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No. 89,409
1. The measure of restitution to be ordered in a criminal case is within the sound discretion of the trial court.
2. The measure of restitution to be ordered is the amount that reimburses the victim for the actual loss suffered. Fair market value would be the usual standard.
Appeal from Wyandotte District Court; DAVID P. MIKESIC, judge. Opinion filed October 3, 2003. Reversed and remanded with directions.
Matthew J. Edge, assistant appellate defender, for the appellant.
James L. Spies, assistant district attorney, Nick A. Tomasic, district attorney, and Phill Kline, attorney general, for the appellant.
Before MALONE, P.J., PIERRON and GREEN, JJ.
PIERRON, J.: Bryan Rhodes appeals the restitution order entered following his conviction for nonresidential burglary and attempted theft.
Rhodes and his brother were caught red-handed removing a couch from an unoccupied house. They dropped the couch and ran. Melinda Gontarek was the owner of the property in the unoccupied house. Her father owned the house, and her grandmother lived next door and was the person who caught Rhodes.
Rhodes plead guilty to nonresidential burglary and attempted theft. The court ordered Rhodes to pay restitution in the amount of $6,145. Rhodes objected to the amount of restitution and requested a hearing. Gontarek testified that she inventoried the personal property after the burglary and itemized all the missing property. Gontarek could not produce receipts or written estimates for all the property, but she testified she recalled the specific amounts she paid for the stolen items or she took steps to determine the property's value. The trial court affirmed its previous restitution order of $6,145.
Rhodes argues the trial court abused its discretion by ordering restitution in excess of fair market value and that the amount of restitution was not based on reliable evidence. We agree.
The sentencing court has substantial discretion when ordering the amount of restitution. State v. Hinckley, 13 Kan. App. 2d 417, 418, 777 P.2d 857 (1989). The method of determining the amount of any required restitution is a matter within the discretion of the trial court. State v. Wells, 18 Kan. App. 2d 735, 737, 861 P.2d 828 (1993). "Although the rigidness and proof of value that lies in a civil damage suit does not apply in a criminal case, the court's determination of restitution must be based on reliable evidence which yields a defensible restitution figure." State v. Casto, 22 Kan. App. 2d 152,154, 912 P.2d 772 (1996).
K.S.A. 2002 Supp. 21-4610(d)(1) says the trial court shall order a defendant to make restitution to the aggrieved party for the damage or loss caused by the crime, in a manner and amount determined by the court.
In Hinckley, the defendant pled nolo contendere to two counts each of burglary and felony theft but later appealed the amount of restitution. The State offered evidence of the replacement value of the stolen property rather than the actual value of the property at the time it was stolen. We reversed the sentencing court's restitution order because the "sum ordered clearly requires the defendant to pay a sum of money in excess of the amount of damage his criminal conduct caused the victim." 13 Kan. App. 2d at 419.
In State v. Applegate, 266 Kan. 1072, 976 P.2d 936 (1999), the State appealed the district court's finding that a settlement in a civil suit fulfilled the defendant's criminal restitution obligation. The court concluded that the district judge had not abused his discretion in finding that the civil settlement satisfied defendant's restitution requirement. 266 Kan. at 1080.
In Applegate, this court reviewed the Arizona case of State v. Iniguez, 169 Ariz. 533, 821 P.2d 194 (1991). In Iniguez, the Arizona Supreme Court upheld the trial court's determination that the Arizona restitution statutes should fully compensate the victim for economic loss but should not bestow a windfall on the victim. "'Because a primary purpose of restitution is to make the victim whole, and the other aim of restitution is rehabilitative rather than punitive, payment beyond that necessary to compensate does not serve the Legislature's purposes.' 169 Ariz. at 537." 266 Kan. at 1076-77. "The measure of reparation or restitution to be ordered, pursuant to K.S.A. 21-4610(d)(1), is the amount that reimburses the victim for the actual loss suffered." 266 Kan. at 1079.
Here, Gontarek testified that following the burglary, she inventoried all the property in the unoccupied house and produced a list of all the missing items. As to the value of the property, Gontarek's testimony was strictly to replacement value and not market value. For example, she used the price of the bread machine her father paid a year earlier; she used the price of a new television at the store to replace the 5 to10-year-old color television; she used the cost of replacing the entertainment shelves; and she used the cost of replacing the Halloween figures she bought 2 months earlier. The George Foreman Grill was new and not removed from the box. There was no evidence how she valued the Magic Chef microwave, Magnovox VCR, 2-month-old personal computer system, figurines, TV cart, four-drawer dresser, pantry cabinet, computer desk, and picture frames. If any testimony was given on these items, it was a description of the item and how much she paid for it or the cost of replacing it.
Gontarek's testimony purported to be based on the fair market value of the stolen items. However, the evidence clearly showed that this value was based on the replacement cost of the items. Under Kansas law, Gontarek is permitted to express her opinion as to the fair market value of the items. See Hinckley, 13 Kan. App. 2d at 418. However, Gontarek often used replacement cost or the original purchase price of an item to determine its value. From the evidence presented, it may be that the restitution order is appropriate. However, the district court had no basis to determine the fair market value of many of the goods upon which the restitution order was based. Therefore, even though Gontarek did properly testify as to the fair market value of some of the items, the district court abused its discretion in ordering restitution in the amount of $6,145 because a portion of that amount was calculated in reliance upon replacement cost rather than fair market value.
We reverse and remand for redetermination of the restitution order to be based solely upon fair market value.
Reversed and remanded with directions.


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Controlling the entry of solar heat and light has considerable effects on the energy needs of a building. External blinds may be just one of the options available to specifiers, but they are highly effective.
The use of correct solar shading provides a major impact on not just the energy consumption of the building, but also on the thermal and visual comfort of the building users. The need to control overheating and thermal comfort is becoming increasingly important in all types of buildings, from residential to commercial.
Solar shading can be effective as part of a combination of passive measures to combat overheating. It can reduce the swings in temperature which can occur on sunny days.
For measuring the amount of solar radiation that reaches the interior of the building, the solar transmittance value is used. The shading coefficient can also be used; this gives the solar transmittance as a fraction of that for unshaded glazing. A low solar transmittance or shading coefficient means that the system is particularly good at reducing solar gain. External blinds have the lowest shading coefficient of any of the available shading systems. They are found to be so effective as they stop incoming solar radiation before it enters the building through the glazing.
Selecting the right solar control is important. Look at the extent to which they block incoming daylight, as this might increase the use of artificial lighting, increasing energy usage. Where view out is of a great concern, retractable blinds with an element of occupant control give most freedom. When used on roof lights external blinds can also help to reduce the noise of hail stones and rainfall. They are particularly well suited to retrofit situations, given that installation can be carried out with little disruption to the building users.
Not just for use in reducing cooling demand; external blinds can also reduce heat loss. Proper management of the system allows the blinds to be adapted to changing weather conditions. When they are closed at night, a trapped layer of air is created, reducing over night heat loss in cold weather.
More commonly used on the continent external blinds are becoming more familiar in the UK. Bere:architects used timber external blinds with automatic controls on their Camden Passivhaus and Venner Lucas Architects incorporated external roller blinds into their Sunnybank Passivhaus project.
Astralux 8000 Venetian Blinds
The adjustable slats of these blinds allows light penetration to be adjusted. The sides of the blind are guided by either an aluminium channel or a stainless steel cable. An automatic tilting device lowers and tilts the slats to a 45 degree angle.
Manufacturer: Dearnleys Ltd
Type: venetian blind
Application: commercial, education, office buildings
Material: aluminium
Operation: either manual or electric
Hardware and louvre colour: powder coating to RAL colours
Usage: externally
Maximum width: 4000mm
Maximum drop: 4000mm
Slat sizes available: 50mm, 60mm, 80mm or 88mm
Life expectancy: 10 years
Astralux 6000 Louvre Blinds
The Astralux 6000 system is well suited to awkward shapes and large sloping areas of glazing. It is designed for use in commercial environments where there is a need for low maintenance and durability.
