text:
With the help of
a $2 million grant from the U.S. Office of Naval Research, mechanical engineers
at the University of Wisconsin-Madison will develop a tool to characterize the
performance of a new class of alternative fuels that could be used in maritime vehicles
such as submarines and aircraft carriers.
With fossil
fuels a limited resource largely controlled by other nations, the U.S. Navy—the
largest user of diesel fuel in the country—understandably is interested in
alternative fuels that can be produced in the United States.
However, the
Navy has some unique needs for powering its fleet of ships, submarines,
aircraft carriers, and other marine vessels: The fuels can't mix with water,
nor can they be readily flammable. This excludes most existing biofuels.
A new type of
diesel biofuel, called hydro-treated vegetable oil (HVO), could be the answer
for maritime vessels. It's just a matter of determining which, of many possible
blends, performs best in an engine. Every fuel has a unique combination of
traits, including how hot it burns, how its different components interact, and
how quickly the combustion reaction starts.
And as an
alternative to expensive, time-consuming tests of each of these traits for
every candidate fuel, Rolf Reitz, Wisconsin Distinguished
Professor of mechanical engineering at UW-Madison, will lead a project to
create a tool for modeling fuel properties.
In fact, Reitz
and his colleagues in the UW-Madison
Engine Research Center will use the distribution of components in the
fuel themselves to predict a fuel's performance in an engine. For example, all
fuels contain different proportions of various types of chemicals, such as
aromatic compounds. While each is slightly different, aromatics as a group
behave similarly in combustion experiments, and Reitz's team will characterize
how the proportion of aromatic compounds in a fuel affects its behavior in the Engine Research
Center suite of test
With rigorous
experimentation on a variety of fuels, Reitz says the team can create a
world-class model that predicts a fuel's behavior based solely on its chemical
breakdown, allowing the Navy-and eventually, anyone else-to more easily select
the best HVO blend for its needs.
"This tool
can help them assess whether that fuel makes sense without having to do
laborious extensive testing," Reitz says. "They'll still have to do
some testing, but this lets them eliminate certain classes right off the bat."
Source: University of Wisconsin-Madison


text:
Actor Corey Haim had traces of several prescription and over-the-counter drugs in his system when he died two months ago, but that's not what killed him, the Los Angeles County coroner concluded.
Haim, 38, died of natural causes from pneumonia that damaged his lungs, according to an autopsy report released Tuesday.
The pneumonia was complicated by an enlarged heart and narrowed blood vessels, the report said.
Low levels of eight drugs, including a prescription muscle relaxant, were found in Haim's system along with marijuana, coroner's spokesman Craig Harvey said.
"But nothing was at a level that would have contributed to his death," Harvey said.
The drugs in his system also included the antidepressants fluoxetine and olanzapine; the tranquilizers diazepam and meprobamate, which are found in Valium and other medications; the cough-suppressant dextromethorphan; and the antihistamine diphenhydramine.
SLIDESHOW: Corey Haim - 1971-2010
Haim, who struggled with drug problems for years, died March 10 after collapsing in his mother's apartment.
The report said the star of 1987's "The Lost Boys" had been feeling ill the previous two days and had a fever and severe cough. He stayed in bed all day March 9 and his mother gave him tea, vegetable soup, Robitussin, Tylenol, Advil and the anti-nausea drug Zophren.
Haim appeared disoriented and collapsed to his knees at about 12:30 a.m. the next day, the report said.
"His mother helped him back into bed. His body began to shake in all directions, and his eyes rolled back. His mother called 911," according to the report's synopsis.
Haim stopped breathing, and his mother performed cardiopulmonary resuscitation until paramedics arrived. He was pronounced dead in an emergency room at 2:15 a.m.
Harvey noted Haim's heart was abnormally large and factored in his death. He also said Haim had an enlarged liver, damaged lungs and arteriosclerosis of his coronary arteries, with some vessels 50 percent and even 75 percent blocked.
SLIDESHOW: Celebrities Who Struggle With Addiction.
Harvey said it was unclear how long Haim had suffered from those problems or from the pneumonia, or whether earlier treatment might have saved him.
Mark Heaslip, the actor's agent, did not return a phone message seeking comment Tuesday.
Haim started working in TV commercials at 10 and was a big-screen heartthrob at 15. He discovered drugs while making "The Lost Boys."
In 1994, Haim told British tabloid The Sun that he did cocaine for about a year and a half before moving on to crack. He said he later went into rehab and was put on prescription drugs.
In 2007, Haim told ABC's "Nightline" that drugs damaged his career.
Haim had returned to the spotlight in recent years, appearing in the A&E reality TV show "The Two Coreys" with "Lost Boys" co-star Corey Feldman. The show was canceled in 2008 after two seasons. Feldman later said Haim's drug abuse strained their relationship.
California Attorney General Jerry Brown said in April that Haim employed "doctor shopping" to obtain 553 prescription pills in the two months before his death. Brown called Haim -- who also appeared in "License to Drive" and other 1980s films -- a poster child for prescription drug abuse.
A message left with Brown's office was not immediately returned Tuesday.

subset: commoncrawl


text:
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text:
Microsoft can and should be credited with being the first of the mainstream OS makers to announce and then implement system-wide instant search functionality in its operating systems. And now, years later, Windows Vista/7, and 2008 users (and XP and 2003 users, via an add-on) know the wonders of what's now called Windows Search. It works, and it works great.
That said, Windows Search also supports some far more advanced usage. And that capability is outlined in this handy article on the Windows Web site:
Windows Search Advanced Query Syntax
Once you have Windows Search for Windows Vista or Windows XP, you might be wondering how you can be even more efficient when it comes to finding files and e-mail on your PC. Advanced Query Syntax (AQS) can help you do just that. Using AQS, you can quickly define and narrow your searches for even more targeted results.
You can narrow your searches using a variety of keywords, or search parameters, which can restrict your query to specific locations, specific file types or properties within those types, or specific "file kinds." File kinds are displayed at the top of the Windows Search Explorer.
The example tables below give you an overview of syntax that can be used with Windows Search 4.0, Windows Vista, or Windows Desktop Search 3.01 for Windows XP, including the properties that can be added to your search terms to narrow and refine your results.
Excellent resource. Thanks to Demetrius M. for the tip.


text:
Web hosting is our specialty, but we also like to share useful information with our community of web business owners that want to optimize their promotion and web traffic acquired from Social Media.
We have selected some of the top tools for Social Media Optimization [SMO] and configured these apps into 2 visual solutions for describing or selecting them. The SMO Periodic Table and App Map can be easily printed or posted on your website using the provided HTML code.
Prints on:
- Letter (8.5? x 11?)
- US B (11? x 17?)
- Super B (13? x 19?)


