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Ryerson University in Toronto is installing 802.11ac wireless networking in its new Ted Rogers School of Management and is upgrading many of its existing access points to the new technology.
The university's IT department decided to upgrade and expand the WiFi network to support the proliferation of wireless devices and applications on campus. As with many universities, Ryerson has seen a significant increase in the number of mobile devices accessing its network, hitting peaks of 15,000 concurrent connections. Other demands on the network include student use of online video for both personal and educational purposes, transition from analog and digital phones to wireless voice over IP (VoIP) phones as well as other administrative tools such as wireless cash registers and asset tracking.
The IT team also said it wanted to improve wireless coverage. "Currently, we have 90-95 percent wireless coverage across our campus," said Mourad Michael, assistant director of communications infrastructure for Ryerson. "We'd like to get to 100 percent and cover some of the current 'dead zones' such as a few green areas on campus where students like to convene and need access."
Another challenge facing the university's WiFi network is its location in downtown Toronto. "Our campus is surrounded by high-rise buildings," said Michael in a prepared statement. "As a result, we're frequently plagued by signals and rogues from all over campus and the surrounding area. Secure and reliable coverage is critical in this kind of environment."
Ryerson's existing WiFi network used technology from Aruba Networks, and the IT department decided to stick with the company for the upgrade and expansion. The university has already deployed more than 250 Aruba AP-225 802.11ac access points throughout the new three-story business school. By the time the deployment is complete, the university will have 1,000 Aruba AP-225 access points, primarily in the business school, but some will also replace older model Aruba APs in other campus locations. According to information on the company's site, 802.11ac technology is faster, more secure and more energy efficient, and it provides better coverage even for 802.11n devices.
In addition to the Aruba AP-225 access points, the university's network also includes a mix of Aruba AP-135 and AP-105 access points, Aruba Mobility Controllers, the AirWave Network Management System and Aruba Remote Access Points for departments with remote and virtual offices. The university has created user roles for students to restrict network access to resources, groups and applications based on the students' department. In the future, the university plans to add Aruba's ClearPass Access Management System and AirGroup technology to assist with onboarding mobile devices and managing Apple Bonjour traffic.
According to information released by the company, Ryerson's Aruba network uses ClientMatch technology that "matches mobile devices to the best possible access point each time they connect." The company reported that "802.11n devices in the school have achieved speeds of up to 600 Mbps, and 802.11ac clients are expected to experience speeds of up to 800 Mbps, once the network is in full production."
Ryerson University is a public research university specializing in career-focused education. The university is located in downtown Toronto, Canada. It serves more than 30,000 students and employs 2,700 faculty and staff.
About the Author
Leila Meyer is a technology writer based in British Columbia. She can be reached at firstname.lastname@example.com.
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I can't imagine any artist more appropriate to feature than Lorraine Fox to cap off this week of launching a new blog about Female Illustrators of the Mid-20th Century. Fox was a true original. Her distinctly personal style of art would alone have set her miles ahead of her contemporaries...
...but even more impressive is that she achieved such success (being regularly published in all the major magazines of the day) while in the company of some of the undisputed giants of 1950s "idealized literal realism" at the Charles E. Cooper studio.
Along with Al Parker and a few others, this 'boys club', comprised of Coby Whitmore, Joe DeMers, Jon Whitcomb and Joe Bowler (not to mention Fox's own husband, Bernie D'Andrea) virtually owned all the visual real estate in "The Seven Sisters" from one month to the next during the 1950s.
Any illustrator - but especially a female illustrator - would have needed tremendous self confidence to not take a back seat to this elite group.
At a time when American beauty was being defined for women by men, Lorraine Fox managed to convince the art directors of some of the country's most prominent publications that her unique voice should also be heard.
Murray Tinkelman, Director of the MFA program in Illustration at the University of Hartford, said of his friend and mentor, "Lorraine lived in... that world of decorative illustration. It wasn't quite cartooning, it wasn't quite narrative illustration, it was a kind of symbolic illustration that depended on folk art as a root source."
"[In spite of having no formal illustration education] I knew enough that what Lorraine was doing was brilliant."
"Anybody could tell what Al Parker did and what Norman Rockwell did was brilliant..."
"... but Lorraine was doing brilliant stuff that didn't depend on the academic foundation of Parker or Rockwell."
When I interviewed Murray for Today's Inspiration I suggested he guest author a week of posts on Lorraine Fox. He sounded very enthusiastic about collaborating with me on something like that. With his help, I hope to bring you a comprehensive look at the life and work of this truely remarkable artist some time soon.
* The scan at top of a Lorraine Fox original is courtesy of Heritage Auctions.
* My Lorraine Fox Flickr set.
* With the inclusion of Lorraine Fox, there are now 15 artists documented on Female Illustrators of the Mid-20th Century.
Celebrating illustration, design, cartoon and comic art of the mid-20th century.
Friday, March 05, 2010
Lorraine Fox: A Female Illustrator Your Should Know
2 comments:
Lorraine Fox's work is simply amazing. I'm a big fan of her work, as you already well know, Leif. It's great that you're featuring her on your new blog - can't wait to catch up and check it out!ReplyDelete
I've got a few of Lorraine's work in my scans on Flickr:
Household Magazine cover for Nov. 1952
Also, I found out that it was Lorraine who did the fantastic two-color pieces in the Better Homes & Garden Decorating Book from 1956. I used her illustrations for a mural I painted for a midcentury furniture & decorating store in Decatur, GA back in '05. See my post about that book and wall HERE.
great inspiration again! Thanks Leif!ReplyDelete
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NEW YORK -- The Jets addressed a couple of their major needs in free agency Friday, signing wide receiver Chaz Schilens and backup quarterback Drew Stanton.
Terms of the deal with Schilens were not immediately disclosed. Stanton told The Associated Press that he agreed to a $1.25 million, one-year contract a day after he arrived to meet with team officials.
Schilens, a seventh-round draft pick out of San Diego State in 2008, has 72 catches for 902 yards and seven touchdowns. He has dealt with a few injuries that limited him to 13 games from 2009-10 before playing in 15 last season -- but in a limited role with just 23 receptions.
"It was just too good a place to leave (without signing a deal)," Schilens said. "It was a combination of everything that impressed me. The two most important things were the mindset of the coaching staff on where the team is going, and the overall feeling of the commitment of the team to want to win with this great facility."
The Jets' revamped receiving corps now includes Schilens, Holmes, Jeremy Kerley and Patrick Turner, but New York could still have interest in bringing back Jerricho Cotchery or Braylon Edwards, who both played elsewhere last season.
New York was also interested in free agent quarterback Brady Quinn, but chose to sign Stanton to be the primary backup to Mark Sanchez, who signed a three-year contract extension last week.
Stanton, a second-round draft pick out of Michigan State in 2007, made the most of limited opportunities during his first three seasons in the NFL with the Lions. He was 2-1 as a starter in 2010 with four touchdowns, including one on the ground, and two interceptions.
Copyright 2012 by The Associated Press


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Imagine my dismay when I saw Ken Gurnick's story about Russell Martin's bid to make the All-Star Team this year. He is currently fifth in total voting for the catcher position. How is that possible?
It is time for the Dodger faithful to stand up and show some pride. Sure, the season has not been, so far, what we had all hoped. Our team is struggling at the plate and ailing on the mound. That is no reason to slight our greatest asset. Russell Martin has done everything expected of him and then some. We need to bear down, get on our computers and vote for the man most deserving of the starting catchers gig at the All-Star Game this season in New York.
Vote now and Vote often.
Click Here To Vote.