Manufacturer: Dearnleys Ltd
Type: louvre blind
Application: commercial, museum, art galleries
Material: timber or aluminium
Operation: electric motor or gearbox
Hardware and louvre colour: powder coating to RAL colours
Usage: externally
Maximum width: 5000mm
Slat sizes available: 80mm
Life expectancy: 20 years
Roller Blind EOS 500
This modular system is suitable for both large and small scale windows. The blinds use fabrics which are fire retardant, can utilise different openness factors and colours, and do not sag or stretch.
Manufacturer: Faber
Type: roller blind
Application: commercial, office buildings
Material: PVC free fabric
Operation: chain operated crank or motorized
Fabric colour: a wide range of colours and patterns available
Hardware colour: powder coated to a range of RAL colours
Usage: externally
Maximum width: 3300mm
Maximum drop: 4000mm
Awning Blind
This blind is specifically designed for use with roof lights. Working in a similar way to a roller blind, the fabric is roller mounted, spring loaded, and fitted inside an aluminium casing which is installed at the top of the window.
Manufacturer: Fakro
Type: awning
Application: residential
Material: glass fibre fabric
Operation: manual
Fabric colour: available in 3 colours
Usage: externally
Sizes: to fit standard Fakro roof light sizes
Trojan External Venetian Blind
With the louvres of these blinds closed as little as 10 percent of the sunlight is transmitted through the glass. These blinds also have an option to of a z shaped louvre which block provide the internal lighting levels required for audio visual presentations.
Manufacturer: Hallmark Blinds
Type: venetian blind
Application: commercial, higher education, office buildings
Material: aluminium
Operation: manual or motorized
Hardware and louvre colours: available in 20 standard RAL colours
Usage: externally
Maximum width: 5000mm
Maximum drop: 5000mm
Life expectancy: 20 – 25 years
External Venetian Blind
These blinds are lowered at a pre-set tilt angle of 40º for optimal protection. This tilt angle can be regulated to keep direct sunlight out and let natural daylight in creating flexibility for the users.
Manufacturer: Hunter Douglas
Type: venetian blind
Application: residential, commercial, industrial
Material: aluminium
Operation: manual or motorized
Hardware and louvre colour: available colour coated with enamelled polyester paint in 10 standard coloursUsage: externally
Maximum width: 8000mm
Maximum drop: 4000mm
Slat sizes available: 50mm, 60mm, 80mm, 88mm
Tensioned Fabric Blinds
These blinds can be used internally or externally either on horizontal, vertical or sloping glazing. High levels of performance can be achieved by linking the operating system to sun sensors, internal temperature controls, or a time programme.
Manufacturer: Levolux
Type: tensioned fabric
Application: office buildings, commercial and residential
Material: fabric
Operation: either by a switch or automatic control
Fabric colour: a wide colour choice available
Usage: externally
Maximum width: 6000mm
Maximum drop: 6000mm
Specialist Venetian Blinds
The aluminium slats of these blinds are heat treated and double stove enamelled to provide resistance to surface abrasion created by the slats rubbing against each other. This also reduces maintenance by providing protection to peeling, corrosion, chaffing and fading.
Manufacturer: Levolux
Type: venetian blind
Application: office buildings, commercial and residential
Material: aluminium
Operation: manual, motorised, or fully automated
Hardware and louvre colour: a wide colour choice available
Usage: externally
Maximum width: 5000mm
Maximum drop: 6000mm
Slat sizes available: 50mm, 60mm, 80mm, and 100mm
A fabric blind designed for use on large expanses of glazed roof, making it particularly well suited for greenhouses and other industrial applications. The fabric is designed to fold into a storage box for protection when not in use.
Manufacturer: Living Shade
Type: fabric blind
Application: conservatories, atria, commercial, industrial, and greenhouses
Material: waterproof fabric
Operation: motorised or manual control
Fabric colour: white
Usage: externally or internally
Maximum width: 3000mm
This system can be installed either on the window frame or within the window reveal. It is controlled automatically with the both a wind and sun monitor. The fabric used has a surface which repels water and dirt minimising maintenance.
Manufacturer: Weinor
Type: roller blind
Application: residential, balconies and patios
Material: acrylic fabric
Operation: remote controlled motor
Hardware colour: 47 standard RAL colours available
Fabric colour: 9 colours available
Usage: externally
Maximum width: 6000mm
Maximum drop: 2400mm
External Roller Blinds
Used by Venner Lucas Architects on their Sunnybank Passivhaus, these blinds block up to ninety-six percent of incoming solar radiation. They can be fitted outside both windows and doors creating a unified facade.
Manufacturer: Caribbean Blinds
Type: roller blind
Application: residential
Material: fabric
Operation: motorized or manual
Fabric colour: up to 5 different fabric ranges
Hardware colour: powder coated to any specified RAL colour
Usage: externally
Maximum width: 6000m
Maximum drop: 6000m
Life expectancy: 15 – 20 years for motorized operation, and 10 – 15 years for manual operation
Venetian Blinds
These blinds are typically supplied motorised, enabling them to be connected to the buildings BMS system for greater control and flexibility. Optional cable and side guiding systems are available to meet the needs of individual projects.
Manufacturer: Faber
Type: venetian blind
Application: commercial, office buildings
Material: aluminium
Operation: motorized
Hardware and louvre colour: powder coated to a range of RAL colours
Usage: externally
Maximum width: 3000mm
Maximum drop: 4000mm
Slat sizes available: 50mm, 60mm, 80mm, 88mm, and 100mm
Architectural Blinds
These blinds control heat and glare while allowing filtered daylight into the building. They can be easily retrofitted to both masonry and curtain walls. The manufacturer claims that its use can lead to a 39 per cent reduction in the building's energy costs.
Manufacturer: CS Solarmotion
Type: venetian or roller
Application: commercial, education and residential
Material: aluminium
Operation: motorised or automated using a solar tracker
Max width: 4,800mm
Max length: 4,600mm
Slat sizes: 60mm and 80mm
Cayman Tensioned Roof Blind
Using a range of dim-out or blackout fabrics, these exterior roof blinds control solar heat, glare, UV and sunlight. Their motorised control can be optimised through the use of a variety of different automatic sensors.
Manufacturer: Caribbean Blinds
Type: tensioned roller blind
Application: commercial, education and residential
Material: fabric with a TEXgard coating
Operation: motorised
Colour: available in any RAL colour
Max width: 5,000mm
Max drop: 6,000mm
Readers' comments (3)
I would like to share one Eden blind as below-
These are sun protection systems for houses or offices providing sun protection. Its Eden fabrics are highly water and dirt repellant.
Manufacturer: Eden Verandas
Type: fabric blind
Application: commercial and residential
Material: Fabric (Teflon EXTREME®)
Operation: motorised or manual
Colour: available in 150 colours
Usage: externally
*Please consider this image for above description
Choose window treatments or coverings not only for decoration but also for saving energy. Some carefully selected window treatments can reduce heat loss in the winter and heat gain in the summer. If you looking for best External Venetian Blinds treatments contact experts they will help you to choose which is suitable for your home or commercial place.
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subset: commoncrawl


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FunnyorDie.com: 'SNL' for the online crowd
By Gina Piccalo For Los Angeles Times.
November 8, 2009
The sketch comedy website started as a lark for Will Ferrell and his friends. Now it's become a brand-name powerhouse.
Inside a darkened Hollywood warehouse, doe-eyed Adam Scott lay on a bed in his boxers earnestly flicking water droplets out of Jake Szymanski's fleshy belly button -- a stunt everyone agreed would be hilarious in slow motion. As the crew held its breath for this tricky maneuver, the gamin-starlet Rachel Bilson stood off camera, waiting to take her turn on the bed, talking about how her childhood admiration for Lucille Ball had led her to this moment.
It was a strange bit of theater, even by FunnyorDie.com's exaggerated standards. But the popular sketch-comedy website revels in awkward moments like these. FunnyorDie's production staff churns out three or four sketches like this one each week, filmed cheaply and on the fly.
And unlike other fledgling comedy websites, FunnyorDie's got a gaggle of stars like "The O.C.'s" Bilson and Scott from "Step Brothers" on speed dial, all of whom perform for free.
"There's been this whole comedy renaissance going on for the last five years, really hitting the culture in the right way and really resonating," Scott said when the scene was concluded. "FunnyorDie is inviting everyone to the party. . . . The free-for-all nature of it is exciting."