text:
Saturday night's all right at Barrett-Jackson auctionSat, 21 Jan 2012
Auction company Barrett-Jackson has a long-standing tradition of selling cars with no reserve--meaning the car is sold to the highest bidder regardless of price--but a change in that policy saw several million-dollar sales Saturday night at the annual extravaganza in Scottsdale, Ariz.
While most of the cars crossing the Barrett-Jackson auction block continue to be sold at no reserve, the auction giant offered up several classics with a reserve and the results were impressive.
The top five sellers all eclipsed the magical million-dollar figure with the auction broadcast live on Speed TV.
Topping the chart was a 1948 Tucker Torpedo, one of just 51 Tuckers ever built (47 still exist), that sold for $2,915,000, including the 10 percent buyers premium. Because of the rarity, Tuckers rarely come to auction, with many of the surviving examples residing in museums.
A 1947 Bentley Mark VI with Coachworks by Franay sold for $2.75 million, with a 1954 Mercedes-Benz 300SL selling for $2.2 million.
A 1933 Pierce-Arrow Silver Arrow also sold for $2.2 million while a 1954 DeSoto Adventurer II sold for $1.43 million.
In an exclusive interview with Barrett-Jackson CEO Craig Jackson, he said that while the recession may not be over, this year's auction results show there is money being spent on the car hobby. Attendance at the show Friday topped 38,000 people, up 22 percent from last year. Attendance through Friday eclipsed 200,000 people. Saturday attendance figures were not yet available. Jackson also said sponsorships were up from last year as well as all the merchandise booths at the show were sold out.
"Every measurement that we use is up from last year, and it could be our best year, ever," Jackson said.
By Roger Hart


text:
Share everything related to your health with the world through this forum. Be it anything like health problems, issues or just queries, you are sure to find solutions or answers to them.
Use this control to limit the display of threads to those newer than the specified time frame.
Allows you to choose the data by which the thread list will be sorted.
Order threads in...
Note: when sorting by date, 'descending order' will show the newest results first.
Forum Rules