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Slash Says He Has Not Committed to Attend Rock and Roll Hall of Fame Inductions
For all the Guns N' Roses fans hoping and praying that the members of the band (like Slash and Axl Rose) will be able to bury the hatchet and perform on stage together for the first time in years at the Rock and Roll Hall of Fame inductions, don't hold your breath just yet.
Slash posted on his official Facebook page that he has not committed to attend the ceremony and anyone who has spoken to the contrary has no authority to do so.
Slash posted this short but sweet note about the matter: "For the record, I didn't RSVP, or in any way commit to attending the RRHF. I don't appreciate people putting words in my mouth."
So there is a little hope. Slash is just clarifying that he hasn't RSVP'ed yet and has not confirmed that he will attend at this time. Notice that he didn't say he won't be or isn't RSVP'ing. Accentuate the positive, right? The dream of a GN'R reunion, even if only for an evening, remains alive. Slash is a cornerstone of the GN'R legacy and we can't imagine that he wouldn't attend and celebrate his important contributions to rock and roll as a genre. He deserves and has earned this accolade.
The induction ceremony is set for April 14 in Cleveland, Ohio. The event will be taped and then air on HBO in early May. Let's hope Slash submits an RSVP sooner or later!


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Why Experian Connect?
- There's no fee to view your client's credit report, once purchased by your client
- Easy and convenient interface
- Small business users can make credit decisions
Experian Connect for Small Business Professionals
Experian Connect will let you view the personal credit report and score of clients who have granted you access. Perhaps you are a landlord evaluating a prospective tenant or a consultant who needs to setup the payment schedule. When you view your client's credit report and score through Experian, you can be sure you are seeing their information directly from the credit bureau.
Credit Checking Directly Between Small Business Professionals and Their Clients
Once you create your account on Experian Connect and you have completed authentication, you can start inviting your clients as connections. After your clients complete authentication and accept your invitation, they will be able to purchase their credit information and then grant you access to securely view it.
You will be able to quickly view your prospective client's credit report and score. This may eliminate manual paperwork and save you time – you may be able to make smart credit decisions faster.
Experian Credit Report and Score
What is a credit report?
A credit report is a snapshot of your client's experience with credit-related accounts. Aside from some basic personal information, like their name and address to help identify their report, there are three main types of information on their credit report:
- Public Records: Court-related information, including bankruptcies, state and county court records, tax liens, monetary judgments and, in some states, overdue child support payments.
- Credit Inquiries: Names of businesses or individuals that have obtained a copy of your credit report, including lenders, landlords, and employers.
- Accounts: Payment history on all your Real Estate, Installment, and Revolving Credit Accounts.
What is a credit score?
A credit score is a number based on the information in your client's credit report. It is similar to a grade you would have received in school, but instead of right and wrong answers, their credit score is based on positive and negative credit history. Paying bills on time and using credit responsibly builds a positive history while paying bills late and being irresponsible with credit builds a negative history.
There are many different ways to calculate a credit score. Experian Connect uses the VantageScore® calculation with the Experian credit report. VantageScore was developed by the three national credit reporting companies — Experian, TransUnion and Equifax. Unlike other scoring systems, it is the most consistent score using only one model with one set of scoring calculations, resulting in scores that are more uniform and consistent.
Experian Connect – Questions and Answers
Can I use this service for both personal and business use?
Yes. In fact, if you are a small or independent business, it is important to know your personal credit information, too.
Why is the credit score different from the three different bureaus?
The three national credit bureaus do not share information with one another. This means that, if your creditor only sends information to one or two of the credit bureaus or only pulls an inquiry from one bureau, the activity won't appear on all three reports. The three bureaus also have different formats for the way they collect and store data, so information for the same account may appear differently from one credit report to another. This is why scores are sometimes different from one bureau to another.
What does it mean to create a "Connection" on Experian Connect?
In order to interact with someone else through this service, you first must go through a three-step invitation process. This invitation process allows both parties to confirm they know and trust each other before sharing important information, such as a credit report. Successfully completing the invitation process creates a link between the two accounts, and each party is now a "Connection" to the other.
What happens when I send an invitation to connect?
When you send an invitation to connect to someone, an email is sent from Experian Connect to the name and email address you provided to us. If you also added a custom message, we will include that in the email as well as your Connections page. It's important to remember that you only should invite people who you know and trust. Before someone can accept your invitation, they will need to either sign in to their existing account or create a new account and verify their identity.
Does asking my Connection to see their report hurt their credit score?
No. When you ask a Connection to see their credit report and score, they will need to agree to show it to you. Once they do, it will not affect their score because this type of action is what we call a "soft inquiry". Soft inquiries do not impact your credit score and do not appear on any credit reports viewed by other people.


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Are you looking to play doubles on a regular schedule? Please call me at 623-374-2646.
Villa de Paz Recreation Association is having an open house Sunday Oct 23, 1-4.
NWC 103rd Ave & Campbell, 1/2 mi north of Indian School Rd. in W Phoenix.
They have 2 lighted courts. See www.villadepazrecreation.org for more details.Come by, maybe we can get some games going!
What can you do here? At Tennisopolis, you can:
- network with your tennis friends. Invite your tennis friends and build your network now.
- meet new players. Here's a primer on how to find partners.
- join a Group. Members have started over 250 Local Groups (and other types of Groups too.) Search for one in your area, or start your own.
- follow the pros. There are over 1100 blog posts on Tennisopolis. Have a good read, or write your own.
- improve your game. Get tips in the Forum and check out video lessons.
- post your own Videos and add your own Photos.
Thanks to everyone inviting their friends, we now have over 23,000 member. Invite yours too!
If you need any help, let me know.
Friend me!
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Jeff Green made a very good dunk over Al Jefferson in Boston's win over Utah last night. We'll see more spectacular dunks this year, but none will be as rich and layered as this one.
Dunk here, analysis below:
1. The improbability of the dunk itself. Green was driving straight at the Celtics bench, parallel to the basket, when he took off from the side of the paint. In one powerful step he shifted the direction of his body, propelling himself toward the hoop, elevating over a 6'10" defender, and hanging in the air long just enough to fully extend his arm to the rim.
2. The Rondo celebration. Your eye immediately travels to the Celtics bench when Green finishes the dunk, where Rondo — who injured his ankle earlier in the game — unleashes a dramatic one-legged hop celebration that we've never seen before. It seems almost staged, but it couldn't possibly have been. And when you watch the dunk back, you see that Rondo recognizes what is about to happen a moment before everyone else does. He rises from the bench one step before Green takes off, like he's seen this before.
3. The phantom technical. Green got a technical on this play for no real reason. It's as if the spontaneity and violence of the dunk led to a single moment of chaos, like a flash crash, and the only way to reassert control was to stop the game entirely.
There's more here: like the moment Jefferson recognizes what's happening to him, or the empty look on Green's face once the dunk is over. And we imagine more and more information will reveal itself as we continue to watch this in a loop.