Like "Saturday Night Live" for the new millennium, the site has become home for celebrities eager to lampoon themselves in bizarre, even humiliating sketches because this awkward, alternative brand of comedy now holds such an exalted place in Hollywood that no one wants to be left on the sidelines.
"We suspected but weren't certain that it was time for an Internet version of 'SNL' or 'Letterman' where celebrities can go to promote and try stuff," the site's co-founder Adam McKay wrote in an e-mail interview. "Creative freedom is a huge carrot."
FunnyorDie.com, launched in 2007 by Will Ferrell and his producing partner McKay, draws hordes of visitors -- an average of 25 million per month. They come to see Lindsay Lohan spoof her tumultuous private life with a fake eHarmony ad and Jon Hamm shed his Don Draper veneer by donning a bald cap to play Lex Luthor humbled by the financial crisis. Studio marketing heads and other deep-pocketed advertisers took notice and now FunnyorDie.com is a hip place to promote a movie or slip in some product placement.
In fact, the website that started as a creative outlet for Ferrell and his friends is itself a brand with a successful comedy tour, an upcoming HBO series, a half-dozen offshoot websites and plans for a feature film division.
So when Bilson gamely volunteered her lovely visage to be superimposed over Szymanski's formidable gut for this sketch titled "Rachel Bilson's Deleted Sex Scene" -- a video that debuts on FunnyorDie.com in the coming weeks -- she (and her manager) agreed to it knowing that everyone in Hollywood would be watching.
"It's harder to be funny than any other thing," said Bilson, eyeing Scott and Szymanski as they rolled around on the bed. "So if it's something you can do, you want to show it off."
Well connected
FunnyorDie was the brainchild of a teenager who aspired to comedy -- which sounds like a typical story except the teen was Michael Kvamme, whose dad, Mark, was a partner in Sequoia Capital, the venture capital firm behind Google. Which meant there was money to hire a top-tier agent, Creative Artists Agency's Michael Yanover, who in turn tapped Ferrell and McKay and their producing partner Chris Henchy.
Since its launch, the site has transcended the initial hype of Ferrell and McKay's debut video, "The Landlord" (with 66.7-million views and counting). Now it's a fledgling new media studio with a CEO, a Silicon Valley office and a reported ($15-million investment. (Though the site is making money, it hasn't turned a profit, according to those familiar with its finances. McKay calls it "our not-for-profit theater.") For the legions of comic unknowns out there, the site offers another way to network and possibly get discovered. For the A-listers, it is a creative outlet, set apart from the conglomerates running entertainment, that may not earn them a dime but pays off with street cred on the comedy scene.)
"What this really represents is a burgeoning sort of world," said creative director Andrew Steele, who spent a dozen years on "Saturday Night Live." "The way stand-up in the '80s or '90s was for development people; the Internet is [now] sort of the comedy go-to. That's what makes it kind of exciting."
There are FunnyorDie-affiliated comedy offshoots in Britain (funnyordie.co.uk) and Brazil (morraderir.com.br), and others for food lovers (eatdrinkordie.com), video gamers (pwnordie.com) and action sports fans (shredordie.com). Feature-length films distributed online are next. And then, FunnyorDie will inspire greeting cards, humor books and calendars. Maybe even a Broadway show. At least that's Chief Executive Dick Glover's hope. "If they come," said Glover, "we will build it."
Anyone can submit videos to FunnyorDie, and the site receives about 300 submissions a day. (The "or die" part means viewers can banish sketches that don't make them laugh.) So for every sketch of James Franco spoofing a Gucci ad (mispronouncing it "Gucky") or Denise Richards talking about colorful party favors she calls her "fun bags," there are half a dozen others like "Cats on a Treadmill," which is exactly what the title states, or " California Raisin Man," a guy wearing face paint singing along to "I Heard It Through the Grapevine."
Then there are the working comedians like Nick Kroll or Ben Schwartz who routinely post sketches to stay fresh in the minds of casting agents or test ideas that might grab development executives. The comedy typically gets raunchy, but FunnyorDie appears to draw a line at nudity or seriously coarse material.
It plays well with the most marketable demo -- those 18- to 34-year-olds -- and advertisers have taken note. They've begun slipping product placements into FunnyorDie's "exclusive" sketches -- those produced by Ferrell and McKay's team -- and buying custom-made videos to slyly promote talent and upcoming projects.
In September, video game mammoth Electronic Arts sponsored an episode of Zach Galifianakis' Web series "Between Two Ferns." True to his character as a belligerent public access TV talk show host, Galifianakis unceremoniously held a copy of the game "Need for Speed Shift" in front of Charlize Theron's face. It was good for a laugh and a hip endorsement for EA.
"It's a heck of a lot less than it costs a traditional media company to do the same kind of thing," said Glover. "Part of the beauty of what we do is that we can do things very quickly, very independently and very inexpensively."
Central command
Until recently, FunnyorDie's small writing staff wrote and edited in a warren of rooms inside a modest A-frame house off Hollywood Boulevard. (In September, they relocated to a slightly larger space a few blocks away.) The decor was postgraduate frat house.
During a brainstorming meeting in mid-September, the writers sat around a table, each behind a laptop and lobbied sketch ideas. There was a dollop of sarcasm with every A-list name dropped, as if the writers were slightly baffled by their level of influence. They quickly kicked aside a few duds -- Kevin Costner in a "JFK" spoof, singer Josh Groban searching for Osama bin Laden -- before talk turned to the Holy Grail of FunnyorDie videos: Michael Bay directing "The World's Greatest Cat Video." The blockbuster director passed on the concept a long time ago. But that didn't faze anyone.
"The fact that we got his agent to say, 'Yeah, I'll tell him you guys want him to shoot a video of a cat,' " writer-director Szymanski said, ignoring the room's palpable smirk, "that's an insane accomplishment." For all the big-deal financing, the site's production staff has a DIY sort of moxie. There's no real budget for each video. They script, film and edit with a skeleton crew. And the sketches are often posted days after a sketch is conceived.
"We pitched Natalie Portman and Rasheeda Jones [on a] Monday at 5, and we shot three videos with them the next day at noon," said head of production Mike Farah.
FunnyorDie wasn't exactly a sure thing. The company launched after several well-publicized failures to bring sketch comedy to the Web, NBC's DotComedy.com, Time Warner's This Just In and Time Inc.'s Office Pirates among them. Only Barry Diller's New York-based CollegeHumor.com has thrived. So when Sequoia Capital's Mark Kvamme first approached Ferrell and McKay, they balked.
"But it soon became clear that Mark and his team were first and foremost interested in a funny site with its own voice," said McKay. "They knew that a watered-down lowest-common-denominator site would not work."
At the time, Ferrell and McKay had already established themselves with the blockbuster "Talladega Nights" and cult hit "Anchorman: The Legend of Ron Burgundy." The "Saturday Night Live" veterans had a lot of famous friends. One of them, Judd Apatow, became a principal partner in FunnyorDie.
They introduced the site in time for the presidential election and rode the ensuing political dust-ups to Internet fame. The campaign led to two of the site's biggest hits: " Paris Hilton Responds to McCain Ad," featuring the bikini-clad heiress as a surprisingly articulate, visionary candidate, and "Prop. 8: The Musical," starring John C. Reilly, Neil Patrick Harris and Jack Black as Jesus.
Back on the set of "Rachel Bilson's Deleted Sex Scene," Scott and Szymanski concluded their romantic pas de deux, rolled off the bed, donned matching flannel robes and wandered off in opposite corners of the studio. Everyone else filed over to a table stacked with pizzas and Bilson disappeared into a dressing room. Scott later reemerged fresh-faced and fully dressed, as if the cringe-inducing scene had happened to someone else.
For Scott, who costars on the Starz network's ensemble comedy "Party Down," the shoot was a quick, easy way to stay comically nimble and have fun. Best known for his risky (read: full frontal nudity) dramatic performance in HBO's "Tell Me You Love Me," Scott also recently costarred with Ferrell in the goofy comedy "Step Brothers." Still, he didn't realize exactly what he was in for when he signed on.
While Bilson's role amounted to a few breathy close-ups, Scott spent a good 20 minutes with his finger in another man's bellybutton. "I am taking the hits on this one," Scott said, running his hands through his hair. "I've hung out with Jake a couple of times -- but wow."