text:
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text:
Saturday, February 24, 2007
The Mirage That We Call "Poetry"
When seen from a distance or just casually glanced at, poetry appears to be a substantive and singular thing. But when looked at more closely and attentively, this apparent solidity and unity dissolves: the fata morgana dissipates into the air.
Reading an article in The New Yorker on the Poetry Foundation and its president John Barr, and soon after reading the entries in The New Princeton Encyclopedia of Poetry and Poetics on "Lyric" and "Poetic Meaning," both dealing largely with problems in the definitions and uses of the terms, has reminded me of the emptiness of the word and the mental category "poetry." As evidenced by the failure of all attempts at a comprehensive definition, we use the word "poetry" to refer to many different things. There is a nebulous family resemblance among these different things. But their attributes and aims are so distinct that it's hard to believe they are all "poetry" in the same sense.
There is no such single thing as poetry that does or should do a single thing or set of things. When we say, "This is what poetry is" or "This is what poetry does," we almost always mean, "This is what the kind of poetry that interests me is" or "This is what the kind of poetry that I like does." I know what I value in poems, what I want poems to do. But I also know that what I value isn't the definition of poetry, if only because there are so many poems that do other things, that aim at other goals. They can't all be dismissed as bad poems. Some of them certainly are; perhaps most are. But that's because they're badly done in their own terms, not because they don't match my definitions. They represent competing ideas of what poems are, of what poetry is. Ted Kooser, Barrett Watten and, to take a poet from the tradition, Milton hardly seem to inhabit the same poetic universe at all. And yet all three are "poets," whatever adjectives one attaches to that noun.
This is not a new confusion. To adapt queer theorist David Halperin's words to a completely different context, the definitional incoherence at the core of the modern notion of poetry is a sign of its historical evolution. These days, when we think of poetry, we think primarily of the lyric in its various permutations. Historically, however, different genres of poems have been recognized, each performing a different function. Beginning with the classical triad of lyric, narrative or epic, and dramatic poetry, these types have proliferated over the ages into lyric poems, narrative poems, epic poems, philosophical poems, didactic poems, satirical poems, meditative poems, elegies, etc. The categories often overlap, but one would not fault a satirical poem for being insufficiently elegiac.
To take only classical examples, The Iliad (an epic narrative), the Homeric Hymns, Pindar's panegyrics to the winner of athletic competitions, Sappho's love lyrics, and Lucretius's De rerum natura ("The Nature of Things," a didactic treatise on the nature of the physical and metaphysical universe) don't operate by the same principles. The range of possible poems has exponentially increased since then.
The word "lyric" derives from the word "lyre." Originally a lyric was a poem written to be sung, often to musical accompaniment (this sense is preserved in the use of the word "lyrics" to refer to the words of a song). Lyric has traditionally been defined by its foregrounding of the musical elements deriving from its origin (rhythmic and sonic patterning), though often the concept of "music" is metaphorical. Now the category of lyric has become a catchall or grab bag for any poem that is not explicitly and exclusively narrative or didactic, or perhaps satirical (humor tends to be excluded from most definitions of the lyric, though irony, subtler and better behaved, is welcome). The New Princeton Encyclopedia of Poetry and Poetics entry on "Lyric" points out that "Much of the confusion in the modern critical usage of 'lyric' (i.e. usage after 1550) is due to an overextension of the term to cover a body of poetic writing that has radically altered its nature over the centuries of its development" (714).
"Lyric" uncomfortably accommodates a disparate and often contradictory array of kinds of poems. As The New Princeton Encyclopedia of Poetry and Poetics puts it, "in contemporary critical usage it may be said that 'lyric' is a general, categorical, and nominal term, whereas in the pre-Renaissance sense it was specific, generic, and descriptive" (715). Lyric has tended to slip from a description of a kind of poetry to a prescription for what poetry should be.
This piece was originally called "There's No Such Thing as Poetry," a deliberately provocative title. Poet and critic Joan Houlihan asked whether I would still believe that statement if I substituted the word "writing" for the word "poetry." If one simply means putting symbolic marks on a surface with the intent of communicating something to someone, if only to oneself, or simply of recording something, then certainly there is such a thing as writing. It's a material and social practice, and readily identifiable. If one means something more second-order than that, by which some things would qualify as "writing" and some things wouldn't, moving from description to prescription, things get much more complicated.
Given the enormous range of things that can come under the heading of "writing," from grocery lists to love letters to newspaper articles to poems to scientific treatises to street signs to warning labels, one could realistically say that there's no such thing as writing, even more so than one could say for poetry. It doesn't follow from that premise that there's no such thing as good or bad writing. One would just have to define that in terms of the function of each kind of writing. Good writing for a nutritional label on a box of breakfast cereal is going to be rather different than good writing for a political speech or for a romance novel.
Any kind of writing can be well or badly written, more or less clear and accurate. Grammatical and factual accuracy, for example, are necessary to any good or effective writing, writing that successfully achieves its aims (though factual accuracy may be counter-indicated if one's intention with a piece of writing is to deceive). Beyond this foundation of communicating accurately on the literal level (making sense in the most basic sense), the different genres of writing, from street signs to poems to instruction manuals to press releases, have different standards of evaluation, depending on their intentions and their uses. The very ambiguity that renders an instruction manual useless can be the thing we value in a poem, opening it up to multiple interpretations. When you're trying to put together a grill from a set of instructions, semantic polyvalence is the last thing you want to encounter; but in a poem, we may find its absence a flaw, rendering the poem too flat and literal.
It would make things more clear, and eliminate much controversy and polemic, if we acknowledged that poetry isn't a singular thing, that there are different kinds of poetry, and that these different kinds have different aims, different audiences, and different effects. Let's see them for the distinct things they are and the distinct things they do. Sometimes one wants to be challenged. At other times one wants to be entertained, or soothed when one is stressed, or comforted when one is sad. Sometimes one wants to discover something new; sometimes one seeks familiarity. There's no reason to think that poems should fulfill all these different needs, or that they should be expected to do so. On the other hand, there's no reason to think that there aren't legitimately different kinds of poems that differently address different readers' needs and desires, or even the same reader's different needs at different times and in different moods. To refer to another mode of artistic experience, sometimes I want to listen to Wagner and sometimes I want to listen to Webern (to take two extremes of scale); sometimes I want to listen to Joy Division and sometimes I want to listen to Kylie Minogue.
The New Yorker writes that "[John] Barr envisions a poetry more engaged, public-minded, and audience-beloved than modernism—intellectual, personal, and sometimes even willfully obscure—could ever be. 'American poetry has yet to produce its Mark Twain,' he wrote." I have no desire to read the poetic equivalent of Mark Twain. But I have no desire to prevent someone else from doing so. And if Barr wants to give Billy Collins a prize for writing funny poems, that's his right. No one wants to be challenged all the time. But no one wants to chuckle or be sung to sleep all the time either.
I agree with Barr on at least one point. While I don't think that poems need be entertaining, they should engage the reader. Poems shouldn't be boring. A boring poem is a bad poem, no matter what its style, mode, or genre.
What troubles me about Barr's position is what troubles me about Ron Silliman's. Both assert that their kind of poetry is the only worthwhile kind. The vast majority of poetry out there doesn't interest me. Much of it I actively dislike. But except in my grumpier moods, I don't begrudge it its right to exist in its own spheres. I just don't want to read it. I don't object to the Rod McKuens and Matty J. Stepaneks of the world. In high school I was very taken with Hugh Prather's New Age prattling, which I found in the poetry section of the Macon Mall's Waldenbooks. I don't even mind if Jewel and Ashanti and T-Boz want to write poetry, though it would be nice if Jewel knew what the word "casualty" meant. I had never heard of Jack Prelutsky, whom the Poetry Foundation named as America's first Children's Poet Laureate, but his rhymes about tomatoes and asparaguses seem harmless enough, and even somewhat amusing. Such work might as well exist on other planets; those worlds don't impinge on mine.
What angers me is when the work that I care for is weighed and found wanting not because it fails to live up to its aims but because it doesn't offer the comforting homilies of the Prairie Home Companion (which to be fair does sometimes feature interesting poems) or the narrowly defined entertainment value John Barr demands. It angers me that "intellectual" is used as a pejorative. It angers me that such pseudo-populism is held up as a model of what all poetry should be for all people. Barr even objects to writing for posterity, which would disqualify much of the English language poetic tradition.
Barr's complaints, and those of others who bemoan contemporary poetry's difficulty and inaccessibility, show a real lack of familiarity with contemporary poetry. He needn't like contemporary poetry, but he should at least describe it accurately. Barr is openly hostile to modernism, but Eliot and Stevens, condemned by many then and now for their "intellectualism," have been dead for a long time. Besides the fact that they write in free verse, for most contemporary American poets Modernism might as well never have happened. Vernon Shetley, in his book After the Death of Poetry: Poet and Audience in Contemporary America, which argues that contemporary poetry needs to be more complex and challenging to capture and hold readers' interest, quotes Joseph Epstein's observation that "contemporary poetry has not grown more but less difficult" (3). The Ron Sillimans and Clark Coolidges of the poetry world(s) are far outnumbered by the legions of competent poets writing completely accessible poems about their divorces and their dying grandmothers. Barr's grumblings remind me of the readers Howard Nemerov wrote of many years ago: "they don't like poetry, even though some of them feel they ought to; and they very naturally want poems to be as easy as possible, in order that there may be no intellectual embarrassment about despising them. These readers get their entire pleasure, not from reading poems, but from wrangling interminably over 'communication,' as though each of them lived in his own telephone booth" ("The Difficulty of Difficult Poetry," Reflexions on Poetry & Poetics 24).
The problem, in poetry as in our culture in general, is of leveling. Everything is brought down to the lowest common denominator. Some years ago, in Chicago, I attended a screening of a film biography of the Martinican Négritude poet Aimé Césaire, a fascinating and difficult poet who has also had a rather interesting life. During the question and answer period someone asked, "What does this film have to say to the average black kid on the street corner?" I wondered, "Why does it have to speak to him? Isn't there enough in our culture that's addressed to him, that panders, however patronizingly and exploitatively, to him?" And isn't it insulting to assume that he couldn't find something interesting and engaging in Césaire if he were given the chance to do so? To assume that the mythical "average person" can't appreciate anything complex is rank condescension. But in our culture, anything "intellectual," anything complex or difficult, is not only marginalized but dismissed as irrelevant or, most damningly, "elitist," often by members of the socio-economic elite, like John Barr.
I believe that all good writing, from a political speech to a love letter to a philosophical disquisition to a detective thriller to, yes, even a poem, shares grammatical fluency (one must know the rules of syntax to break them effectively), lexical accuracy (one must know a word's meaning in order to play with or revise it), particularity and specificity of diction, phrasing, and imagery, and an avoidance of cliché and vagueness. What may work for a song lyric or spoken word poem will probably not work for a poem on the page, bereft of the musical texture, the grain of the performer's voice, the gestures of performance. But with regard to particularity and some degree of uniqueness, good song lyrics are not different from good poems for the page.
Within the very broad and capacious limits of what might be called good writing, I say let a hundred flowers bloom. That emphatically includes the more exotic and recherché, even the off-putting. Not all flowers are beautiful, and not all smell lovely. (Philosopher and art critic Arthur C. Danto has pointed out that some art isn't meant to be beautiful, and even that some art, given the effect it aims for, shouldn't be beautiful.) Let there be room for that which doesn't appeal to the widest possible audience and doesn't intend to. I have as much a right to my aesthetic pleasures (and challenges: I enjoy reading poetry, but pleasure isn't the only reason for reading) as John Barr or Ted Kooser or Dana Gioia does. I refuse to submit poetry, or life in general, to the tyranny of the majority. There are worse things than being unpopular, and just because you're outnumbered doesn't mean that you're wrong.
As a corrective to prevalent misunderstandings and misuses of the term and the concept, anthropologist Marshall Sahlins offers the following clarification: "Cultural relativism is first and last an interpretive [methodological] procedure. It is not the moral argument that any culture or custom is as good as any other, if not better. Relativism is the simple prescription that, in order to be intelligible, other people's practices and ideals must be placed in their own historical context, understood as positional values in the field of their own cultural relationships rather than appreciated by categorical and moral judgments of our own making. Relativity is the provisional suspension of one's own judgments in order to situate the practices at issue in the historical and cultural order that made them possible. It is in no other way a matter of advocacy" (Waiting for Foucault, Still 46).
Just as anthropologists have recognized that there is no such singular and universal thing as "culture," we in the literary world should acknowledge that there is no such unitary thing as "poetry." I call for a poetic relativism modeled on Marshall Sahlins's definition of cultural relativism, which doesn't exclude judgment, but postpones such judgment until the poem has been understood on its own terms. It is only then that one can determine one's position toward those terms, to evaluate whether what was done was done well or badly, and to decide whether it was worth doing at all. Joan Houlihan cogently points out that letting all flowers bloom doesn't preclude the possibility or even the necessity of weeding once they've done so, though this would hardly be the wholesale mowing-down (of poems or of poets) that the allusion to Mao might imply.
12 comments:
- Kasey Mohammad said...
An eminently reasonable post, but isn't the Mao allusion in the concluding section somewhat ill-considered? In light of how those hundred flowers ended up, am I paranoid in finding Houlihan's provisional musing in the final sentence a bit ... sinister?
- February 24, 2007 at 8:38 PM
- Hot Cross Haiku said...
Hello there Reginald, from Melbourne Australia. Would you contribute a haiku to my blog - Hot Cross Haiku? :-)
- February 25, 2007 at 4:28 AM
- Unknown said...
It's provably not true that I assert that only "my kind of poetry" (even writ large, as the whole of post-avant) is the only kind worth writing/having. I think, as I've said before, in fact of you specifically, that I think poets (or at least most poets) write the poems they need. And I've reviewed positively such folk as Wendell Berry, Daisy Fried, Jack Gilbert precisely because what they write clearly is necessary for them.
- February 25, 2007 at 6:44 AM
- Mark Granier said...
True Ron, to my knowledge you don't assert that that your kind of poetry is the only kind worth writing/having, at least not directly (though Reginald may know something I don't).
But there are different ways of asserting these things. When you grandly dismiss Yeats as "operating out of a context that has little to do with U.S., frankly" or mischievously title a link to an article that praises Frost as "what's wrong with Irish poetry" (to cite just 2 examples) you are making such sweeping statements (using such a ridiculously broad brush) that one could easily be forgiven for assuming that you are being VERY assertive about what kind of poetry is or isn't permissible.
- February 25, 2007 at 10:03 AM
- Reginald Shepherd said...
Dear Ron,
First, let me say that I'm very pleased and, yes, honored that you are still reading my blog and that you chose to post a comment.
Given that my piece was somewhat polemical, there was an element of conscious overstatement in the passage to which you object, which sets you and John Barr up as polar opposites who nonetheless share a similarity (extremes meet and all that). And in fact John Barr is considerably more narrow and rigid in his ideas than you are.
It is true that there are poets who are not "avant-garde" or "post-avant" whom you have praised. Nonetheless, you are highly consistent in what you praise and, especially, in what you dismiss.
The unsystematic and apparently random quality of the exceptions that you make to your own strictures gives me as a reader the feeling, not that your strictures and categories are flexible and capacious, but that your exceptions are arbitrary, made for reasons that are never clear to me, except in personal or, sometimes, social terms (poets from approved ethnic minority groups tend to get a pass).
For example, Daisy Fried lives in Philadelphia and didn't do an academic poetry degree, and thus perhaps has an "outsider" cachet (though she's published by my publisher). Her work doesn't seem to me any different from much other work that you dismiss. I can see no principle on which to distinguish her work from that other work.
I am sorry if I have misrepresented you, but if so, I remain convinced that it is only a matter of degree, not of kind. That there are occasional exceptions to my assertion does not make the assertion as a whole untrue.
Thanks again for reading, and take good care.
- February 25, 2007 at 10:40 AM
- Glenn Ingersoll said...
I suppose that looks like a criticism. It's not. Rather, I'm tired of the argument, the idea that one has to make this argument, especially among educated people. I mean, isn't it, like, totally obvious that poetry is not one thing?
During an editorial board meeting for a literary magazine I made an argument much like yours: "[P]ostpone ... judgment until the poem has been understood on its own terms. It is only then that one can determine one's position toward those terms, to evaluate whether what was done was done well or badly, and to decide whether it was worth doing at all." The response I got: "We're not angels like you, Glenn."
Ach. It didn't at the time, but it makes me laugh now!
- February 25, 2007 at 6:28 PM
- Henry Gould said...
Poets & critics are doing two different things. This fact probably accounts for some of the confusion. Open-mindedness & generosity should be part of the critic's ethical equipment. Often, however, in the case of the poet, his/her poetry is the ONLY real poetry out there - & its uniqueness often contains (sometimes in disguised form) a ferocious and "unfair" critique of other poetries. I'm not saying this is always the case, or that it's admirable - it's just there. It's part of poetic license. The poet is not required to be fair and evenhanded in the same way the critic must be.
- February 26, 2007 at 8:39 AM
- Reginald Shepherd said...
Glenn Ingersoll,
I will ignore the tone of your comment and respond to its subtance.
If it were obvious that there are different kinds of poetry with different methods and aims, most of the arguments and rifts in the poetry world would not exist. Obviously we recognize differences (how could we not?), but we still too often end up speaking of "my kind of poetry" as "poetry" itself. I am as guilty of this as anyone else.
One need hardly be an angel to try to approach objectivity. To think that one would, that all judgments are purely subjective or arbitrary, as you imply, is the worst sort of unthought-out relativism, in the pejorative sense.
Very few people, in poetry or in other areas of life, attempt to see things in their own terms or for themselves (which, again, does not preclude later judgment). But they should.
Reginald Shepherd
- February 26, 2007 at 9:21 AM
- John Gallaher said...
The bit on Barr was well done here. Barr will be giving a version of his talk at AWP in Atlanta. I hope that he's been reading up for it, and revising.
I don't think Silliman's being genuine here. Though he's right about his few positive reviews, he's delivered them with an air of "look everybody, I like some poems of quietude!"
"Necessary for them" is such a weird way to approach a poet's work. One could say that about Kooser as well. It doesn't make the poems any better . . . it just runs them through some cult of personality.
- February 26, 2007 at 11:08 AM
- Reginald Shepherd said...
Dear John,
Thanks for your comment. I agree that to say that poets "write the poems they need" says nothing about the quality of those poems, whether they are worth reading or worth writing. It can even be read as condescension: obsessive-compulsives, after all, also do the things that they need to do.
To say that a poet needs to write a poem hardly says that a reader needs to read it. It could imply just the opposite, that the poem is only a psychological symptom, of interest to no one but the author and perhaps his or her therapist.
Take good care, and thanks for commenting.
- February 26, 2007 at 11:36 AM
- scotland said...
Dear Mr.Shepherd, I am struck by a mental picture of a 'smith' engaged in the work of his forge. I do love the heat he must feel as he stands in charge of the fire,bringing proper fire to the peice,each stroke of hammer and all that forces its blow to ring out. I love his knowing the purpose of a thing,
the magic of its place in the world
and knowing his moment of imbuing a cross-sharing pf life into its nature. He is the 'smith',I come ther in need of his service, and for the look in his eye when he first set them upon me. In each of his actions I sense knowing the soul of a thing by touch,taste,sound,shape and color.
The depth of his expression,even the way he holds things seems as strong as every single one of the relations I have with the world. I know he shares my desire of being something of use. I find my self singing. SPH
P.S. Sorry I left out smell,perhaps I was holding my nose at the time these words were coined.
- February 26, 2007 at 3:12 PM
- Scott Hughes said...
I like poetry, but most of all I love spoken word!
- February 26, 2007 at 4:12 PM