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March 20, 2007
Bob Dylan and rebellion aren't strangers. It has defined his career. Professor Larry David Smith delivered the Brigance Forum lecture Tuesday night based largely on his research of Dylan's writing and career.
Smith has written about the rhetoric of popular music in society in books featuring Dylan, Elvis Costello, Pete Townshend, Bruce Springsteen, and Joni Mitchell.
Smith contends every "mission," not phase, of the singer-songwriter's career has had an element of rebellion. The rebellion begins with Robert Allen Zimmerman's public persona 'Bob Dylan.'
Even the caricaturized version of Dylan on stage mumbling is part of Dylan's rebellious act. Smith said that rebellion runs even deeper. "It's a complete and powerful disregard for the audience," he said. "He didn't want to be an idol and he didn't want to be anyone's spokesperson."
Smith said Dylan would purposefully create bad albums during his career to break the stereotype and rebel against expectations. But he resolved the 'Minstrel's dilemma' of pleasing himself or selling records by allowing greatest hits releases throughout his career.
Dylan is an iconic figure in pop culture by anyone's standards, but he has been the most unique and powerful, Smith suggested, by doing it only to please himself. "This artist is not very forthcoming," Smith said, admitting he's never met the man. "He says what he wants to say and then walks away from it."
Not only does he walk away from it, he often disguises it. Dylan is known to frequently recast his greatest hits to nearly unrecognizable arrangements in concert, Smith said.
Smith has spent considerable time analyzing Dylan's lyrics and albums from a critical, rhetorical perspective. He looks at lyrics searching for character, value, and plots for his critiques.
Much of his presentation was focused on the rhetoric Dylan used to attain his success and then to distance him from what he had achieved.
Smith even offers a three-part definition of the man: Robert Zimmerman, Bob Dylan, and the current incarnation 'Jake Fate.' He chronicled the various phases of Dylan's career from folk icon, to country, to pop icon and beyond.
The Brigance Forum is an annual public lecture or debate endowed by the Brigance family, friends, and former students in memory of the late William N. Brigance. During his time as a Wabash professor and chairman of the Speech Department, he fostered a desire in students to be more effective in their speaking.


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Regardless of where you turn or what website and social network you find yourself on, it's unavoidable to come across a mention of "Flappy Bird" right now. What started as another indie-game project by a lone developer in Vietnam has managed to become a global sensation causing an unbelievable amount of buzz, controversy, mystery, confusion, estrangement, and outrage.
Was any of it intended in the least by the game's creator Dong Nguyen? Not in the slightest. With the dust settling after the storm, Nguyen broke his silence after pulling the game from both iOS and Android app stores by saying he did it for the sake of people playing the game, afraid it was too addictive for their own good. Hypothetically speaking, not a bad problem to have for a game developer.
But pulling back the lens a little bit, I think there are some invaluable lessons for budding and current entrepreneurs across the board, not just indie game developers looking to create the next Flappy Bird. With that, let's pay homage to the deceased bird by remembering what it taught us, and how we can carry that legacy forward by applying some of its teachings.
1. Keep It Simple
There is a slight chance that maybe for some odd reason, you haven't played the game yourself (if this is the case, you can play it here). Essentially, there are three basic rules the drive the game:
- Your bird gains downward speed as it falls and will flap up by the same height
- Your bird's horizontal speed stays constant
- The pipes that your bird must fly through have different heights but have a constant vertical clearance and horizontal distance
These were the game mechanics that were reportedly earning Nguyen $50,000 a day. So how does this apply to you starting a business?
Let's imagine a common scenario, you're listening to a significant other rant about a product they can't stand and how they wished it might be instead. You then go out for a stroll and you get hit with that "eureka" moment. The clouds part and it's as if the heavens were placing the next billion dollar business idea right on your lap. You can't believe it, in fact, you become paranoid and start worrying about someone stealing your idea.
What happens next? We all know because we've all be there. We start doing research, we start thinking about the competition and the million moving parts that all need to be set in motion for the idea to be a success, and after pitching the idea to a friend and hearing how stupid it is, we give up. That's right, before taking a single step, the stroke of genius fizzles out.
The problem is that we get bogged down in detail and get intimidated by the complexity of it all. Nguyen could have added 100 other variables in an attempt to make the game interesting, but he kept it to a simple "tap" gesture. Similarly, you could do yourself a favor and take note from the likes of Tim Ferris when he suggests micro-testing the demand for a product before investing or Eric Ries when he cautions against going all in without first building a minimum viable product (MVP) to get feedback. In fact, it's highly plausible and advisable to start a business without spending any money at all.
So for your next brilliant idea, remember the timeless truth gleaned from good old Flappy, keep it simple stupid (KISS).
2. Strike a Nerve
This is where Flappy Bird may have taken the cake. The game was ridiculously hard to play, taking first time players (myself included) several minutes just to make it through the first couple of pipes. People began hating the game, hating the person who recommended it, and venomously hating the people gloating about their scores on Twitter and Facebook (see point 4). But with that hate came an enormous amount of attention and more importantly continued drive to keep playing with the maddening rush players would get after passing each successive pipe and increasing their score. Take a look at this tweet below:
Me after playing flappy bird for over a minute. pic.twitter.com/XP156YedpP
— C-bear (@BarlowConnor) December 16, 2013
Striking a nerve your audience is something Guy Kawasaki recommended in his book "The Art of the Start" and something Seth Godin has embedded as a staple for good marketing and product development with his idea of creating the "purple cow."
In fact, some of the most successful stores on Shopify are entrepreneurs selling products you couldn't help but stop to take a second look at. Some of the items you'll find are:
- A grizzly bear coat from GrizCoat
- Off-the-wall Leggings from Beloved Shirts
- Food storage Bee's Wrap
3. Create Compulsion
Following-up from the point above, no matter how hard it was to navigate or "flap" the bird through those darn pipes, people couldn't put the game down. Again, as noted above, the compulsion amongst players was a driving factor in Nguyen pulling the game in the first place.
In fact, the addiction behind Flappy Bird was best explained in an article I read in the Guardian: "One good way to ensure compulsion is to make the operator believe that they can always do better, and if they don't, that failure makes them angry enough at themselves to trap them in the loop."
Damn this game is frustrating, yet addictive! #flapflap!!! -> http://t.co/je0TDTBl2u
— Marty Cox (@HighOctaneCEO) February 8, 2014
The game design of Flappy Bird appears to be so ridiculously simple that people can't believe they can't get a score higher than 2.
One of my favorite books that breaks down habit formation is The Habit Loop, in which the author breaks down any habit as consisting of a cue, routine, and reward. Flappy Bird did just a great job elongating the distance between routine and reward, resulting in players taking every chance they got to play the game.
Traditionally, entrepreneurs have attempted to tap into that craving to consume more through a number of means, including drip email campaigns, promotional discounts, limited time offers, and pre-orders. Getting your target demographic to become addicted to your products and content requires several posts in its own right, but start thinking about how you can get your customers hooked.
A great example is Blue Goji, a wearable technology company that allows anyone to turn any piece of cardio equipment into a game and is taking the fitness world by storm by building compulsion into physical activity (and sales).
4. Social Proof Increases Virality
One of the driving factors noted for the game's virality was the bashing, gloating, and moans of frustration players were sharing with their respective networks. It all started with Nguyen's own tweet upon the early release of the game sharing his score. Getting players to share their scores, statuses, or achievements has been a traditional staple in the field of game design and gamification, but there's a great deal here that anyone looking to start a business can learn from.
OMG! I scored 10 pts in #flapflap!!!
— Onision (@Onision) February 11, 2014
Perhaps, one of the easiest and quickest ways online stores pull feat off is by integrating photos shared on social networks like Instagram and Facebook onto their product pages and therefore increasing the virality factor through demonstrating social proof. You can also offer incentives such as products, discounts, or exclusive giveaways in contests or campaigns asking your audience to share images of your products.
5. Don't Reinvent the Wheel
Now there's been a lot of talk about the pipes and other graphic elements being "borrowed" heavily from Mario Brothers, a game that's been close to gamer's hearts for more than three generations. There's even further talk about the game ripping off older titles like Piou Piou and the Helicopter game. However, if we were to look back at the history of video games, it could be said to be filled with cases of plagiarism and we'd have to tell all block-sorting puzzlers that they should leave that realm to Tetris.
The fact of the matter is that a lot of entrepreneurship, or innovation for that matter, is incremental and built off existing ideas rather than something that people start from scratch. How does this help you in your quest to build a million-dollar business?
Find something that sells, find out what people hate about it, and build something better or "slightly" different.
A great way to gauge demand and get product ideas is to use Google's Keyword Planner tool. Pick an industry, brainstorm some keywords and plug them in the tool to analyze search volume. Then go to Google Search and see which company's consistently ranks on the first page. From there, see if you can identify any "gaping" holes and fill them in with some smart and genuine solutions.
6. Keep Them Guessing
The best part behind the rampant success and rise of Flappy Bird in the app store chronicalled to the smallest detail in a great article by Mashable is how adamantly game developers and journalists wanted to know the secret behind Nguyen's success. They guessed at everything from cross-promotion with other addictive games to Nguyen using bots to game the app store through fake reviews. All of which led Nguyen to the same response "The reason 'Flappy Bird' is so popular is unclear to me."
@SideResult Thank you. Great to know people like my game :-). I don't do promotion.
— Dong Nguyen (@dongatory) January 12, 2014
However, what really took the world by storm was Nguyen's decision to pull the game despite the level of virality it reached. I mean talk about striking a nerve (see point 2).
I am sorry 'Flappy Bird' users, 22 hours from now, I will take 'Flappy Bird' down. I cannot take this anymore.
— Dong Nguyen (@dongatory) February 8, 2014
Was he actually going to do it? Was he serious? Nguyen had the entire mobile gaming world in the palm of his hand guessing at whether he'd actually pull the trigger. Now that's something.
The one things entrepreneurs can learn from this is that it pays to retain a certain level of mystery, even if there is nothing behind the curtain so as to say. Not only does this lead people to come up with wild, entertaining, controversial, and buzz-worthy rumors about your success, failure, or product development (cue *Apple*), but most importantly, it gets and keeps people talking.
So before we let modern day myopia completely wipe out the memory of Flappy Bird from our minds, I hope these tips help you with that next big idea or help take that current business venture to the next level. Feel free to share any other lessons entrepreneurs can learn from the whole Flappy Bird dilemma by commenting below.
About The Author
Humayun Khan is a Content Crafter at Shopify. He writes for the Shopify Blog covering social media, retail trends and ecommerce strategy. He is also the author of The Ultimate Guide to Business Plans. Follow him @humayunnkhan.