text:
adoption(redirected from Adopted child)
Also found in: Dictionary, Thesaurus, Legal, Encyclopedia.
Etymology: L, adoptere, to choose
a selection and inclusion in an established relationship or a choice of treatment protocol.
AdoptionThe act of lawfully assuming the parental rights and responsibilities of another person, usually a child under age 18, typically due to infertility; 8,000 babies/year enter the US adoption pool, most from underdeveloped countries; about 2% of children < age 18 in the US are adopted.
Health profile Adoptees comprise 5% of children in psychotherapy, 6–9% of those with learning disabilities, 10–15% of those in residential treatment or psychiatric hospitals.
Medical problems in international adoptees
• Infections Giardia lamblia, Trichuris trichiura, Blastocystis hominis, tuberculosis, HBV, chronic diarrhoea, poor hygiene
• Medical problems Neurologic, haematologic, renal, metabolic
• Psychological Sensory deprivation and/or physical abuse by care-givers
• Nutrition Malnutrition, rickets
adoptionSocial medicine The act of lawfully assuming the parental rights and responsibilities of another person, usually a child under the age of 18; the care and nurturing of a child by a non-blood-related adult who assumes the roles, rights, and obligations of a natural parent; 2% of children < age 18–US are adopted–± 1 million. See Cooperative adoption, Designated adoption, Independent adoption, Infant adoption, Informal adoption, Open adoption, Relative adoption, Semiadoption, Simple adoption, Traditional adoption, Transracial adoption, Wrongful adoption, Zygote adoption.
1. of alien young. Individual dams of all species may adopt strange neonates, and some ewes will even attempt to poach from others, but special measures have to be taken in most cases to foster alien young. Sows are probably the easiest to deceive. Queens will accept foster kittens if they are within about 2 weeks of the age of their own kittens. Reluctant ewes may accept strange lambs only if they are rubbed with secretions from their own.
2. also used in reference to the placing of stray or otherwise unwanted dogs and cats into ownership, as stray animals obtained from an animal shelter.


text: Thursday, January 12, 2012 Fee Schedule, MPPR Calculators Updated APTA recently updated its Medicare physician fee schedule and its multiple procedure payment reduction (MPPR) calculators to determine payment amounts under Medicare for January and February to reflect the 2-month extension of the fee schedule update and other Medicare provisions signed into law December 23, 2011. If Congress does not take action by February 29, a 27.4% payment cut will go into effect. Sign up today for PTeam to receive the latest news on legislation to fix the Sustainable Growth Rate and extend the therapy cap exceptions process, which also expires February 29. Comments Thank you! Posted by Walt Abbey on 1/13/2012 2:35 PM I would be willing to take a 27.4% cut in reimbursement rates if all government employees, including congress, would be willing to take a 27.4% cut in their salaries. If we are going to share in this debt crisis that congress created, let's share and share alike. If congress is not willing to make the personal sacrifices that they are asking of the medical providers, the threat of this payment cut needs to be permanently done away with. Medical providers need to let their congress people know their feelings on this potential cut. As a whole, I believe we have been to quiet, too long. It is time to let our voices be heard. Posted by Chris Z on 1/14/2012 10:23 AM Well said. Couldn't agree more. Congress bailed out Wall Street and GM but we have to take an enormous cut. Let Congress have some "skin in the game." They should not be exempt from any laws, rules, regs, etc. that they pass for the rest of America. Larry Greenberg, PT, MS, M.Ed. Posted by Laurence Greenberg -> @NT` on 1/14/2012 11:48 AM Chris I like what you have to say. Thats one angel... I think the permanent solution to the problem may at first be difficult, but in the end cause Physical, Occupational and Speech Therapists less pain and future efforts to secure our outpatient careers. Obviously the cap issue needs to be dealt with, but that isn't the biggest problem. If we could spend less time lobbying for cuts in the "Physician Fee Schedule" (PTS) we could spend more time and money lobbying for fixing the cap and dealing with the overall reformation that is under way. First of all the cuts in the PTS is not due to rehab. I'm not sure what our overall slice of the pie is, but we are just a fraction of the billions of Part B spent. If we can get out CPT codes removed from the PTS and the future ICD10 codes relating to rehabilitative ancillary services we may have a chance at effectively lobbying to eliminate the cap. We need a separate fee schedule for our services. This could then allow us to be looked at differently by the general community and congress. Why should we always take the hit, when the problem is more heavily a physician billing issue? We need to make a clear distinction, not only in the services we provide, but our billing methods. This will show America that our services are cost effective and save future tax dollars. We can't do that when we are grouped together with the money eating physicians. They make the honest physicians look bad and then we get lumped in there too... Posted by Trevor D on 1/14/2012 12:11 PM What purpose does an extension of the cap serve if medicare is just going to continue doing these prepay/postpay audits and deny services anyway. It is ridiculous that a cap for the population that need our services the most is so unjustly low and inadequate. I would even take a 27.4% cut if the other insurances would actually pay the fair market value for our services; which they never will. Posted by Anthony B on 1/14/2012 12:13 PM There will always be "bad apples" in the barrels by which we are all judged. The only way to demonstrate our value is by our documented outcomes. We do great work, we get great results but we can't document worth a hill of beans to demonstrate our worth. Until we as a profession begin to take our documentation seriously, we will only be judged by what we produce on the paper (written or electronic). Take a moment to read what you've written and ask yourself if you'd write a check to yourself for the skilled, compelling note you just wrote. Posted by Suzanne Keifer -> >KTbA on 1/16/2012 4:53 PM


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Probably the biggest news of the week, or at least the most recent, is that comptroller and mayoral candidate John Liu was denied over $3 million through the city's very generous matching funds program.
The Campaign Finance Board ruled that the guilty verdicts in the case of inappropriate fundraising by two campaign staffers meant that all of Liu's contributions were tainted and didn't deserve to be matched with taxpayer money.
Of course, after a years-long investigation, which also involved tapping Liu's personal phone, the comptroller himself was never found to have done anything wrong, but nonetheless the board voted to deny the money. That means Liu is going to be working at a distinct disadvantage as far as money is concerned as we head into the September primary.
Worth noting, however, is that the five-member board that decides whether or not Liu's contributions qualify for the program are all appointed by either Mayor Michael Bloomberg or one of Liu's opponents in the race, Speaker Christine Quinn.
The Campaign Finance Board is supposed to be nonpartisan, but it sure does seem like its controlled by two people who would either like to see Liu out of the race (Quinn) or have an axe to grind with Liu (Bloomberg).
Liu has been a thorn in the side of the Bloomberg administration since he took office, scrutinizing every financial move made by City Hall. Bloomberg even recently sued Liu for holding up contracts to operate two homeless shelters in the city.
We're not saying either Quinn or Bloomberg called in any favors, but it all looks rather suspicious.
Liu plans to appeal, but even if he won a decision wouldn't come until days before the primary, when the additional funds would likely have little impact on improving his chances.
Speaking of the mayoral race, Anthony Weiner continues to forge ahead with his embattled campaign. And we have to admit, as he stubbornly refuses to step aside, the chorus of editorial boards and critics calling for him to quit the race and deal with his personal issues seems to be subsiding. We guess people have just gotten used to the fact that he is in this thing for the long haul.
Weiner was back in his old congressional district last week, meeting with small business owners at Tandoor restaurant on Queens Boulevard in Rego Park. Of course, there was more press there than actual business owners, as every move that Weiner makes or text he sends these days is big news.
While Weiner was cordial and chatty with the business owners, he was less so with the scrum of press that followed him out the door following the meeting, rushing into a waiting black SUV and refusing to answer questions about the controversy surrounding him.
And speaking of politicians with a sketchy past (is there any other kind!), Assemblyman Vito Lopez was being lampooned this week after a mailer he sent to voters in his City Council race was called out for being a complete Photoshop disaster of an old Daily News photo.
In one of the photos in the mailer, Lopez is standing with Hillary Clinton in front of an "Elect Vito Lopez" sign. But the photo has clearly been doctored, as was first reported by Miss Heather on thatgreenpointblog.com.
The original photo is of Lopez and Clinton, but they are standing instead in front of a sign that reads "Elect Diana Reyna" - Lopez's one-time chief of staff turned political foe.