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Ash Lizard
Sniffs the air and looks around
Pit-pattering footsteps; vocalizations (on-click)
I found my rare Ash Lizard indeed easy in Mount Hyjal, in The Flamewake. Flew over it for a quest, saw it on my mini map and decided to give it a try..... It was a rare. So just lucky or indeed easier to catch than in N'goro? I don't know, but I'm happy with mine, although it's a B/B breed. But for now I can tick it off my list.
found rare lizard in UnGoro Crater,at the base of hill by Mossy pile took me about 4hrs to get the rare to drop
If you are looking for a rare lizard in UnGoro Crater, make it the priority target if ever you see one as a secondary pet in a battle while collecting the others in this zone. Every other critter respawns pretty quickly - even the Dimetradon. However, as primary critters, these respawn very slowly and only at the central mountain with the fire elementals - often times accidentally killed by AoE while others are questing there. By the looks of it Mount Hyjal is an easier place to find them (but untested).
Found mine when I engaged a Spotted Bell Frog, just before the slope with the road leading to Tanaris.
Found mine on the Blackened ground around Fire Plume Ridge. Quite a few scattered around there. It was pretty low health compared to others i had seen (Around 700ish HP) so assumed it was a poor/common quality, when i caught it, it was a rare!
found him while battling an emerald boa, he was second pet in battle line...have yet to see him wandering around to battle first
I'm actually pretty excited to see these guys as a pet. I noticed them when they started running around Org, and thought that they looked neat. Blizzard has made my day with all the new pets to collect!