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text:
Arsenal have holes that need to be filled in a squad that is looking dangerously slim.
The defence is an area that particularly needs to be looked at, in the centre especially. With Thomas Vermaelen out until the start of the season, Ignasi Miquel not good enough to step up into contention for a regular spot and Bacary Sagna being moved into the centre, Arsenal have major problems. Here is a list of three centre-backs who could potentially start for Arsenal and provide quality cover when required.
Ashley Williams - Swansea
The saga that has been going on since the start of the window: Ashley Williams to Arsenal. The latest on this rumour is that the Gunners will be going after him, but a £12 million asking price has knocked Wenger back. But he must go back and go after the Wales international who has established himself as one of the best central defenders in the country over the past two seasons. He would fit seamlessly into the line-up as he is technically sound and reads the game very well. No matter who he starts alongside, Williams would be a good fit and a powerful defender is just what Arsenal need. His price may be high and at 28 he is quite old, but Williams is a quality player who is worth some money.
Adil Rami - Valencia
Valencia are letting Adil Rami leave for as little as £7.75 million and Arsenal must pounce at the opportunity. He is currently valued at £10.5 million and this represents a bargain on all fronts for Arsenal. The more youthful Rami is 27 and is hitting his peak while he is more experienced at the elite level of competition as a regular international for France and a proven Champions League performer. The tall figure has deceptive pace and would slot - like Williams - well alongside any of Arsenal's centre-backs. Strong in the air his only fault would be his rare lapses in concentration. But if a proven international can be signed for £4 million less, Wenger must take up the offer and sign the able defender.
Benedikt Howedes - Schalke
Although there is no real interest, Howedes is arguably the best defender of the three listed here. Plying his trade for Schalke he is a tough tackler as well as a more youthful option at the age of just 25. However all of this comes at a price as he is rated at £16 million which would exceed Arsenal's budget for a centre-back. However, he is easily one of the better centre-halves in the Bundesliga and his dribbling and ability to intercept passes make him a great potential signing. He plays short passes from the back regularly and would suit Arsenal's style of play.
On this list Rami seems to be the best option. Most experienced and comes with the least financial burden but each target has a unique selling point. Ashley Williams has Premier League experience and Howedes and Rami are both regulars in Germany and France respectively. On this list I would be most excited if Arsenal were to buy Howedes, but any of these players would add quality and much needed depth to this Arsenal squad.
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text: On Fri, 12 Nov 2004, Mark Hahn wrote: > > torus completely and, instead, added a second gigabit network using > > "cheap" gigabit switches to handle I/O, logins, etc. and allow the > > "expensive" gigabit network to handle the parallel traffic. > > I'm curious about this: what about the expensive switch is worth > its premium over cheap switches? you probably don't use layer3 > or even management features, so perhaps latency or port-count? > > I'd be interested if you had some numbers about latency of > various GE switch alternatives. (feel free to post!) > > The "cheap" and "expensive" switches are 24-port gigabit netgears (forget the model number) and 48-port HP 2848s respectively. Latency is better for the HPs (5.4 us), but the primary difference is backplane bandwidth and trunking ability. We will be connecting four of the HPs together using a fifth and several (I forget the limit) trunked links from each. We are going to be installing the system in the next two weeks, so I will have more benchmark data then. The types of jobs that will be run on this system will tend to fit on individual 48-port switches, so I don't anticipate that the trunks will be a big bottleneck. Another reason for the dual networks is to test MPI/Gamma. When running, MPI/Gamma "claims" the interface it is using, so normal TCP traffic will need an alternate route to the system. Also, moving I/O and X (Graphical FLUENT) traffic off onto another LAN makes sense...especially considering the incremental cost of adding it. Mike Prinkey Aeolus Research, Inc.