Nowhere does the Lopez mailer explicitly say that Clinton is endorsing Lopez, but we're certain he'll take the assumption that she is, given the sexual misconduct allegations against Lopez and the backlash from women's groups over the fact he is even considering running for office again after being forced to resign from the Assembly.
We can't wait to see what the next four weeks brings!


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Characters part 23
Street Fighter IV Characters[edit]
|Character Select
|Complete arcade mode as Ryu to unlock Sakura.
Fighter Overview
Sakura is all about constant action and mixing it up against the opponent. Getting to the skill level where you can successfully mix up takes some dedication, but if you can build the skills you need you'll have in Sakura an excellent character to satisfy the aggressive needs of offense-oriented players.
The key to Sakura's mix-up is her EX Shunpukyaku ( + KK ), which knocks the opponent into the air, leaving him/her vulnerable to a juggle. After knocking the opponent into the air, follow with a j.LK. This isn't the most damage-oriented option at Sakura's disposal, but it'll let you hit the ground before the opponent and establish the mix-up. Take one step forward and you can nail the opponent with a c.HP from the front just as they land. Or take two steps forward and you can hit the opponent with a c.HP...from behind. If it sounds too simple to be effective, note that judging whether Sakura is going to end up behind or in front is almost impossible for the opponent. By using this mix-up tactic, you essentially force the opponent to guess which way to guard. If you hit the opponent with that c.HP, you can cancel into another EX Shunpukyaku to restart the mix-up.
Fortunately, Sakura's got options for comboing into her EX Shunpukyaku. You can cancel many of her normals, including c.MK and c.HP. But her safest way into the setup requires some pretty specific timing. Sakura's normal LK version of her Shunpukyaku ( + LK ) is a very safe attack, and if it lands it even gives Sakura the ability to combo a LK afterward. You can cancel that LK (c.LK or s.LK) into the EX Shunpukyaku, which should really be the focus of your Sakura play.
Her EX Shunpukyaku also lets you combo into Sakura's ultra, which is a handy trick. When you're not comboing, use Sakura's s.HK as a general purpose poke—it's got great range, is fast, and out-prioritizes a lot of things. Her c.HP is a very solid anti-air attack, and her j.LK is a functional cross-up. Stay aggressive and wait for the opponent to slip up, letting you roll into her mix-up game. Once you've got the momentum in your favor, it shouldn't be too tough to keep up the pressure and take the quick KO.
|j.LK ( cross-up ) s.LK xx + HP xx + K
|Sakura's j.LK is her only legit cross-up, and it doesn't induce a lot of hit stun. Still, it will let you land and connect another LK (standing or crouching), which gives you enough hit stun to cancel into a HP Shouoken. That combo on its own is good for pretty solid damage, but if you've got super meter to spare you can cancel into Sakura's super combo to cap off the combo.
|c.MK xx + LK c.LK xx + KK + K P P P
|This combo starts with the basic mix-up setup described earlier, but instead of leaving it up to chance to deal more damage you end the combo with Sakura's Otoshi air claps. The most difficult part here is connecting the c.LK after the LK Shunpukyaku. Trust us, it's possible, and with practice the timing will come easily. The best part of this combo is that it's pretty safe. Throw out the c.MK xx + LK at will. If it gets blocked, no biggie—you're basically safe from a counter. If it lands, you've got time to react and continue with the rest of the combo.
|c.HP xx + KK + KKK
|This is, more or less, Sakura's bread-and-butter lead into her ultra combo. Really, you can cancel a number of her ground normals into the EX Shunpukyaku. Once that lands, wait for the opponent to just begin falling back down to earth. As they do, activate Sakura's ultra combo and it'll connect fully, giving you pretty serious damage for not too much effort.
Moves List
|Flower Kick
|A decent overhead kick that's good to throw into your pressure game when the opponent gets complacent with a low guard. If you've scared the opponents away from waking up with a high-priority attack (like a Shoryuken), you can very frequently nail 'em with the Flower Kick as they wake up. Range is pretty good, too, so you can use the Flower Kick to follow a series of low pokes that push you outside of normal poking range.
|Not a big part of Sakura's game, but her Hadoken still has uses. You can hold down the P button to charge the Hadoken for a big blast with very little range. Though the range is weak, the charged Hadoken is good for wake-up situations and even works as a decent anti-air. Against characters with better projectiles, you're not going to win any fireball wars, so don't get sucked into them.
|Shouoken doesn't have the priority of shoto Shoryuken's, but it does have better horizontal range, making it a decent way to punish opponents whose attacks leave them just outside of normal striking range. You can quite easily combo into Shouoken off of a LK and then cancel the Shouoken into Sakura's super combo, should you want to. The HP version of the attack does considerable chip damage, which you can abuse near the end of fights.
|The LK version of the Shunpukyaku is basically entirely safe when blocked. In fact, as mentioned earlier, you can actually land a LK after the special and continue the combo. This makes the LK Shunpukyaku a great combo starter, as it's easy to throw out and react if the move hits. But the real star here is the EX Shunpukyaku, which launches the opponent into the air. After that, you can juggle with a Shouoken, an Otoshi juggle, Sakura's ultra combo, or the outstanding mix-up game described earlier.
|Sakura Otoshi
|The Otoshi doesn't have much use outside of juggle combos, though the EX version does have excellent horizontal range and can be used to hop fireballs. After hopping a fireball you can punish by clapping Sakura's hands over the opponent's head. It's a pretty risky move outside of combos, though, so we don't really suggest it.
|Haru Ichiban
|Sakura's super starts with some invincibility frames, so it's good for going through fireballs or punishing sloppy meaty attacks as you wake up. It's also fairly easy to combo into her super by canceling Shouoken. Still, we think her super meter is better used for EX attacks.
|Haru Ranman
|This is pretty similar to Sakura's super, starting with invincibility frames to pass through projectiles and other attacks. It also starts by hitting low, so it can catch opponents off-guard. Best of all, Sakura can combo into her ultra off of a connected EX Shunpukyaku. Wait for the moment just as the opponent starts to fall down before activating the ultra and she'll connect with the whole shebang. It's not real powerful, but it's easy to connect.
|Give us feedback!
|Continue Characters...
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In 1986 EL COLEGIO MEXIQUENSE, A.C. was founded as an initiative of several institutions leaded by the Government of the State of Mexico. This institution is devoted to research and teaching in the social science and humanities areas. It is located in the former hacienda of Santa Cruz de los Patos, in Zinacantepec. The hacienda comprises some buildings that have been refurbished and made adequate for an institution like this. The property was built in the 17th century, recently refurbished to provide a comfortable working environment, ideal for studying, teaching and holding academic meetings, without forgetting that it is actually a historical site.
EL COLEGIO MEXIQUENSE is part of an integrated network formed by Colegio de México, Colegio de la Frontera Norte, Colegio de la Frontera Sur, Colegio de Michoacán, Colegio de Sonora, Colegio de Jalisco, Colegio de San Luis and the Institute José María Luis Mora, all of which have close academic exchanges. These collaborations are formalized through agreements that enrich our work as a public educative center of high standards, whose compromise is to study and offer solutions to the main problems of the state and the country.
In this way, EL COLEGIO MEXIQUENSE is interested in different subjects approaching them through research and offering postgraduate programmes and diplomas. It is also interested in spreading its work into the academic circle and society in order to contribute to the analysis and reflection, as well as the decision making into the public, social and private sectors. This is achieved through a number of periodic publications,, communication programmes and consultancy services. The institution is also a forum open to academic discussion. Therefore, regional, national and international seminars, meetings and workshops are regularly organized. This task enables a close contact between research institutes and universities.
After 29 years, the centers and programmes of EL COLEGIO MEXIQUENSE are going through a consolidation stage, and their purpose is to be in the forefront of social and humanistic knowledge, showing at the same time the importance and usefulness of their services and contribute to social research and teaching with efficiency in the academic work.


text:
I want to learn Cloud Computing and Big Data at home.
- Is it possible to learn these technologies on home PC?
- Which technologies to learn in Cloud Computing?
- Which technologies to learn Big Data (Hadoop)?
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I want to learn Cloud Computing and Big Data at home.