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Learn About the Law
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Messrs. Charles F. Benjamin and Rutherford Lapsley for Shropshire, Woodliff, & Co. [204 U.S. 186, 187] Messrs. George D. Lancaster, John P. Tillman, J. H. Beal, and Williams & Lancaster for Bush et al.
Mr. Justice Moody delivered the opinion of the court:
The appellees are trustees of the bankrupt estate of the Southern Car & Foundry Company. The appellants, before the commencement of the proceedings in bankruptcy, acquired by purchase and assignment a large number of claims for wages of workmen and servants, none exceeding $300 in amount, and all earned within three months before the date of the commencement of the proceedings in bankruptcy. The district court for the eastern district of Tennessee rendered a judgment disallowing priority to these claims, because, when filed, they were not 'due to workmen, clerks, or servants.'
On appeal to the circuit court of appeals for the sixth circuit that court duly certified here for instructions the following question:
The question certified has never been passed upon by any [204 U.S. 186, 188] circuit court of appeals, and in the district courts the decisions upon it are conflicting. Re Westlund, 99 Fed. 399; Re St. Louis Ice Mfg. & Storage Co. 147 Fed. 752; Re North Carolina Car Co. [semble], 127 Fed. 178, where the right of the assignee to priority was denied; Re Brown, 4 Ben. 142, Fed. Cas. No. 1,974 [act of 1867, 14 Stat. at L. 517, chap. 176]; Re Harmon, 128 Fed. 170, where, on facts slightly but not essentially different, the right of the assignee to priority was affirmed.
The bankruptcy law (act July 1, 1898, 30 Stat. at L. pp. 544, 563, chap. 541, U. S. Comp. Stat. 1901, p. 3447), in 1, defines 'debt' as including 'any debt, demand, or claim, provable in bankruptcy.' Section 64, under which priority is claimed in this case, is, in the parts material to the determination of the question, as follows:
The precise inquiry is whether the right of prior payment thus conferred is attached to the person or to the claim of the wage-earner; if to the person, it is available only to him; if to the claim, it passes with the transfer to the assignee. In support of the proposition that the right is personal to the wage-earner, and enforceable only by him, it is argued that it is not wages earned within the prescribed time which are given priority, but wages 'due to workmen, clerks, or servants;' that when the claim is assigned to another it is no longer 'due to workmen, clerks, or servants,' but to the assignee; and therefore, when presented by him, lacks one of the characteristics which the law makes essential to priority. In this argument it is assumed that the wages must be 'due' to the earner at the time of the presentment of the claim for proof, or, at least, at the time of the commencement of the proceedings in bankruptcy. Without that assumption the argument fails to support the conclusion. [204 U.S. 186, 189] But the statute lends no countenance to this assumption. It nowhere expressly or by fair implication says that the wages must be due to the earner at the time of the presentment of the claim, or of the beginning of the proceedings, and we find no warrant for supplying such a restriction. Regarding, then, the plain words of the statute, and no more, they seem to be merely descriptive of the nature of the debt to which priority is given. When one has incurred a debt for wages due to workmen, clerks, or servants, that debt, within the limits of time and amount prescribed by the act, is entitled to priority of payment. The priority is attached to the debt, and not to the person of the creditor; to the claim, and not to the claimant. The act does not enumerate classes of creditors and confer upon them the privilege of priority in payment, but, on the other hand, enumerates classes of debts as 'the debts to have priority.'
In this case the Southern Car & Foundry Company had incurred certain debts for wages due to workmen, clerks, or servants, which were earned within three months before the date of the commencement of proceedings in bankruptcy. These debts were exactly within the description of those to which the bankruptcy act gives priority of payment, and they did not cease to be within that description by their assignment to another. The character of the debts was fixed when they were incurred, and could not be changed by an assignment. They were precisely of one of the classes of debts which the statute says are 'debts to have priority.'
The question certified is answered in the affirmative, and it is so ordered.
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Burden of beast
Mounting economic pressures cast a dark shadow on the future of camels and their traditional breeders in Rajasthan
World's protected areas do not safeguard biodiversity
New study suggests nations will have to go for a paradigm shift they are serious about protecting wildlife
'Plastics should be classified as hazardous'
Current rate of production may add 33 billion tonnes of plastic by 2050; classification can help reduce this amount to four billion tonnes, says …
Breakthrough in search for new malaria cure
Scientists find a way to block malaria parasite from making itself at home inside host blood cells; research opens up possibilities of new …
Natural source of fire retarding chemical identified
Presence of polybrominated diphenyl ethers, used in insulation among other things, in the environment was till now attributed to human activity
360 unique songbirds make eastern Himalaya a biodiversity hot spot
DNA sampling shows how the birds evolved and colonised niches, leaving no room for migrant species and slowing diversification
Mitigate man-animal conflict: tiger conservation authority
Chhattisgarh tigress could have been saved from mob death on September 24
Bamboo flowering
People in northeast India fear bamboo flowering. According to an ancient belief when bamboos flower, there is death and destruction.
Flame in the rainforest
LATHA JISHNU discovers how indigenous communities in Ecuador are fighting to protect Amazonia from oil extraction
World Elephant Day: Why conservation efforts in Africa evoke opposing reactions
Uneven distribution of the jumbos across the continent has led to increase in human-wildlife conflict and loss of habitat
Conflicts are no less around national parks, sanctuaries
First-of-its-kind study in India carried out in Karnataka finds number of villages affected by human-elephant conflict and the compensation paid …
Genome sequence reveals big cats evolved to kill, eat meat
Mapping of genomes to help wildlife conservation efforts and combat wildlife crime
Use of toxic chemical HBCD severely restricted under Stockholm Convention
The persistent organic pollutant is used in building insulation, especially in the EU
Radio-collared leopard killed by speeding vehicle in Thane
Ajoba made headlines in 2009 when he travelled over 100 km from Pune to Mumbai's Sanjay Gandhi National Park
New NASA video shows how carbon dioxide flows in Earth's atmosphere
Nearly all emissions of the greenhouse gas originate in the Northern Hemisphere
Underpass for elephants? Supreme Court snubs solicitor general
Apex court refuses to modify its order directing Indian Railways to reduce speed and stop goods train movement on killer track in northern West Bengal
Research on avian influenza virus to resume
Scientists had suspended research a year ago following public safety concerns over laboratory-modified H5N1 viruses
World lost 68% vertebrates in 1970-2016: WWF
Freshwater wildlife down 84%; Latin America, the Caribbean particularly hit
40 per cent of Europe's sharks and rays face extinction risk: IUCN
Conservation body's newly released 'Red List' says 7.5 per cent of continent's marine species are at risk of extinction
Sri Lanka: tourism impacts corals, fish catch in coastal town
Coastal conservation law has done little for the health of the very marine park that brings tourists in hordes to Hikkaduwa
Forest dept finds irregularities in non-profit's owl conservation efforts
Wildlife Research and Conservation Society accused of violations including straying from the core area of conservation, banding owl species …
Wildlife NGO group gets flak for seeking curbs on forest rights of indigenous people
Application moved in Supreme Court by three wildlife NGOs seeks to reverse rights granted under Forest Rights Act, allege tribal rights activists …
18 tribal villages in Maharashtra get tendu rights, finally
Sulking contractors refuse to put in auction bids; state tribal development corporation to the rescue
Half of the world's richest biodiversity zones unprotected: UN study
Fast progress needed on targets for protected areas especially marine areas, it adds
Delegates attending biodiversity meet swing to Bollywood tunes
Negotiations progress smoothly


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I am hoping to make this question and the answers to it the definitive guide to dealing with daylight saving time, in particular for dealing with the actual change overs.
If you have anything to add, please do
Many systems are dependent on keeping accurate time, the problem is with changes to time due to daylight savings - moving the clock forward or backwards.
For instance, one has business rules in an order taking system that depend on the time of the order - if the clock changes, the rules might not be as clear. How should the time of the order be persisted? There are of course an endless number of scenarios - this one is simply an illustrative one.
- How have you dealt with the daylight saving issue?
- What assumptions are part of your solution? (looking for context here)
As important, if not more so:
- What did you try that did not work?
- Why did it not work?
I would be interested in programming, OS, data persistence and other pertinent aspects of the issue.
General answers are great, but I would also like to see details especially if they are only available on one platform.