text:
THOUSAND OAKS >> Bradley Wiggins put another cog into his cycling career on Sunday.
The Briton became the first Tour de France champion to win the Amgen Tour of California, riding comfortably in the peloton on the 75.6-mile loop course in Thousand Oaks on Sunday to take the eight-day 710.2-mile event.
"It's satisfaction more than anything else," he said of winning the race. "To come here and have the reception we have from the U.S. public has been surreal. It's always nice to wear the yellow jersey, but I set my stool up to come win the Tour of California. At 34, it's still nice to be winning at this age."
The Team Sky rider, in his first race in America, won by 30 seconds, decided mainly when he won the Stage 2 individual time trial in Folsom by 44 seconds. He held the yellow jersey for seven days.
"Without those guys, I wouldn't be in this position," Wiggins said of his teammates. "You can't do it on your own. As strong as my performance individually in the time trial, the team did a fantastic job."
Rohan Dennis of Australia and Team Garmin-Sharp finished second and Lawson Craddock of Houston and Giant-Shimano took third, 1:48 behind Wiggins, who is the third non-American to win the Amgen.
Mark Cavendish of England won Stage 8, which featured three loops into the Santa Monica Mountains, including a climb up the 6 percent grade near the Rock Store. The stage finished with three circuits of 4.6 miles each around a Westlake Boulevard-area course.
Peter Sagan of Slovakia and Cannondale, who won Stage 7 in Pasadena, won the tour's Visit California sprint title, Will Routley of Canada and Optum won the Michelob Ultra King of the Mountains title, Craddock, 22, won the Crunchies Best Young Rider award and Garmin-Sharp won the team title.
Wiggins said winning the Amgen was one of his main goals this season, and one of the main goals of the team. The team owner, James Murdoch, called this the second biggest race next to the Tour de France.
"The Paris-Roubaix (a one-day race) and this was my goal, and after this I don't really know what comes next in terms of a race program or how I would fit into that (Tour de France) team," Wiggins said. "I'll just have to wait and see."
Wiggins won the 2012 Tour de France and the Olympic gold individual time trial that year. His Sky teammate, Chris Froome, won the Tour de France last year. Wiggins sat out the race with a knee injury.
Wiggins said he would like to start the race in July in Leeds, England, but only in a supporting role for Froome.
"I have said at the start that I'd love to be a part of that team," he said. "But I understand also that I've had my opportunity with the Tour.
"We have such strength and depth in the team. It's really Chris' team and the guys he wants around him. He's been successful in the last few weeks with the guys he's had around him. It's about everyone doing a job and obviously Chris being confident with the team he has. I understand that."
Dennis, who won the third stage to the top of Mount Diablo, said Wiggins' lead was too much to overcome.
"We put everything we had at Sky," the Australian said. "They were too strong at the end. After the time trial, it was almost too big of a gap between Brad and the other guys."
Cavendish of Pharma-QuickStep won the tour-opening stage in Sacramento and came back after falling well behind the peloton on the second lap of the Rock Store ascent on Sunday. Just like Sacramento, he beat John Degenkolb of Germany and Giant-Shimano in a photo finish for his fifth win in California, eighth win this season and 133rd stage victory. Sagan finished third.
"I don't even want to see it," Cavendish said of the photo finish. "I was not anticipating a sprint. I was not going to start, let alone finish."
He rejoined the peloton on the second climb up Rock Store.
"At the bottom, I began the climb alone," he said. "I was passing a lot of guys. I got to the top and that is when I thought … to keep to my own rhythm and give it a shot."
For once in the eight days, the riders had the help of cooler weather with the temperature at 76 degrees, 20-30 degrees cooler than what they faced in the last three days. It also helped that the race began at 8:40 a.m., three hours earlier than every other stage.