It's difficult to tell what is being asked here. This question is ambiguous, vague, incomplete, overly broad, or rhetorical and cannot be reasonably answered in its current form. For help clarifying this question so that it can be reopened, visit the help center. If this question can be reworded to fit the rules in the help center, please edit the question.
Is it possible to learn these technologies on home PC?
Yes. For instance, you can work bith Google AppEngine's SDK entirely offline.
Google Code University also provides some starter courses and tutorials on Distributed and Cloud Computing.
Which technologies to learn in Cloud Computing?
Cloud Computing encompasses many things (ass buzzwords often do...).
You need to understand its core characteristics, its different service models and deployment models, and all the issues and troubles it comes bundled with and that need mitigation (the downside of buzzwords, is that it makes the greater public worry about stuff).
Once that's done, you can start experimenting with different software actors of the Cloud's landscape, and major providers like Google AppEngine (and Google's integrated services), Amazon AWS, Windows Azure, Heroku or CloundFoundry.
Which technologies to learn Big Data (Hadoop)?
The Wikipedia entry on Big Data's Technologies gives a (long-ish) list of pre-requisites, but if you wanted to be pointed at frameworks, then look at:
View also:
Pictures courtesy of Wikipedia.
Cloud computing by definition can be learned anywhere. Just signup for one of the free tiers and learn how to start it, expand it, reconfigure it. Discover what prepackaged software and tools can by loaded, setup, used and then discarded. And when you done trash the server and start again.
Since you are a .NET guy, you can go with the Windows Azure. You can start building applications at your home PC itself using the tools which you are familiar with (Visual Studio etc). For deploying in Windows Azure, you will be coding your app, running it locally and if everything working fine, you can push that to cloud.
Windows Azure has some subscriptions where you will get some free benefits. Check the Windows Azure 90 day free trial. Also, if you have an MSDN subscription, you can get free Azure benefits. An MSDN Visual Studio Ultimate subscriber is entitled to up to 3700$ worth of Azure benefits every month.
If you are looking for a basic cloud computing course, you may consider EXIN Cloud Computing foundation certification course as well.
Here is a great FREE resource to start with BigData: http://bigdatauniversity.com/
Note: If you would like to learn more about cloud computing/ BigData etc, register at GetCloudCertified.com (URL given below). We will be launching our website by early 2013. Feel free to follow us on Twitter and FB for the time being for more details.
Cheers! GetCloud http://getcloudcertified.com
Www.coursera.org offers free online courses. There are courses for Big Data and Cloud for health Servies available.
To answer the Op questions:
As for 2 and 3 I think to get started with the technologies like Cloud or "Big Data" it's good to have a nice example domain where you can alloy those. And I think medical and healthcare are a very rapidly growing branch in need of those.


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The Best Waterproof and All-Weather Digital Cameras
Waterproof or all-weather cameras are designed to withstand the toughest conditions, from water and dust to drops and cold. Some cameras can dive down to 50 feet or more, while others are meant more for snorkeling and splashes on the beach. When looking for a camera that will work underwater, look for a lens with a low f-number—there's much less light when shooting underwater, and those bright lenses really help. Waterproof cameras are excellent options for the outdoorsy type—but they're also good for letting little kids use and the accident prone. The best outdoor digital cameras will be able to withstand small drops, at least a few feet of water, dust and cold--and still take good pictures.
- Order by:
- Price
- Title ▲
- Grade
- Release Date
Fujifilm FinePix XP120
Fujifilm is upgrading their waterproof compact with an even deeper rating. The Fujifilm FinePix XP120 is rated to head down to 65 feet -- 15 feet further than the older XP90.While the camera has a deeper rating, many of the features remain unchang...
Grade: B- Price: $230.00
Fujifilm FinePix XP130
Fujifilm's budget waterproof line contains a good mix of features for the price and now the company is bringing a few new features. The Fujifilm XP130 offers the same imaging specs as the earlier XP120 but adds Bluetooth connectivity and extra...
Grade: B- Price: $169.00
Fujifilm FinePix XP80
Sometimes, the most beautiful images we see are in environments that would mean disaster for the average camera. But the Fujifilm XP80 isn't your average camera. I dropped it in a water fountain. I shot through a rainstorm. I even let my two-y...
Grade: B+ Price: $115.00
Fujifilm FinePix XP90
Fujifilm didn't change much when they updated the waterproof XP80. The Fujifilm FinePix XP90 offers a higher resolution LCD screen and a new time lapse capture mode.The headlining feature for the camera is still the 50 feet waterproofing, well...
Grade: B+ Price: $200.00
Nikon COOLPIX AW120
Nikon has certainly taken a step in the right direction with the all-weather AW120. When taking images underwater, lighting is much more limited, so a good lens is a must. The AW120 features an f2.8-4.9 lens, which is much brighter than the previo...
Grade: A- Price: $299.00
Nikon Coolpix AW130
There's the waterproof camera that you can take to the beach, and then there's the waterproof camera that you can dive with. With one of the highest depth ratings in its class, the Nikon AW130 definitely falls in the latter category.Nikon ...
Grade: B- Price: $450.00
Nikon Coolpix W300
Waterproof compact camera announcements are expected every spring, but the Nikon Coolpix W300 that's more along the likes of the AW130 but named closer to the budget W100 was a bit less expected. The W300 brings 4K video to Nikon's waterpr...
Grade: A- Price: $89.00
Olympus TG-4
Olympus's waterproof cameras have a long history of high rankings--and for good reason. It's not unheard of for even a professional to pick up the top camera in this line-up so they don't have to damaging risk their pricier gear for an...
Grade: A Price: $379.00
Olympus TG-5
Olympus' single-digit TG Tough cameras have long been a popular choice because of a bright lens and excellent macro mode and the company is continuing the tradition with the new TG-5. Like earlier models, the TG-5 features a waterproof design,...
Grade: A Price: $458.00
Olympus TG-860
Olympus's tough TG-800 line cameras are designed to be a bit more affordable than the highly ranked TG-2 and TG-3 options, while still offering waterproofing and durability. The TG-860 adds one big benefit over the older models--improved video...
Grade: B+ Price: $279.00
Olympus TG-870 Tough
Cheap cameras are notorious for being, well, cheap. But can a budget camera that's also waterproof and crushproof break that mold?The Olympus TG-870 Tough is a more budget-friendly version of our top recommended waterproof, the TG-4. Despite s...
Grade: B Price: $280.00
Panasonic DMC-TS6
The Panasonic DMC-TS6 is designed for outdoor adventures. While there's a handful of similar options, one of the highlighting features is that the TS6 hits an excellent burst speed of 10 fps, a big plus for those shooting rugged sports.The TS6...
Grade: A- Price: $998.00
Panasonic LUMIX G85
The Panasonic G85 is a mirrorless camera that's as rugged as it is advanced. The G85 (not to be confused with the GX85) sports a 16 megapixel micro four thirds sensor on the inside and a splashproof body on the outside.While the camera&rsquo...
Grade: A- Price: $845.00
Pentax K-3 II
While Nikon and Canon are the most popular DSLR manufacturers, Ricoh/Pentax shouldn't be overlooked--they're continuing to prove their worth with the introduction of the Pentax K-3 II, a high-end APS-C DSLR that offers improved autofocus s...
Grade: A Price: $829.00
Pentax KP
Pentax is cramming more features into a smaller body with the KP, a compact, weather-sealed DSLR.The KP uses an APS-C sensor, and like several of Pentax's earlier models, doesn't have an anti-aliasing filter but uses the sensor shift stabi...
Grade: A- Price: $797.00
Ricoh WG-4
The WG-4 officially drops the Pentax name for point-and-shoots, but there's not too much else that's new about this camera. The 2014 model offers the same sensor and lens, though there's a few additional modes that allow for manually a...
Grade: A- Price: $210.00
Ricoh WG-5
Ricoh's WG-5 offers several features that puts it towards the top of our list for waterproof cameras, including a bright lens and excellent macro mode, though speed prevents it from taking the top slot.The camera captures shots with a 1/2.3&qu...
Grade: A- Price: $297.00


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Sorry, haters of traditional media: Newspapers' slide is going to end. That's the word, at least, from a new forecast projecting that newspapers' print ad revenue will actually rebound 2.4% next year.