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Thursday, October 14, 2010
Eat Your Veggies...Before They Eat YOU!
Sorry for the lack of posts recently. Been insanely busy. Hopefully I'll get back on my regular posting schedule soon. Enjoy Zombie veggies!
Posted by Jeff Victor at 7:03 PM 3 comments:
Thursday, September 2, 2010
Bunny Boy
Ok, so I was just making up this story in my mind about a little kid who LOVES rabbits so much, he dresses like one and ultimately ends up pulling all but his front teeth out. Hope you dig it!
Posted by Jeff Victor at 3:54 PM 1 comment:
Tuesday, August 31, 2010
It's Not Over Til...
Another in my mermaid series...was going to do a full painted version of this, but I decided I was going be lazy instead. Idk, maybe I'll paint her up in the future...
Posted by Jeff Victor at 10:02 AM 4 comments:
Monday, July 26, 2010
Part of your world
The third in my series of unconventional mermaids. This time it's a half eel, half nerdy girl. I am mainly doing these as a way to practice painting in photoshop, a new skill for me. The nice thing is, the more I do of these, the quicker they go...Viva la progress! Hope you like this one...
Posted by Jeff Victor at 7:12 PM 2 comments:
Monday, July 19, 2010
Feelin Crabby
Posted by Jeff Victor at 7:39 PM No comments:
Wednesday, July 14, 2010
Imma Bite You
I'm really trying to wrap my head around digital painting. This is I think my 4th attempt at it. I still have a lot to learn.
The subject of the piece is based on the idea that there are many different varieties of mermaids, this one is half shark, half woman, instead of the traditional half fish, half woman. A tip of the hat to my friend Kristen for drawing something that inspired this! :)
Posted by Jeff Victor at 4:37 PM No comments:
Wednesday, June 23, 2010
2010 Sketchbook
The cover of my new sketchbook! It will debut at comic con next month, where I hope you all can get a copy. It's a limited print run, and it is filled to the brim with awesome sketches, caricatures, colored pieces, and some surprises. You can't afford NOT to pick this one up! My partner on this book is the super talented Shane Corn, aka Maizekid! His stuff is dope! We each have 20 packed pages in this sucka!
Posted by Jeff Victor at 4:21 PM 4 comments:
Tuesday, June 22, 2010
Cleaning lady rivalry
Just a little something something I pulled out of my ol' sketchpad...It made me laugh to think of these 2 cleaning ladies, always competing with each other...
Posted by Jeff Victor at 1:57 PM 1 comment:
Monday, June 14, 2010
Posted by Jeff Victor at 1:46 PM 1 comment:
Monday, May 31, 2010
Massive Sketch Dump
Here's a few of the dozens of pages from my sketchbook that I've been too busy(lazy) to scan and post. Well, not so much a sketchbook as a bunch of looseleaf sheets of white paper clipped in a binder...but you get the idea. I hope you dig these....thanks for looking!
Posted by Jeff Victor at 7:15 PM 5 comments:
Wednesday, May 12, 2010
Sorry, I've been MIA for a while--been working on a bunch of projects I can't really show yet. BUT! Stick around. My very first sketch-art book is coming this summer and will be offered for sale at San Diego Comic Con as well as thru this website...Lots of sketchbooky art, colored finals, never before seen crap, and more! It'll be a joint book with my talented artist friend Shane Corn, who will also be bustin out the goodies for ya! Take care!
Posted by Jeff Victor at 1:37 PM 1 comment:
Wednesday, March 31, 2010
Monday, March 22, 2010
This was done a year or so ago as a tribute to one of my passions, Grindhouse cinema. Hope you dig it, you jive turkey!
Posted by Jeff Victor at 6:26 PM No comments:
Tuesday, March 9, 2010
I'm lovin' it
Posted by Jeff Victor at 5:29 PM 4 comments:
Thursday, February 25, 2010
Hey, what do you know--my 200th post on my blog! WOOOOT. Here's a sad looking guy waiting for someone to notice him as they walk past...
Posted by Jeff Victor at 1:52 PM No comments:
Friday, February 19, 2010
Posted by Jeff Victor at 5:06 PM 2 comments:
Tuesday, January 26, 2010
Nummy num nums
Sorry for the lack of updates lately. Been really busy working on some personal works, some commissions, etc. etc. etc. But, had a quick minute to whip up this kid eating monster slug thing.
Posted by Jeff Victor at 2:11 PM 3 comments:
Thursday, January 7, 2010
Popcorn Mania!
In 2006, I worked alongside director/actor Bob Balaban to create a set for a series of shorts that ran on Cinemax and IFC. I created tons of black and white flats for use as background objects, which they picked from. My favorite pieces weren't chosen, namely a cityscape and 20 foot high volcano, but hey, that's show biz. In addition, I helped construct and paint the enormous popcorn set the actors stood in. Bob Balaban was a really nice guy, and after we wrapped, he had me concept on his next project, an animated show called "Hopeless Pictures". I would love to work with him again. Anyway, I just found these shorts online and thought I would share them with you. Go to http://www.wsfilms.com/director-bob-balaban.asp and click the shorts with popcorn...
Posted by Jeff Victor at 2:51 PM 1 comment:
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Opening day for the bay scallop season is as much a part of the Vineyard culture as any holiday. On Saturday, dozens of smiling Tisbury residents turned out in Lagoon Pond to harvest bushels of the tasty sweet bivalves, and they had little trouble finding them.
Holders of family recreational permits harvested 528 bushels last weekend. Those bay scallops would be valued between $40,000 and $50,000 if they were sold on the retail market.
Derek Cimeno, shellfish constable for Tisbury, said Wednesday he was pleased with the harvest, which he said looks to be larger than he had forecast initially. Right now, he added, it looks like the fishery might last until Thanksgiving.
Along the western side of Lagoon Pond, dip-netters appeared as little colorful spots not far from the shoreline. Each dip-netter towed a floating black inner tube with a basket inside. It didn't take them long to catch their family limit of one bushel. Some of the fishermen called back and forth.
The waters were again filled with fishermen on Monday, but this time, they were all commercial fishermen. Mr. Cimeno said holders of 13 of the 20 commercial permits issued were out on the water, in boats of varying size. Their bay scallops will be shucked and sold on the retail market for $12 to $15 per pound; each fisherman is limited to two heaping bushels a day.
On Wednesday morning, Mr. Cimeno and his assistant, constable Donald MacGillivray, were out surveying activity on the pond. Most commercial fishermen rise with the sun and are out on the water before 7 a.m., he said.
Anyone driving around the Vineyard Haven waterfront that early in the morning will find Maciel Marine docks as popular a meeting place as the local coffee shop. Men gather wearing their oilskins and compare notes before heading out to work.
They also gather at the town boat landing off Beach Road, near the drawbridge. "It is kind of festive," said Mr. Cimeno, describing the morning scene.
On Wednesday morning Albion (Beanie) Alley sat in his pickup truck parked at the boat landing, watching his friends out on the water. Mr. Alley went scalloping last weekend, but only recreationally. This is the first year in 31 years he is not going commercial bay scalloping.
Don Mitchell, 75, fished over the weekend in the old-fashioned manner, hand-hauling his drags from the bottom. His drags - a piece of Vineyard waterfront history - were crafted on the anvil of Edgartown blacksmith Orin Norton.
Mr. Mitchell has long-cherished memories of bay scalloping in town.
"I began scalloping when I was 17 years old," he said. "I always enjoyed going. I think of it as relaxing."
Years ago, many more Islanders relied on bay scallops for a living, as commercial fishermen worked well into the winter. The money earned paid the bills and put food on the table and Christmas presents under the tree. Those days are over.
Rick Karney, the director of the Martha's Vineyard Shellfish Group, sees both the negative and positive side of this year's bay scalloping season. While scallops in Vineyard waters are abundant compared to Cape Cod and Long Island, he said, it still would be nice if there were more.
Predators of bay scallops impact their numbers.
"We have cages protecting bay scallops at the hatchery," Mr. Karney said. "Recently we pulled them out of the water, and the outside of the cages were covered with green crabs. I haven't seen so many green crabs.
"It was surprising to me, they congregate where there are bay scallops," he said. "You can imagine that the natural set of bay scallops is getting attacked pretty heavily.
"If you talk to people on the Cape, they are reporting that it is nothing like it was 20 years ago," Mr. Karney added. "We all keep hoping that we are going to come out of this cycle, but we just don't see them coming back on the Cape."
Looking to the future, he said "There is a heavy set of seed in Chilmark and Oak Bluffs for the coming year. They have nothing now, but we hope that the crabs don't do a job on them for the next year."
Oak Bluffs and Chilmark are reporting poor harvests so far this year, but Edgartown shellfishermen are doing well. Aquinnah officials have not yet surveyed the ponds.
At least in Vineyard Haven, there is another way to find out how successful the scalloping season is.
At the foot of Skiff avenue there is an old gray scallop shed overlooking the pond, where Stuart Bangs manages a small shell heap that keeps growing daily. The bulk of the shells comes from Vineyard Haven fishermen who shuck their scallops, and almost every day this week Mr. Bangs raked and collected the shells and took them to his son's driveway.
Mr. Bangs bases his judgement on the size of the heap. "This far it indicates an average year," he said.