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Stuffy? Conservative? Reactionary? Whichever word you choose to describe Boston, it's fair to say the city has not been known for friendliness to living artists over the past 100 years.
But when, in 2007, amid much fanfare, the Institute of Contemporary Art opened its sleek new building on Boston's waterfront, many people hoped it might act as a catalyst, increasing enthusiasm for contemporary art across the city and region.
The evidence that it has done just that has been mounting, and is by now undeniable.
Today, the Museum of Fine Arts opens a wing dedicated to contemporary art. The space, a conversion of the 1981 west wing addition by architect I.M. Pei, isn't as expensive or ambitious as the Art of the Americas Wing, which opened on the other side of the MFA less than a year ago.
But as a sign of shifting attitudes, it is tremendously significant.
The debut of the contemporary wing caps a period of extraordinary activity in New England's art world, which is quietly transforming itself into one of the most dynamic contemporary art scenes in this country.
Local art lovers have been slow to register the shift, preferring to dwell on lingering weaknesses (for example, Boston's anemic commercial gallery scene) and perceived inadequacies (as usual, everything is judged against New York, and so everything falls short).
But the new climate is palpable. You can hardly find a local museum, whether it is a college museum or an independently funded one, that doesn't now have a strong contemporary art program.
Much of this activity, to be sure, predates the new ICA. And all of it transcends - and even potentially threatens - the ICA's success. But what's undeniable is that the ICA's reemergence helped contemporary art achieve a critical mass here, setting off a remarkable chain reaction that has led, albeit circuitously, to the MFA's new Linde Family Wing for Contemporary Art.
Even when people are critical of the ICA - as many are - they talk about it. They know it is there. They are curious to go see for themselves.
Since opening at its current location, the ICA has averaged approximately 200,000 visitors per year - a 10-tenfold increase over attendances at its previous home on Boylston Street. Inevitably, other museums see the ICA as competition - for audiences, for donors, for media attention. Over the past three years, in countless conversations with museum directors and curators, I have heard the ICA mentioned repeatedly. A lot of the time, the mentions are quietly critical. Nearly always, however, they reveal shades of rivalry and sneaking admiration.
Few of these museum people admit to making reactive decisions, and they are all keen to set themselves apart. But they freely acknowledge that the ICA's presence has changed the landscape for good.
"I think it's been an incredibly important catalyst,'' said Edward Saywell, chairman of contemporary art and programs at the MFA. "Tremendous kudos to [ICA director] Jill Medvedow and her team for having the vision.''
Observe the effects:
When the MFA decided to appoint a curator to beef up its contemporary art program and prepare for the opening of the Linde Family Wing, whom did it appoint? Jen Mergel, a curator at the ICA.
What's more, the MFA has chosen to install a surprising number of artists whose work has recently been seen at the ICA, including Mark Bradford, Mona Hatoum, Josiah McElheny, Roni Horn, and Charles LeDray.
A number of artists who have recently shown in other local museums - among them Lynda Benglis, Carlson/Strom, Matthew Day Jackson, and El Anatsui - will also be featured in the new wing. Most of these are new acquisitions, a sign that the new wing is generously funded.
Meanwhile, the nearby Isabella Stewart Gardner Museum, long associated with its founder's wish to freeze her collection in time, has decided that it, too, must move with the times. A new building, designed by Renzo Piano and costing nearly $120 million, will open early next year, with living quarters for resident artists and an ultra-modern gallery dedicated to contemporary art.
The Gardner already has a distinguished history of showing contemporary art, albeit in a cramped corner of the original building. Indeed, ICA director Medvedow earned her stripes as curator of contemporary art there. But the addition signals a concerted new commitment.
Meanwhile, over at Harvard Art Museums, director Tom Lentz and his staff are overseeing their own Renzo Piano construction, in this case a dramatic, $350 million to $400 million renovation of the old Fogg Art Museum. When the museum reopens in 2013, it will be 40 percent bigger, and the space given over to contemporary and modern art will rival that of both the MFA and the ICA.
Other museums not previously interested in showing work by living artists have been falling over themselves to get in on the action. Slowly but surely over the past three years, the Sterling and Francine Clark Art Institute - an august museum in Williamstown more famous for its Renoirs than anything more up-to-date - has been dipping its toes into the art of the 20th and 21st centuries.
Shortly after the Davis Museum at Wellesley College mounted a traveling retrospective of Nigerian artist El Anatsui this year, the Clark borrowed a handful of massive Anatsui wall sculptures from the collection of Los Angeles billionaires Edyth and Eli Broad, and put them on display in its Tadao Ando-designed Stone Hill Center. Around the same time, the MFA announced that it had bought its own Anatsui piece, a sumptuous-looking wall hanging made of discarded foils from alcohol bottles.
Of course, a 15-minute drive from the Clark is a dynamic museum with more space available for contemporary art than any other in these parts: the Massachusetts Museum of Contemporary Art in North Adams. In many ways, MassMoCA is the most impressive, innovative, and flexible of all these institutions, and it has a record to match - some of the most startling and ambitious shows of contemporary art anywhere in America.
Other museums within an easy drive of Boston have been provoked by the ICA into lifting their game. The most notable of these is the deCordova Sculpture Park and Museum in Lincoln. Director Dennis Kois, who arrived three years ago with a mandate to breathe new life into what had become a stale institution, has pitted himself against the ICA in the competitive search for trustees, donors, and media attention. And he seems to be getting somewhere.
The DeCordova Biennial, a survey of contemporary art by local artists, is looking lean and purposeful again (better, in fact, than the ICA's forlorn-looking James and Audrey Foster Prize, a similar exhibit and prize for local artists). The museum has mounted a series of sharp solo shows by nationally acclaimed contemporary sculptors, and the ever-popular sculpture park has been ruthlessly culled and enhanced by a handful of expensive new sculptures by Sol LeWitt, Dan Graham, Antony Gormley, and, if all goes to plan, Andy Goldsworthy.
The Peabody Essex Museum in Salem, meanwhile, has also upped the ante, mounting a stream of contemporary exhibitions that cover more turf than most other museums would dare to contemplate, from contemporary Chinese and Indian art to Maori tattoos, photography, and recent fashion.
Factor in the generous helpings of contemporary art offered up by the Worcester Art Museum, the Portland Museum of Art (which hosts its own impressive biennial), the Danforth Museum in Framingham, and the Currier Art Museum in Manchester, N.H.; add the superb array of first-class college and school museums which show ambitious contemporary art (the List Visual Arts Center at MIT, the Rhode Island School of Design Museum of Art, Smith College Museum of Art, the Addison Gallery of American Art, Boston University and Tufts University art galleries, the Hood Museum of Art at Dartmouth College, the recently revived Rose Art Museum at Brandeis University, and many others) - and the case makes itself: Contemporary art is thriving in these parts.
Of course, all this activity cannot be credited to the ICA alone. There are much broader currents at work. All over the world, contemporary art has been booming for two or three decades, both in the art market and in the public's imagination. But in every city where it has thrived, there has been a catalyst.
In London, for instance - never a nerve center for contemporary art before the 1990s - it was the combined effect of advertising mogul Charles Saatchi's high-profile collecting and the conversion of a power station on the Thames into Tate Modern that thrust contemporary art into the limelight. Along with Berlin, London has since eclipsed New York as the dynamic heart of the international contemporary art world.
In the past, some museums shied away from contemporary art, fearing that it could be alienating to the broader public. But savvy directors have slowly cottoned to the fact that controversy is the lifeblood of contemporary art, not something to be afraid of.
There is not a single contemporary art museum in the world that doesn't receive an outsized share of criticism. That's because contemporary art is, by its very nature, divisive. Few people, after all, are going to argue over the merits of Titian or Rembrandt; these artists' reputations are settled for all eternity. Jeff Koons and Tara Donovan, on the other hand, are in a different category; judging their merits is great sport, and places like the ICA are the arena.
Museums and the media are mistaken, I believe, if they think that the public is somehow frightened of recent art. They are not. They simply dislike bad contemporary art, and they hate it when the bad stuff is presented as brilliant, and swaddled in patronizing art-speak.
There may be a bandwagon mentality at work right now, as local institutions scramble to keep up with their neighbors. It's great, on the one hand, that so many different types of art institutions are showing contemporary art, because each of them comes at it from a different perspective. The MFA, for instance, has such deep collections that it can put the work of living artists in the context of the whole history of world art and design. Harvard, meanwhile, comes at the field with a more scholarly approach, as befits a teaching museum. And the DeCordova has the space and expertise to focus on one particular area: sculpture.
Yet there's also a potential danger: Museum directors and their boards need to be wary of funneling resources into contemporary art if it means skimping on their core collections or their core activities (a particular concern, perhaps, at the Gardner).
The reality of the current environment is that museums everywhere are under relentless pressure to keep moving, to keep changing, if they want to keep potential donors interested. (If you had money, would you rather give it to a sexy new wing, or merely to ongoing operating costs?)
This can often mean perverting a museum's essential character, its purpose, its long-established raison d'etre. It's easier to get people excited about providing funds for contemporary art than, say, overdue conservation work on a Baroque altarpiece, or new scholarship in an obscure field.
And yet it's also true that Boston's traditionally conservative attitude toward contemporary art has cost the city's museums dearly in lost opportunities. One only has to compare the great 20th-century collections at, say, the Art Institute of Chicago or the Philadelphia Art Museum with those at Boston's Museum of Fine Arts or Harvard Art Museums to get the point: When it came to modern art, Boston, for the longest time, didn't want to know.
That seems to be changing.
When I asked Malcolm Rogers, MFA director, via Twitter whether he had always believed collecting contemporary art was an important part of the MFA's brief, and whether his attitudes had changed over time, he replied simply: "It has been a journey for me, but now I am a believer.''Sebastian Smee can be reached at email@example.com.
Earlier versions of this story misstated the first name of Dennis Kois, who is the director of the deCordova Sculpture Park and Museum in Lincoln.