"We are forecasting that by 2014, newspaper income will be up a total of 8.7% over the 2009 figures, to slightly more than $39 billion," said Colby Atwood, president of ad research firm Borrell Associates, in the forecast. "That will be short of its 2008 level, but a long way from extinction -- and good enough to increase newspapers' share of total ad revenue 1.5 points, from 14.4% to 15.9%."
According to Borrell, newspapers are going to stick around -- no longer as important or big, but as niche players serving a "greatly distilled" audience of well-educated, higher-income readers.
Newspapers in smaller markets are still doing better than big ones such as the Boston Globe, the kind that attract all the attention, Borrell pointed out. Any recovery in the economy will return at least some advertising to papers.
Newspapers are getting better at selling ads, using improving and still big ad sales staffs to contact local advertisers. And their own web sites, advertising on which Borrell doesn't include in its newspaper numbers, will likely generate more revenue over time.
PricewaterhouseCoopers recently forecast that print-ad spending in U.S. newspapers will keep falling in 2010, 2011 and 2012, but will rebound slightly in 2013.


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Review: GTX 650 done right
Once the GTX 660 and GTX 650 were out, a glance at the performance gap suggested there is a good chance Nvidia will fill it with another card. Today, Nvidia launched its new – GTX 650 Ti, so the company's offer now lists (top to bottom):
Geforce GTX 690 (GK104)
Geforce GTX 680 (GK104)
Geforce GTX 670 (GK104)
Geforce GTX 660 Ti (GK104)
Geforce GTX 660 (GK106)
Geforce GTX 650 Ti (GK106)
Geforce GTX 650 (GK107)
Geforce GT 640 (GK107)
Geforce GT 630 (re-branded Geforce GT 440)
Geforce GT 620
Geforce GT 610
Geforce 210
The GTX 650 Ti is based on Nvidia's Kepler GK106 GPU, first seen on the recently launched GTX 660. In its full version, the GK106 GPU packs five SMX units with 960 CUDA cores, 24 ROPs and 80 texture units. In case of the GTX 650 Ti, four SMXs are used, offering a total of 768 CUDA cores and 64 texture units.
Unfortunately, the memory took a hit as well and the GTX 650 Ti has a mere 128-bit memory interface, unlike the GTX 660's 192-bit. Note that the design allows for both 1GB and 2GB versions of the card.
The GTX 650 Ti's playing field should be 1080p (1920x1080). Our today's guest is one of the faster GTX 650 Ti samples that comes with 2GB of memory as well – EVGA's GTX 650 Ti SSC 2GB.
EVGA obviously didn't waste time and its launch involves four cards:
EVGA GeForce GTX 650 Ti 1GB
EVGA GeForce GTX 650 Ti SSC 1GB
EVGA GeForce GTX 650 Ti 2GB
EVGA GeForce GTX 650 Ti SSC 2GB
Reference GPUs tick at 925MHz. The GTX 660's reference GPU clock was at 980MHz when it launched, but many partners overclocked it beyond 1GHz. We expected the same this time around and EVGA did not disappoint.
GPUZ confirms the specs - 768 CUDA cores, 128-bit memory interface and the GPU overclocked to 1072MHz.
Although the GK 106 GPU originally supports GPU Boost, the cut down version on the GTX 650 Ti doesn't have it. This is proof enough that the card comes from GTX 650, rather than GTX 660 series. This also means the card always runs at its highest possible clock, which is 1072MHz in SuperSuperclocked's world.
However, the GTX 650 Ti doubled the GTX 650's specs when it comes to CUDA cores and texture units – 768 vs. 384 CUDA cores and 64 vs. 32 texture units, respectively. Both cards have 16 ROPs and 128-bit memory interface.
NVIDIA FXAA - Lightning fast anti-aliasing in a huge variety of games with the simple click of a mouse.
NVIDIA TXAA - Next generation anti-aliasing algorithm that delivers the image quality of 8x MSAA, with the performance hit of only 2x MSAA.
Adaptive Vertical Sync - Dynamically adjusts VSync to your monitor's native refresh rate for the smoothest gameplay possible.
Frame Rate Target - Set a target Frame Rate with EVGA Precision X and your card will automatically adjust the power/performance to meet that target.
NVIDIA 3D Vision Surround - Supporting up to three gaming monitors.
PCI Express 3.0 - Offers double the bandwidth of PCI Express 2.0, for highest data transfer speeds. Also backwards compatible with all existing PCI Express motherboards.
EVGA's new Global Warranty policy:
· Most EVGA products now carry a 3 Year Warranty, which can be extended to 5 or 10 years (upon registration, and a small fee starting from approx €8 dependent upon the price of the product)
· The product warranty covers the product, not the user. (So in short, this means an end user could sell the product on an online auction site, for example, and the product will still be covered within the 3 Year Warranty period.)
· Registration is no longer required for RMAs with our Guest RMA process.
· The Step-Up Program and Extended Warranties will be available for all original owners registered with the new global RMA system within 30 days of the purchase.
· If you move, you can send your product back to your local warranty centre no matter what region you purchased it in.
· A new Standard Cross-Shipping RMA service is available.
Assassin's Creed III
EVGA's GTX 650 Ti 1GB variants (for retail/etail/SI) are bundled (via a code) with the full PC version of Assassin's Creed III.
We like the packaging EVGA started using for the GTX 660/650 series, as it's smaller than what the company uses for faster cards, but still tough enough. Nvidia made a rule that every package should have the card's name on the side of the box, which should help customers and retailers find the right card easier.
EVGA included a molex-to-6-pin converter, DVI-to-VGA dongle, driver CD, EVGA badge, user guide and a few papers with advice for setting it up.
The GTX 650 Ti SSC is the shortest Kepler based card so far. It couldn't have been made shorter because of the PCI Express connector length.
The PCB is only 14.5cm long, which is about the length of the cooler shroud.
The picture below shows the GTX 660, which also uses the GK106 GPU. Its PCB is 17.3cm long while the cooler measures 24.3cm together with the shroud. The GTX 650 has a TDP of 110W, which is 30W less than the GTX 660. Nvidia allows smaller coolers, i.e. GTX 650 designs, and EVGA took them up on this offer.
EVGA GTX 650 Ti SSC looks pretty much identical to the GTX 650 SC, or any other EVGA GTX 650 for that matter.
The card has dual slot cooling that relies on a single down-draft 80mm fan. The shroud isn't completely closed up but at least has no exhausts between the fan and I/O panel, so at least some hot air will exit the case.
The GTX 650 Ti draws power via one 6-pin connector, just like the GTX 650, although the latter's TDP is mere 64W.
The fan is part of the shroud. Taking off the shroud reveals a circular heatsink.
Two phases are left for the GPU while another one, towards the top of the PCB, was left for the memory.
The heatsink is one slot wide, but the fan takes up another.
GTX 650 Ti supports triple displays straight out of the box. This is why the I/O panel has two dual link DVIs and a mini-HDMI out. EVGA threw in a DVI-to-VGA dongle as well.
GTX 650 Ti / GTX 650 don't have SLI connectors and SLI is not possible via PCI Express connector.
The GTX 650 Ti SSC packs 2GB of memory, evenly distributed on two sides of the PCB. The card uses Hynix memory chips (model No: H5GQ2H24AFR-R0C). The chips are specified to run at 1500MHz (6000MHz GDDR5 effectively) but GTX 650 Ti SSC's memory runs at 1350MHz (5400MHz effectively).
EVGA changed the texture work on the shroud and since it's now smooth and without holes, it will not gather dust as much. While the likes of EVGA's GTX 680 Signature 2 are visually more appealing, they're quick to collect dust and harder to clean.
Motherboard: EVGA X79 FTW
CPU: Sandy Bridge-E Core i7 3820 (3.6GHz)
CPU Cooler: Thermalright HR-02 (Thermalright-Europa Distri www.PC-Cooling.de).