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Team Led By American Museum Of Natural History Shows Big Fish, Small Fish, Reef Thrive Within Caribbean Marine Park
by AMNH on
Nassau Grouper
Two American Museum of Natural History biologists and their colleagues have conducted an in-depth study of Bahamian coral reefs, showing that marine reserves, in addition to protecting key species, can lead to healthier coral reefs. Knowing that marine reserves can be highly effective in protecting certain types of predator fish, such as Nassau grouper (an economically and culturally important Caribbean species), the researchers were interested in how a build-up of predators might affect the rest of the coral-reef ecosystem. For example, an abundance of predators could suppress populations of herbivores, allowing seaweed populations to bloom and overwhelm corals. Instead, they found that a 20-year-old fishing ban within a marine park, in addition to resulting in an expected increase in groupers (because they were protected from fishers in surrounding waters), has had positive effects on parrotfish, the primary grazers on Caribbean reefs. In turn, the parrotfish have contributed to a healthier reef by reducing algae and seaweed. This "win-win-lose" across the grouper-parrotfish-algae portion of the food web is ultimately possible because larger parrotfish within reserves are able to both avoid fishermen's traps and "escape" the risk of predation from groupers by growing larger than groupers can swallow. This leads to more and larger parrotfish, increased parrotfish grazing, reduced algal coverage, and more free space for the establishment and growth of new corals on reefs within reserves.
The new study, led by Peter Mumby of the University of Exeter and including Dan Brumbaugh, Senior Conservation Scientist, and Katherine Holmes, Marine Biodiversity Specialist, of the American Museum of Natural History's Center for Biodiversity and Conservation (CBC), along with Alastair Harborne and Steve Box of the University of Exeter, Craig Dahlgren and Kevin Buch of the Perry Institute for Marine Science in Florida, Carrie Kappel and Fiorenza Micheli of the Hopkins Marine Station at Stanford University, Judith Mendes of the University of the West Indies, Kenneth Broad of the University of Miami's Rosenstiel School of Marine and Atmospheric Science, James Sanchirico of Resources for the Future, Richard Stoffle of the University of Arizona, and Andrew Gill of the Institute of Water and Environment is published in the latest issue of the journal Science.
Parrotfish Jaws
The Exuma Cays Land and Sea Park, the marine reserve featured in this research, is located in the central Bahamas and has had a no-take fishing policy since 1986. Within the reserve, the biomass of grouper is seven times greater than that observed in three other regions of the Bahamian archipelago. Some critics of fishing restrictions within marine reserves have claimed that such rules could indirectly damage coral reefs if predator fish populations go unchecked. For example, if grouper populations rebound so successfully that they can significantly reduce local populations of prey species--such as algae-eating parrotfish--this could have the unintended and unwanted consequence of damaging coral reefs by reducing the grazing that helps maintain the cover of living corals. The new findings undermine such concerns and suggest that no-take marine reserves benefit not just single species, but whole ecosystems.
"Our team found that a long-term, no-take marine reserve enhances the process of parrotfish grazing on coral reefs in The Bahamas," Dr. Brumbaugh said. "This grazing is key to the ecosystem functioning of coral reefs, since without it, reefs will continue to transform into algal lawns. Corals, of course, are important since they create the reefs over millennia, providing habitats for an astounding diversity of other animals and plants."
How a reserve protects grazers and grazing seems key to the ability of coral reefs to recovery from both natural and man-made disturbances. "Caribbean reefs are still trying to recover from the devastating effects of an El Nileaching event in 1998 which caused widespread damage to coral around the world," Dr. Mumby said. "What we have found is that marine reserves might provide exactly the right conditions to allow this recovery to happen."
The study involved surveying fish, corals, and other reef organisms at various locations in and around the marine reserve and at additional reefs throughout The Bahamas. The research team found twice as many parrotfish predators, nearly half of which were Nassau groupers, inside the reserve as outside. Since larger parrotfish species escape grouper predation better than smaller parrotfish, smaller species of parrotfish fared less well in the reserve. Overall, though, the increased numbers of larger parrotfish outweighed the decreased sizes of the smaller parrotfish to produce a net doubling of grazing intensity within the reserve. Correspondingly, the cover of algae on reefs was reduced four-fold compared to outside the reserve.
"Better understanding of the dynamics of species interaction is crucial, but it is not the only part of the puzzle," said Dr. Broad, one of the research project's social scientists. "How reserves may affect the local human communities that rely on these fishing grounds must be considered. Will fishers shift effort toward other fishing grounds that may then suffer similar environmental consequences? Might they switch to activities and fishing methods even more damaging to the environment once their livelihoods are threatened? Given the lack of enforcement that exists in many parts of the world, how can local groups play a role in developing innovative approaches for managing the resources that they rely upon most directly? These and other questions are being addressed in other components of the larger research project."
Bahamas Biocomplexity Project (BBP)
These new findings on the ability of the Exuma Cays Land and Sea Park to enhance a critical ecosystem function are part of a five-year, first-of-its-kind study of how networks of marine protected areas (MPAs) can conserve biodiversity, sustain fisheries, and enhance local economies in the Caribbean.
The project, funded by a $2.5 million Biocomplexity in the Environment grant from the National Science Foundation (NSF), is headed up by Dr. Brumbaugh at the CBC. The study focuses on The Bahamas, an archipelagic nation of hundreds of islands. In 2000, the Bahamian government declared its intention to protect 20 percent of its marine environment within a network (an ecologically connected system) of MPAs, and is currently in the process of implementing five new reserves. At the same time, the Bahamas National Trust, a non-governmental organization that manages the country's national park system, is in the process of enhancing its management of its system of marine parks, including the Exuma Cays Land and Sea Park. This setting provides the real-world management context for the BBP's ambitious efforts to synthesize theories, methods, and data from oceanography, marine ecology, population genetics, anthropology, and economics, as the researchers address important questions about the design of effective MPA networks. The research team is focusing particularly on understanding, through direct observation and simulation modeling, the complex interactions and feedbacks between coastal peoples and their marine environment, and the ripples and cascades of these human-ecosystem interactions within and across an archipelago.
"In addition to looking at how single protected areas may influence ecological and human dynamics, we are also looking at the ecosystem across larger seascapes--how the living fabric of habitats, organisms, and human uses functions across the shallow banks of The Bahamas," said Dr. Brumbaugh. "In marine systems, the connectivities--the movements of water, organisms, and people throughout these seascapes--frequently affect the health of the overall system, so we're trying to understand the consequences of these dynamics to the health and well-being of the ecological, social, and economic systems." In addition to containing tremendous biodiversity, coral reefs throughout the Caribbean support local fisheries and important tourist industries. BBP researchers are in the process of building statistical and theoretical models of the natural and human processes that can influence the conservation and economic functions of a network of MPAs. This research will both help support ongoing decision-making in The Bahamas as well as provide new underpinnings to the science of conserving coral-reef ecosystems worldwide.
Dr. Brumbaugh is leading the interdisciplinary and inter-institutional data collection and assimilation effort, coordinating the work of research groups across multiple institutions, including the College of The Bahamas, the Perry Institute for Marine Science, Resources for the Future, Stanford University, the University of Arizona, the University of California, Davis, the University of Exeter, and the University of Miami.
Media Inquiries: Department of Communications, 212-769-5800