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High Quality Gisele Bundchen Pictures.
This Site is a sub site of Q's Pics.
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Specialized and continuing education classes (CEC) for your fitness staff have been turned upside down by the Internet. Online continuing education is a cost-effective method of improving your staff's knowledge base.
These programs enable fitness professionals to enhance their knowledge and skills without taking them away from their duties. Internet education can be accomplished anywhere, at any time and, by providing this education through your club, it's a low-cost way to acknowledge outstanding performers and groom future leaders. This education can even help you differentiate from your competitors by providing specialized education around specific population segments you may be trying to reach such as older adults, dieters, prenatal and postnatal clients, and other emerging markets.
In the past, fitness professionals could earn accredited education by attending conferences and conventions or taking written home-study programs. However, Web-based delivery makes education more dynamic and easier to attain with quicker feedback. It also makes it easier for certifying and educating bodies to update and create new education, therefore more efficiently delivering that education to your professionals.
"We see an accelerating emergence of our online offerings because fitness professionals are as time-pressed as any other professionals," says Dr. Cedric X. Bryant, chief science officer for the American Council on Exercise (ACE), just one of a growing number of certifying agencies that offer online education. "They don't have to leave home or even adjust their teaching or client schedules to obtain this education. It truly is anywhere, anytime education."
CEC offerings may include a wide range of topics, including the business of personal training, nutrition and courses that deal with chronic diseases and special populations. ACE recently started an online course for those who want to break into the industry, Bryant says.
Peter Davis, CEO of IDEA, agrees that online education is a part of the future. "Nothing will ever replace real-time, hands-on, seminar-based education. It gives professionals a break from their normal routine, allows them to interact with each other and learn from the best in the industry. However, gaining CECs in between conferences using Web-based education is an excellent way to supplement this learning."
As with most technology, this is only the beginning. Expect to see Webcasts in specialized areas, online chats and the ability to ask questions of the program developers. Because fitness professionals are often disconnected to real-time information in the daily demands of their jobs, this will dramatically shorten the time between learning and implementation of programming, education and new class offerings. Nationally known fitness experts are the developers of some of these online modules.
Most fitness professionals need about 10 hours of CEC credits each year. Current online courses offer anywhere between one to 12 credits when successfully completed. Add to this the fact that, as club owners, you must ensure that your staff members stay as cutting edge and as credible as possible. Many of your members are often aware of new trends before those of us who work in the industry on a daily basis.
Internet-delivered programs represent one of the most forward-thinking trends to come along in decades. Some organizations that currently offer Web-based education and CECs include ACE (www.ace.org), Human Kinetics Publishing (www.humankinetics.com) and Desert Southwest Fitness (www.dswfitness.com). Don't miss this online opportunity.
Gregory Florez is CEO of FitAdvisor Health Coaching Services and First Fitness Inc., which was rated as the No. 1 health coaching online training service by The Wall Street Journal. Florez can be contacted at email@example.com.


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Amity Pest Control is now proudly part of Presto-X Pest Control, offering you the best local pest control available.
Amity and Presto-X are part of Rentokil, the world's largest commercial pest control company.
We understand you have many choices when looking for a pest control provider for your business or home. Amity, like Presto-X, features several unique benefits our customer's value:
Call your local pest control experts at the Amity/Presto-X office at 1-713-661-1979 for a Pest Inspection or for more information on our comprehensive pest control solutions.


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Home | Welcome to the Town of Aylmer | Welcome to the Town of Aylmer
Step back in time, to a less hurried pace of life. Hear the hooves of horse and buggy. Take in the mecca of quaint boutiques, fragrant bakeries & historic homes and buildings. Linger a while in one of our beautiful parks. You'll love the esthetic wonders and enticing fragrances you'll encounter along the way. The more you explore our community, the more you'll discover that Aylmer is a treasure trove of exceptional experiences.
Whether you are here for a day, a life time or to make a business investment, you will find everything you are looking for in Aylmer.
Aylmer - a great place to live, work and raise a family!
You belong in Aylmer!
46 Talbot Street West
Aylmer ON N5H 1J7
Phone: 519-773-3164
Fax: 519-765-1446
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When you use our website or our mobile applications, we may collect data from you that generally fall into one of two categories:
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Adaptive Path may collect information about you when you browse our website or use our online services. We may collect Personal Information when you voluntarily provide it to us through forms on our website or in our mobile applications, such as survey forms, contest entries, and login pages or mobile application access.
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This Statement describes Capital One's current online privacy practices. Capital One may change its online privacy practices in the future and we may revise this Statement to reflect material changes. This Statement was published March 30, 2017, and is effective as of that date.


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Each summer, like thousands of other music lovers, a few friends and I travel to see our favorite bands play, sometimes, if we're lucky, for many shows in a row. In the spirit of peace and love, we gather to celebrate the community music creates, but what many don't realize is that such gatherings can put some serious stress on the environment. Festivals and tours come with a lot of not-so-green baggage—between the food used to feed concert goers and the water (usually bottled) that keeps them hydrated to the massive amounts of fuel it takes to get attendees, staff and performers all to the venues, festivals and tours can leave a giant carbon footprint.
In light of this, musicians and activists are creating initiatives aimed at 'greening' music festivals and tours. Here are some examples of how musicians and concert-goers are trying to tread a little lighter.
This year, my friends and I will hop "on tour" to follow Phish, a band known for supporting sustainable agriculture, through the Northeast. In fact, drummer Jon Fishman and his wife Briar own a small farm in Maine. In 1998, the band performed at Farm Aid and in February of this year, Fishman and band mate Paige McConnell were special guests at "Hug Your Farmer," an all-star jam session to support Pete Johnson, a local Vermont farmer (founder of Pete's Greens) whose barn was destroyed in a fire. For past tours, Phish has collaborated with Reverbto green their tours as well as with Eat Well Guide to point their fans towards sustainable food options.
Among Phish's followers are the Green Crew (or G-Crew), a group of volunteer fans established in 1994 to help with coordinated recycling and clean-up efforts at every show. Jake Swiger has been doing Green Crew since 2009. "The most important thing to me about Green Crew is that it helps show the town or city that we care about our impact on the community, environment and spreading awareness about recycling," Jake says. "We want the community and venue to want us to come back." In return for their efforts, volunteers receive free tickets for that night's show—and occasionally other perks for those G-Crew Phans who "chase," or hope to hear certain less- often played songs from the band's extensive repertoire. "In Hartford in 2009 Trey told us to pick five songs that we want to hear and that the band would play one of them," Jake fondly recalls. "That's how I got my first 'Colonel Forbin's'."
Many festivals are hopping on the greening bandwagon, too. The Coachella Valley Music and Arts Festival in Indio, California, a three-day celebration that attracts nearly 170,000 guests, has instated numerous green initiatives in recent years. Examples include the Energy Factory's "Sweatshop Mixer," a chance for aspiring DJs to perform 30-minute sets using energy generated by people-powered hamster wheels, tour de energy bikes, energy swings, energy see-saws, hand cranks and other alternative (and novel) energy sources, and "Carpoolchella," which rewards a few lucky carpooling concertgoers with VIP access to Coachella for life. San Francisco's Outside Lands Music and Arts Festival is also making huge strides in environmental-ethos, boasting an "Eco Lands" component. Explicitly green music festivals include Chicago's Green Music Fest and Project 30-90 in New Orleans.
One musician decided to take greening the entire touring industry into his own hands. In 2004, Adam Gardner, Guster guitarist/vocalist, and his environmentalist wife, Lauren Sullivan, launched Reverb, a non-profit organization designed to green music tours. Reverbhelps make music tours more sustainable by designing greening programs and organizing educational grassroots outreach programs for the fans. They work with touring bands by providing on-site coordinators to oversee events, managing eco-friendly practices with the hospitality and catering staff (i.e.: locally sourced sustainable food), creating custom riders that include green requests sent in advance to each venue, arranging biodiesel fueling for tour vehicles, setting up large-scale waste reduction and recycling initiatives, calculating the carbon footprint of the tour and arranging appropriate carbon offsets. Fans get involved in the greening process through Reverb's Eco-Villages, where they can learn about green initiatives through environmental displays and activities. This year, Reverb is working with the likes of Sheryl Crow, Brett Dennen, Dave Matthews and more.
As an advocate for sustainable food systems and a dedicated fan of road tripping for music, I know that eating well on the way to tours and festivals is an important part of supporting local communities, promoting sustainable environmental practices and staying healthy. That's why I'm proud to say that Eat Well Guidehas easy-to-use tools to help artists and festival organizers help fans find local, sustainable and organic eating options while on the road. Eat Well En Route is a mapping tool that allows concert goers and other travelers to plug in starting points and destinations and plot good food options en route to the show. Eat Well Guide has also helped musicians like Phishand Jack Johnson show their commitment to sustainability by creating customizable good food guides for fans to use that list good food options near venues.
There is a long history of music and environmental activism, and recently, artists and others in the industry— with the help of their fans, inspired activists and organizations – have done a lot to lessen the environmental tolls they rack up with their annual sojourns. If you, like me, will travel this summer to enjoy the music you love with the people you love, remember the environment you love—and take care to preserve it so that we can enjoy the culture of summer music for many years to come.


