyone who has supported me throughout this campaign. It's been hard, but it's the conversations I've had with ordinary lobbyists, the smiling faces of the everyday CEOs I've met, and the messages I've received from countless different parts of the military-industrial complex that have sustained my energy, kept me going, helped me fight on.
Thank you all. We're taking back America. I believe in America. We are all Americans. The American Dream. America. America. America. America. America. America.
[Wave. Smile. Wave. Smile. Wave. Hug wife. Smile. Hug child. Wave. Execute walk programme down runway. Smile. Auto-Off.]
As recovered by Gavin Haynes – follow him on Twitter: @hurtgavinhaynes
More election stuff:


text:
Does BIBM work with a Microsoft Surface Book (Windows 10 installed)?
I know how to access the UEFI and turn off Secure Boot there and how to
turn off Fast Startup in Windows 10, both of which I understand are not
compatible with BIBM. However in this UEFI I did not see any setting
for enabling "legacy" support. Is there anything else to consider?
I would use a 4GB USB flash drive for the initial BIBM boot. My normal
procedure then would be to shrink the current Windows partition, use the
freed space to add some additional partitions for testing, etc., and
also install BIBM on the drive. I would turn off Limit Partitions since
I typically use more than four primaries on my PCs.
I don't yet know what surprises Microsoft might have put on the SSD in
their factory install, e.g., relocating the boot files out of the C:
I'm also looking for advice on the BIBM USB flash drive configuration
for use with a Surface Book. Are the MakeDisk USB/SD defaults OK?
USB Layout: Partition - MBR FAT/FAT32 partition
Geometry Calculation Method: Default - Use Device
Or are there better choices for a Surface Book?
I wanted to ask here before buying another BIBM copy, but then finding
it could not be used with Surface Book.


text:
April 23, 2012
Warm weather work
With his work spread out all around him, student Mohamed Dirie studies for a midterm test last Thursday, when the weather was still balmy and warm. A much chillier forecast is in store for students this final week of April!
Writers Conference keynote Naomi Wolf, author of "The Beauty Myth"
The 9th annual Columbus State Writers Conference, to be held Saturday, May 5, from 9:00 a.m. to 5:00 p.m. at the Columbus State Conference Center will feature a keynote speech and workshop session by Naomi Wolf, author of The Beauty Myth, an international bestseller about the unrealistic standards of the beauty industry.
Due to a death in her family, the original keynote speaker, Elizabeth Alexander, is unable to attend.
Author, social critic, and political activist Naomi Wolf raises awareness about the pervasive inequities that exist in society and politics. She encourages people to take charge of their lives, voice their concerns and offers specific ways to enact change.
Wolf's landmark bestseller, The Beauty Myth, challenged the cosmetics industry and the marketing of unrealistic standards of beauty, launching a new wave of feminism in the early 1990s. The New York Times called it one of the most important books of the 20th century. Her other books include The End of America: Letter of Warning to a Young Patriot (2007). Her next book, Vagina: A New Biography, will be released September 2012.
The Writers Conference will begin at 9:00 a.m. with workshops ranging from writing dark humor to writing memoirs. After a book signing with the special guest, a luncheon and the keynote address follows, with additional workshops running from 2:00-4:15 p.m. The cost is $80 at the door, or $60 by pre-registration through April 25 online at www.cscc.edu/writersconference. Students may attend for only $20 with a student ID.
It's time for spring cleaning at the Bookstore
The Columbus State Bookstore is clearing out merchandise for inventory, and you will clean up on the great savings. Come in now until May 5 and save up to 75 percent on sale and clearance merchandise. See store for exclusions.
Christopher's open Wednesday and Thursday
Christopher's, the student-run dining experience, will be open two times each week this Spring Quarter. Lunch will be available on Wednesdays from 11:00 a.m. - 12:15 p.m., and dinner will be available on Thursdays from 6:15 p.m. - 7:30 p.m. You can see this week's menu here!
Counseling Services office now in Nestor Hall
The office of Counseling Services, part of the Student Life Department, has moved from Aquinas Hall to new office space in Nestor Hall Room 010 (Seminar A in the lower level of Nestor Hall). The office will house the department's director, coordinator/psychologist, counselor, and office associate. The new phone number for Counseling Services is (614) 287-2818.