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Thanks for the mention, Ashley! Some good links here.
Welcome to Wise Bread's Best Money Tips Roundup! Today we found some fantastic articles on negotiating the raise you deserve, getting kids outside in the summer, and free ways to make someone's day.
7 Tips For Negotiating The Raise You Deserve — To negotiate the raise you deserve, remember to consider the schedule and emphasize your work performance. [SavvySugar]
Cheap and Unique Ways to Get Kids Outside in the Summer — Get kids outside this summer by going camping or heading to a local park. [MoneyNing]
10 Free Ways to Make Someone's Day — To make someone's day, listen to them or give them a hand with something. [Personal Finance Advice]
10 Basic Credit Report Questions & Answers — Did you know your credit report is updated on a monthly basis? [Credit Karma Blog]
5 Must-Have Online Tools and Apps For Freelancers — If you are a freelancer, consider using SignEasy and DropBox. [Careful Cents]
Why Lottery Winners Go Broke: Prospect Theory At Work — One potential reason lottery winners go broke because they will hold onto their positions even if they are sliding in price. [The Digerati Life]
Make Extra Money on the Side By Being a Product Merchandiser — If you are looking for a way to make extra money, consider being a product merchandiser for Pepsi Co. or SPAR Inc. [Generation X Finance]
Reduce Your Debt: Debt Snowball vs. Highest Interest Method — The most important strategy to reducing your debt is to start paying it off in any way possible! [Moolanomy]
Is Your Money in the Right Place? — Make sure your money is in the right place by finding the best provider based on your investment style. [Get Rich Slowly]
5 Summer Swindles and How to Avoid Them — To avoid the summer swindle of phishing, watch out for illegitimate emails about summer travel. [Mint]
Disclaimer: The links and mentions on this site may be affiliate links. But they do not affect the actual opinions and recommendations of the authors.
Wise Bread is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com.


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If you don't follow Your Fat Friend on Medium or Twitter, maybe you want to make that part of your New Year's Resolution. Her writing is insightful, emotionally resonant, and uncompromising. Her most recent article is an open letter to director/fashion designer Tom Ford on his debut film Nocturnal Animals, specifically the use of fat women's bodies as symbolic imagery and her own experience as part of a theater audience.
It was neither the first nor the last time an artist or intellectual I loved expressed their disdain for me. All because of the body I have. All because of the way I look.
I wonder if they ever imagined me reading or viewing their work. I wonder if they thought of lecturing me on the dangers of the body I have, or if they stop short, surmising that I might have heard that before.
I wonder if they know fat people, or if they've come to love any of us.
I'd also like to take this opportunity to let you know that I'm going to be busy with theater projects in January, so I won't be able to update CPBS next month. However, if you think you'd like to contribute a guest piece, please reach out to me with a pitch: pandabearshape at gmail dot com.
I hope you have as safe and peaceful a holiday season as possible.
via Consistent Panda Bear Shape http://ift.tt/2i6ltZk


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Philips and Armin van Buuren have launched the M1X-DJ System, a combined DJ controller and sound system.
Combining a sleek design aesthetic and easy-to-use interface with innovative technology, the M1X-DJ allows anyone who wants to mix, play and share their music in one portable device. It combines a DJ controller and sound system that comes integrated with an Apple Lightning connector and Bluetooth® connectivity and works seamlessly with the djay 2 app from Algoriddim.
"Fans often ask me what equipment they should buy when they want to start mixing themselves," said Armin. "A lot of kit can be expensive, so with the M1X I wanted to create something that's accessible for everybody. The other great thing about the M1X is that you can play it wherever you want, whether that's the beach, the park or your street: it's the ghettoblaster reinvented for today."
"Music drives us, especially in its ability to let people express themselves through their own unique sound," said Ruggero Nardone, senior manager consumer marketing, audio at Philips Lifestyle Entertainment. "The M1X-DJ makes mixing, playing and sharing tracks simple. Everyone loves a great party and this product will deliver a great music experience, whatever the setting."
"We are thrilled about the release of the M1X-DJ," said Karim Morsy, CEO of Algoriddim. "djay users of any skill level will be excited to control their music in a whole new way with this unique new DJ system."
The Philips M1X-DJ System includes speakers that output an impressive 80-Watts of sound. Optimized for iPad® and compatible with the iPhone 5®, the system includes an Apple 'Lightning' connector and Bluetooth wireless connectivity. Using the djay 2 app, you can switch between tracks on your playlist or mix tracks together for a sound that is truly your own. The integrated DJ controller allows you to mix and scratch your music using two professional grade platters, cross faders and controls – just like a professional DJ would use.
The system is simple to use and provides an authentic DJ experience for beginners to professionals, depending on how you choose to use the features. With multiple inputs and outputs, aspiring artists can link up multiple M1X-DJs or bigger stereo systems for a more club-like sound. Bluetooth connectivity allows you to share your favorite music from Bluetooth-enabled devices. When the party moves outside or to a remote location that may not have accessible power, the M1X-DJ will play for five hours with D cell batteries.
To help make the most of your mix, the Philips M1X-DJ works seamlessly with Algoriddim's djay 2, an intuitive DJ app that makes it easy to get started fading and mixing tracks. Downloaded by millions of users around the world, Algoriddim's djay has won the prestigious Apple Design Award and has charted as the #1 top paid app on the iTunes App Store. The app makes it easy to get started for beginners and has advanced features for those with more experience.
The Philips M1X-DJ Sound System will be available in November 2013 with a recommended retail price of 399.95 EUR.
More information: Philips