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1. subdivide - verb
· form into subdivisions; "The cells subdivided"
Hypernym(s): separate, divide, part
2. subdivide - verb
· divide into smaller and smaller pieces; "This apartment cannot be subdivided any further!"
Hypernym(s): divide, split, split_up, separate, dissever, carve_up
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text: David Mathog wrote: > The market seems to have gone over pretty much completely to 1U compute > nodes, with 2U or higher reserved for head nodes or other storage. The > other trend is towards constant upgrading on relatively short time > scales, with nodes being replaced every couple of years. Which makes > me wonder what sort of longevity one would expect for 1U servers made in > the last few years. > > Some of us have to keep our hardware running a very long time, and I'm > concerned that a lot of the 1U hardware isn't going to hold up in the > long haul. I have some 2U nodes which are still cranking along in their > 7th year. (Yes, it is well past time to replace them.) In that > interval around 5 80mm fans (case or power supply, of 80, these were all > rated at 50000 hours MTBF) have been replaced, most only in the last few > years, and 1 disk out of 20 failed (in the 7th year). Our old cluster 2U nodes' are 7yr old also. They are still alive and kicking, and producing science. However, I can't report a level of component failure as low as David reported. Disk failure was higher: 12 out of 33 failed so far. However, the original disks are IBM Deskstar (http://en.wikipedia.org/wiki/Deskstar_75GXP). None of the replacement Maxtor disks has failed yet. Other components also failed. All original Tyan S2460 motherboards had to be replaced by S2466, after a lot of yelling at the now defunct vendor, with nodes going south for no reason. After months of denial, the vendor told us the S2460 would not provide enough power to the dual Athlon MP processors, and replaced the motherboards. I had to replace three S2466 mobos later. Another one seems to be flaky now, but there is little hope to find a replacement at this point. Two power supplies failed. Bad optical transducers would make the Myrinet cards fail. However, Myrinet took full responsibility for the replacement of all cards and the line cards on their switch, which is a very good thing. > My limited > experience with (older) 1U nodes was that the shrieky little fans were > failure prone and didn't move enough air to keep the innards of the 1U > case as cool as a 2U case. > Heat is bad for longevity. > Why so many retirees move to Florida, then? :) A compromise between longevity and cost of maintenance perhaps? > Realistically, how long should one expect current 1U servers to last? > We have the same concern. I would extend the question to 1U *twin* nodes, and to blade servers. > Thanks, > > David Mathog > mathog at caltech.edu > Manager, Sequence Analysis Facility, Biology Division, Caltech > _______________________________________________ > Beowulf mailing list, Beowulf at beowulf.org > To change your subscription (digest mode or unsubscribe) visit http://www.beowulf.org/mailman/listinfo/beowulf Thank you, Gus Correa --------------------------------------------------------------------- Gustavo Correa Lamont-Doherty Earth Observatory - Columbia University Palisades, NY, 10964-8000 - USA ---------------------------------------------------------------------


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CAMBRIDGE, Mass. – Four different MIT players found the scoring column during a 5-0 win over visiting WPI in New England Women's and Men's Athletic Conference (NEWMAC) field hockey action, on a windy and rainy Tuesday night in Cambridge. The victory is the 11th of the season for Engineers and gives them a share of first place in the NEWMAC at 3-1. WPI falls for just the third time this season (8-3) and first time in league play (2-1).
The host Cardinal and Gray was able to convert on its first two penalty corner opportunities of the game, taking an early 2-0 lead over the visiting Engineers. Kimberly Barker (Camden, N.Y.) was the first to find the back of the net, as the junior gathered a rebound and converted for her seventh tally of the year, just 1:18 into the contest.
Kameron Klauber (Carlsbad, Calif.) added a second marker on nearly an identical play to Teruya's opening goal. Klauber's initial shot off the corner insertion was denied by WPI goalkeeper, Liz Dufresne (Worcester, Mass.), but she would not be denied on her second attempt.
Leading scorer, Molly Duffy (New Providence, N.J.), picked up the scoring after the break, with a tremendous individual effort to put the host Engineers on top, 3-0. Duffy split two WPI defenders before sliding a shot past Dufresne. Klauber's second goal would come just over 11 minutes later, again with MIT capitalizing on one of its 13 penalty corners on the night.
Jenny Shen (Sunnyvale, Calif.) completed the scoring for the Cambridge version of the Engineers with her first career tally late in the game.
WPI's best scoring chance came early in the second half. Trailing by just two at that point, Celena Dopart (Washington, D.C.) found herself one-on-one with MIT keeper, Casey Landry (Peabody, Mass.), but the senior's shot rang off the post and Landry kicked away the ensuing loose ball.
Dufresne did an excellent job keeping WPI within striking distance for most of the game, making nine saves, as the sophomore was peppered with 26 shots, including 15 on goal by the hosts. Landry picked up her 10th win of the season for MIT, making a pair of saves in just over 45 minutes of action.
Both teams will continue with NEWMAC play on Saturday, October 8. MIT will host Wheaton College on Jack Barry Field at 1:00 p.m. WPI will welcome Springfield College for a 12:00 p.m. start.


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text: Our catcher's gear is top-rated to keep kids and adults alike safe behind the plate. Here, you'll find styles for all ages and for both males and females. Regulation pieces are crafted to highest standards for both baseball and softball leagues. Equipment selection includes gloves, chest protectors, helmets and leg guards in the latest materials and colors. All at affordable prices, too!