text:
Re: cancel subscription
j25ack wrote:How do I cancel my subscrition?
You cannot delete your account. More info here:
Want to know how the site works? Did you get an error message? Read in here!
j25ack wrote:How do I cancel my subscrition?
acc_karthik wrote:guy i cant see teachers face in video like cc cinema change it!!! in online
Sansen wrote:...keep it running for sometime before closing the browser.
...Let me know if I could help further.
Sean wrote:You cannot delete your account...j25ack wrote:How do I cancel my subscrition?
aabkhara wrote:Sansen, yes please. And also any one who can help.Sansen wrote:...keep it running for sometime before closing the browser.
...Let me know if I could help further.
I waited for hours (well, I won't wait for hours if ever the game loaded after one or more hours), but I can't see that "initializing chesscube." It's still pitch black.
In another pc (a public one), with the same chrome and with the same flash player version, I tried loading the game and it did, though I didn't try to login. I just saw the "initializing page" up to 100% and then the homepage where I can click connect to FB. That's when I found out that there's something wrong at my end.
Back in my pc, I have tried reinstalling the flash player, clear the cache and then restart my pc (in that order). It's the same black page for http://www.chesscube.com/play/app/ The browser just stopped loading the page, as if it's done loading that black page and doesn't know that there's a great online game that it should load.
Any more things I'm missing to try? Oh no, please don't suggest that I will nuke my xp. My brother will kill me.
algeriano4eve wrote:i can't chat beacause i don't have the bar of chating . What should i dp?
Sansen wrote:Please try reinstalling Google chrome...
Return to ChessCube Knowledge Base
Users browsing this forum: Bing [Bot] and 2 guests


text:
It's sometimes easy to forget one particular, elemental truth: We live in a physical world.
In a digital age — when so so much of what we see, hear and act upon is comprised wholly of incorporeal ones and zeroes — the physical world can sometimes seem insubstantial. The games, apps, videos, news articles, photographs and other media we use and "consume" each day might be produced by live human beings occupying real space — but much of what we consider genuine and urgent does not, in some very fundamental ways, actually exist.
If you're reading this on a handheld or a monitor, the letters that you're reading right now and the words that make up the sentence that's conveying this thought are perhaps more accurately conceived of as impulses, or bits of energy, rather than as things.
Old photographs that have been scanned and digitized, meanwhile, occupy a complex place in any discussion of what's "real." Obviously, a print, a strip of negatives or a contact sheet that one can hold in one's hands are objects that have a place in the world. They occupy space. And because a roll of film developed in, say, the mid-1940s had a physical presence, it would also be heir to the perils that all other tangible objects, living and inanimate, happen to share: damage, corrosion, decay, dissolution.
Consider the images in this gallery — photographs made by LIFE's Thomas D. McAvoy in Stalingrad in 1947. Strong, accurate representations of a city struggling to rebuild and to regain some sense of normality after suffering unspeakable destruction during the Second World War, the images are, in fact, far removed from the film that McAvoy must have pulled from his camera after shooting the roll (or rather, the photos from many rolls) depicted here.
But it is the damage to the images — the spots created, perhaps, by mold eating away at the film's emulsion — that not only gives many of these pictures an eerie, discordant beauty, but provides yet another way to consider the nexus of the real and what we might call the seemingly real.
The scenes that McAvoy captured, after all, did happen. Stalingrad was reduced to rubble. Years after war's end, the only things one could find in abundance there were hunger, cold and a rough pride in their Pyrrhic victory over the Reich. And then, by some accident or mischance or plain old human ineptitude, McAvoy's physical, photographic record of Stalingrad in 1947 suffered damage itself. The images were, in turn, transformed into near-abstract, ghostly works, within which one can still see remnants of the robust photojournalism that McAvoy consciously, intentionally created.
Finally, to add one last layer of serendipity and happenstance to the entire story, it's worth noting that this gallery of randomly, naturally altered postwar pictures was not, strictly speaking, planned. It is curated, and the images that appear here were carefully chosen for what they could usefully say, or show — but it did not spring, fully formed, from someone's brow. No one at LIFE.com blurted out, Hey, I have an idea. Let's find a collection of mold-mottled photographs, and use them to discuss the fluid nature of reality, the vagaries of memory and the unique power of black and white photography to evoke the past and provide context to the present.
It would be cool if that was the case. But it's not.
Instead, the creation of the gallery was at-once more workmanlike, and more wholly imaginative than that. We were looking for pictures to commemorate the 70th anniversary of the start of the cataclysmic and pivotal Battle of Stalingrad (August 23, 1942); came across McAvoy's photos from two years after the war; and as we looked through mold-pocked image after mold-pocked image, gradually hit on the notion of a gallery devoted to pictures that might otherwise never again see the light of day precisely because they're so glaringly imperfect.
We live in a physical world. This gallery's insubstantial, digital remnants of one photographer's labor 65 years ago serve, in their way, as forceful reminders of that fact — no small feat for a series of incorporeal ones and zeroes.


text:
Jhansi Development Authority (JDA) is the principal agency of the Government of Uttar Pradesh responsible for taking ahead the tradition of planned and sustainable development of Jhansi.
Jhansi Development Authority is responsible for preparation and implementation of master plan for the city. It takes up infrastructural and basic amenity development for Jhansi besides environment conservation and development of rural areas around the mother city.
The aims and objectives of JDA are far reaching both in their short term and long term planning. The JDA plans to reduce population congestion is primary objective. A plan to have restricted individuals per hectare has been proposed.


text:
Office Christmas Party is written in sheer fun. Josh Gordon and Will Speck's entertainer is a movie that will crack you up at every juncture. It's a party that would make you want to go to. It's this contrasting placement of work with fun that makes the concept of Office Christmas Party a jovial hoot. Then again, the movie banks on its thriftless ostentation to get through but despite all the vulgarity and the bawdry, jokes still flow.
Plot of Office Christmas Party
You might think a movie like Office Christmas Party wouldn't be having much to its plot if it's all about showing blatant debauchery. But the movie proves you wrong the second it starts.
With awesome witty lines to bedeck its screenplay the movie chugs forward with Jason Bateman's Josh Parker character trying to finalize his divorce. He is the Chief Technical Officer of a company called Zenotek. Olivia Munn's character Tracey Hughes is the Head of Tech and is a girl brimming with outstanding ideas. T.J. Miller portrays Clay Vanstone, the branch manager who is as fun as he is in person. He is literally the life of the flick.
With the devilish character Carol Vanstone played by Jennifer Aniston, who is also the intermediate CEO of Zenotek, the story dabs its first throttle. She threatens to lay off 40% of its staff, cut bonuses and to cancel the inbound Christmas Party which everybody was so psyched about. Clay wishes to fight her off by roping in a huge client, Walter Davis played by Courtney B. Vance. What follows are acts of turpitude in order to please the client to save the Zenotek branch.
Comic Orgy (Spoilers Ahead)
As the movie progresses you realize that it paces up gradually. The party moves up a notch every second. Just like alcohol. It settles in and makes you feel better. We get to see funny characters like Rob Corddry, Kate McKinnon, Vanessa Bayer, Randall Park, Karan Soni and Da'Vine Joy Randolph turn on their full-blown mode.
Jillian Bell's Trina will force you to burst into laughter.
I don't do handshakes, I do hugs.
When you see Jesus wading through the party arms spread on a horse, or when you see a reindeer in the toilet, or when you behold Jeremy drop the thumb sitting on the Game of Thrones chair, you feel you got your money's worth. Watch out for such bits!
Also, it's the presence of Olivia Munn in the movie that makes it a very satisfying watch. Her eyes do most of the talking and you can't stop yourself from falling in love with her all over again. And she gives you a smart enough reason to keep it that way.
You can pre-order Office Christmas Party from here:
The Final Verdict
Office Christmas Party has all the elements one needs to helm a movie into an entertainer. It makes you laugh uncontrollably, but then at times it is outright stupid. But the thing with comedy is that you gotta live it, enjoy the reverberation and then laugh it off.
Christmas is almost here. Go watch this lunacy!


text:
Student or Learner
Dear teachers,
Would you please help me find the constituents of the following sentences ?
1) Thirty major corporations had made billions of dollars in profits
thirty...corporations = subject
had made = verb
billions of dollars in profits = complement
billions of dollars = complement
in profits = ???
2) Twenty-six of the 30 companies continued to enjoynegative federal income tax rates.
twenty...companies = subject
continued to enjoy = transitive verb ?
negatjve...rates = direct object
What are the parts of speech of "continued to enjoy", please?
Thank you for your help.
What are the parts of speech of "continued to enjoy", please?
continued - a verb
to - a particle
enjoy - a verb
In the sentence "Twenty-six
of the 30 companies continued to enjoy negative federal income tax rates"
continued is the predicate and to enjoy is the object of the verb.
As to "in profits", I suppose it is an adverbial modifier of place.
Last edited by sergeyrais; 07-Dec-2012 at 23:43. Reason: font correction


text:
|Home >> Course Descriptions >> College of Arts and Sciences
|Cervantes and Don Quijote
|Three semester hours. (FL)
Conducted in Spanish. An introduction to and careful reading of Cervantes' classic, a work which represents the origin of the modern novel and remains the fundamental book of Hispanic culture. The course will focus upon the text of Don Quijote, studied in the social, cultural and intellectual context of the late sixteenth and early seventeenth centuries. Prerequisite: SPAN 3300 and 3310 or consent of instructor.
Home - General Information - Student Services -
Academic Undergraduate Regulations -
Undergraduate Degrees - Academic Graduate Regulations -
Graduate Degrees - Course Descriptions - Faculty -
Appendix A - Appendix B - Appendix C - Appendix D


text:
The Brandeis University women's basketball team started the season off in style, going on a 41-5 run midway through the contest en route to a 74-39 victory against Mount Ida College. The Judges will play in tomorrow's Brandeis Invitational championship match at 3 p.m. against the winner of Colby and Eastern Nazarene. The Mustangs, now 0-1 on the year, will play in the consolation match at 1 p.m.
Trailing 13-12 after a nervy first eight minutes of the contest, Brandeis dialed up the pressure on Mount Ida and quickly put the game to rest. The Judges went on a 27-3 run over the final 11:41 of the first half, keeping the Mustangs off the board for a nine-minute stretch. Eight different players scored in the first half for Brandeis, who entered the break up 39-16.
The Judges picked up where they'd left off in the second half, racing out on a 14-2 run to take a commanding 53-18 lead. Senior forward Nicolina Vitale (Clinton Township, Mich./Chippewa Valley) led the way, scoring 13 second-half points en route to a career high of 19. Vitale also had a career-best four steals and tied her previous best tallies of eight rebounds and two assists. She shot a scorching 9-for-11 from the field.
Rookie guard Paris Hodges (Southampton, N.Y./Southampton, pictured above) was the only other Brandeis player in double digits, scoring 10 points and adding seven rebounds and a game-high five assists in her collegiate debut. Sophomore guard Heather Cain (Gloucester Mass./Gloucester) had a successful Brandeis debut as well, scoring five points and adding eight rebounds. Cain transferred from Trinity College this season.
Senior center Angela Miller (Sicklerville, N.J./Caravel Acad.) had seven points, six rebounds, and a career-high four blocks.
Eleven different players scored for the Judges in total, including eight players with at least five points.
Mount Ida was led by junior forward Jenn Rafuse (Brockton, Mass./Brockton), who had 15 points and a game-high 13 rebounds, but also had nine turnovers. Senior guard Abbey Fedigan (New Fairfield, Conn./New Fairfield) had nine points and six rebounds, while rookie center Angelique Martinez (Taunton, Mass./Taunton) scored the first three baskets of the game en route to a six point, six rebound effort.
Mount Ida assistant coach Morgan Kendrew graduated from Brandeis in 2012, and is one of the Judges' top-10 scorers of all time.
In the second semifinal tonight, Colby put all five scorers in double figures, including a game-high 21 from senior Jen Nale (Waterville, Maine/Waterville), to defeat Eastern Nazarene College, 77-59. Nale hit 8-of-19 from the field, including 5-of-9 from beyond the arc. She scored 18 of her points in the first half, when she hit four of her five trifectas.
The Mules also had a balanced rebounding attack, with three players grabbing seven caroms each. Sophomore Desi Smith (Watertown, Wis./Watertown) had 16 points and seven boards, while sophomores Carylanne Wolfington (Hallowell, Maine/Hall-Dale) and Mia Diplock (Vienna, Maine/Cony) each tallied 11 points and seven rebounds for the Mules. Senior Gabe Donahue (Cape Elizabeth, Maine/Cape Elizabeth) rounded out the 10-point scorers with 12 on the night.
Eastern Nazarene rookie Ruby Leon (Fairfield, Calif/Fairfield) had a fine collegiate debut with 18 points in 23 minutes off the bench. Classmate Nicole Leon (Odenton, Md./Arundel) was also terrific off the bench for the Lions, with 13 points and seven boards, tied with the three Colby players for game-high.
Eastern Nazarene and Mount Ida will meet tomorrow at 1 p.m. in the consolation match, while Brandeis and Colby will vie for the Tip-Off Tournament title tomorrow at 3 p.m.


text:
Defined Benefit Pension Plans
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The yin and yang of defined contribution plans. For employers, defined contribution retirement plans represent freedom from financial volatility, traditional pension risk, market volatility, and long-term financial uncertainty; however, they also impose new risks and responsibilities on the employer. For employees, defined contributions offer individual control, greater flexibility, and, in an ideal world, access to institutionally priced investments.
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If you'd like more information on how to make sure your plan is founded on sound business principles, please contact us.
Mercer can help design, plan, optimize, and manage customized defined contribution plans globally and locally.
Mercer can help Defined Benefit plans manage persistent risks like: market volatility, uncertain liabilities, and pressure to reduce expense and contributions.Learn more
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