Memory: 8GB ADATA DDR3 1600 XPG Gaming series
Harddisk: OCZ Vertex 2 100 GB
Power Supply: CoolerMaster Silent Pro 1000W
Case: CoolerMaster Cosmos II Ultra Tower
Operating System: Win7 64-bit
Nvidia 306.38-desktop-win7-winvista-64bit-english-beta
AMD 12-9_vista_win7_64_dd_ccc.exe
(AMD HD 7970 : 12-6_vista_win7_64_dd_ccc.exe)
(EVGA GTX 690 4GB & Gainward GTX 670 Phantom SLI : 301.34-desktop-win7-winvista-64bit-english-whql)
3D Mark 11
Crysis 2
Aliens vs Predator
Playing at 1920x1080 was pleasant enough, but the card loses pace once the filters are on. The difference between EVGA GTX 650 Ti and GTX 660 is more evident when antialiasing is in the game. In fact, turning on antialiasing clearly separates GTX 650 (Ti) from GTX 660 (Ti) and it's clear this isn't a card built to handle antialiasing at 1920x1080.
Unigine Heaven
We used PrecisionX tool, which of course supports the GTX 650 Ti. To mark the launch, EVGA even made the new skin, picture below.
Despite the already high factory overclock (147MHz over reference 925MHz) 650 Ti SSC can be overclocked even further. Additional 50MHz may not sound that impressive, but giving the memory a 150MHz boost gave a 7 percent performance bump. Although memory specs say 1500MHz, EVGA decided to stick with the reference 1350MHz.
Fan speed can be controlled but all the tools we ended up using read the RPM in percentages only. The fan didn't exceed 23 percent RPM during gaming. Once we pushed it to 40 percent, we could hear it well and 100% ended up being very loud. Note however that there will be no need to mess with fan speed, because AUTO mode runs just fine and delivers a good cooling-to-noise ratio.
GPU went up to 66°C, which is solid enough and the card is inaudible quiet when idle. The only thing that bothered us a bit was the operating noise from somewhere inside the PCB – it wasn't too loud but we could faintly hear it from inside the case.
As you can see from the graph below, overclocking didn't result in more noise. The fan remained quiet but the GPU temperature did climb to 72°C.
Power consumption is already good, and even better considering the high factory overclock on the EVGA GTX 650 Ti SSC 2GB.
In general, EVGA GTX 650 Ti SSC is a good graphics card that runs well, consumes little, stays quiet and doesn't get very hot. In turn, simple cooling was sufficient to keep the card cool. Consumption-performance ratio is exceptionally good. The only thing we did not like was the operating noise in question which resembles a faint squeal of sorts, a high pitched tone.
The card is sufficient for 1080p gaming, unless you're absolutely bent on maxing out all the settings. Once you put the GTX 650 Ti's price and its 1920x1080 performance in perspective, you'll see that it ranks slightly lower than the competing Radeon HD 7850.
EVGA offers the GTX 650 Ti in 2GB and 1GB flavors, where the former costs some €10 more. If you're a fan of Assassin's Creed 3, then you should know that EVGA bundles this game in certain regions with their GTX 650 Ti 1GB card.
We cannot say with certainty whether GTX 650 Ti 2GB scores higher than its 1GB sibling at 1920x1080. Although the resolution of 2560x1600 benefits from larger buffers, GTX 650 Ti's GPU couldn't handle it well. If the GTX 650 Ti had GPU Boost, we'd surely see significant performance improvements.
The GTX 650 doesn't support SLI, but offers three video outs that can be used simultaneously. When compared to the competition, EVGA GTX 650 Ti SSC 2GB would come really close to the HD 7850, but not close enough to take it down.
In the end, let's talk cash – the GTX 650 Ti SSC 2GB goes for about €165, while the same card with 1GB of memory costs about €155. Radeon HD 7850 2GB goes for €175 while 1GB version costs €150. It's pretty clear that the GTX 650 Ti has potential and a price adjustment may just turn out to be decisive in this matchup. Other than that, EVGA's GTX 650 Ti SSC 2GB is a quality card that we'd gladly recommend to anyone, but mostly occasional gamers who like 1680x1050 or 1920x1080 and don't fret over detail settings.


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Lions International Peace Poster Contest is an international contest that encourages, children, ages 11-13, to creatively express what peace means to them. The 2012-2013 contest theme was "Imagine Peace." The contest allows students to share their unique image of peace with others, so that we may all have greater tolerance and international understanding. For several years, Estes Park Middle School students have participated in this contest for the Lions Club. The winning poster advances to more competitions within the district and has the possibility of competing at the Lions International convention that summer, if selected.
This year's winners were Luke Soguero, first place; Derrick Hamel, second place and Will Thomas, third place. Lion Patricia Wedan organized the project with the school. The Estes Park Lions Club would like to thank principal Sara Laughlin and art teacher Nicole Rische for their assistance and cooperation and thank all the students who participated in this meaningful contest.


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- Yield
- Makes about 100 cookies
- 3 cups all-purpose flour
- 1 cup sugar
- 1/2 teaspoon salt
- 3 sticks (1 1/2 cups) cold unsalted butter, cut into bits
- 2 large egg yolks, beaten lightly
- 1 cup strained strawberry jam
- In a large bowl whisk together the flour, the sugar, and the salt, add the butter, and blend the mixture until it resembles coarse meal. Stir in the egg yolks, blend the mixture until it forms a dough, and chill the dough, wrapped in plastic wrap, for at least 2 hours or overnight.
- Preheat the oven to 350°F. Let the dough soften slightly, roll level teaspoons of it into balls, and arrange the balls about 2 inches apart on lightly greased baking sheets. Using your thumb, make an indentation in the center of each ball, being careful not to crack the dough around the edges. (If the dough cracks, reroll it and try again.) Fill each indentation with about 1/4 teaspoon of the jam and bake the cookies in batches in the middle of the oven for 12 to 15 minutes, or until the edges are pale golden. Let the cookies cool on the sheets for 2 minutes, transfer them to racks, and let them cool completely. The cookies may be made 1 month in advance and kept frozen in airtight containers.
Related Video
Nutritional Info
- Calories56
- Carbohydrates7 g(2%)
- Fat3 g(4%)
- Protein0 g(1%)
- Saturated Fat2 g(9%)
- Sodium13 mg(1%)
- Polyunsaturated Fat0 g
- Fiber0 g(1%)
- Monounsaturated Fat1 g
- Cholesterol11 mg(4%)


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Tuesday, 17 April 2012
Staatskapelle Berlin/Barenboim - Bruckner, 17 April 2012
Bruckner – Symphony no.8 in C minor (ed. Haas)
Staatskapelle Berlin
Daniel Barenboim (conductor)
Having spent some of today wondering whether I had been a little harsh on last night's performance of Bruckner's Seventh Symphony from the Staatskapelle Berlin and Daniel Barenboim, I am delighted to report that this performance of the Eighth represented a thoroughgoing success. (It also tends to confirm me in my belief that the shortcomings, though certainly not grievous, of the earlier performance were worth noticing and reporting.) It was a definite advantage now to be sitting in the Front Stalls, my previous position at the back of the Rear Stalls undoubtedly having dulled the orchestral sound, though by the same token, the standard of execution from the Staatskapelle Berlin was now less variable.
For the sound Barenboim extracted from his orchestra emerged both more 'settled' and simply – in reality, of course, there is nothing simple about this – more consistently 'right'. I was immediately taken at the opening of the first movement by the translucency of the strings in particular, that quality putting me in mind of the truly great recording of this work made by the Vienna Philharmonic Orchestra under Boulez. (That was the performance that first made the symphony 'work' for me, enabling a return to Karajan, Giulini, et al., before turning to more 'historical' recordings.) The orchestra managed somehow to balance that translucency with due weight – if that makes any sense at all! It was certainly not 'heavy' in a stereotypically 'old school' sense, but nor was there any nonsense about thinning of textures and so on. (Brucknerians may regret the ambivalence of many listeners to some at least of the composer's music, but they should think themselves lucky that they have suffered less from puritanical, 'authenticke' practices than most other nineteenth-, let alone eighteenth-century masters, Roger Norrington notwithstanding.) Heart-stopping solos from French horn and oboe enabled Bruckner for once genuinely look forward to Mahler, perhaps even – and please forgive me should this offend, for it is certainly not intended to do so – to Strauss's Alpine Symphony. At any rate, there was a sense of wondrous vistas opening up, in a fashion I tend to associate more with Mahler and, in that particular case, Strauss. The brass section was on uniformly better form than it had been for the Seventh (though I still treasure the memory of the Wagner tubas in the slow movement of that work.) There was, as this movement progressed, a sense of the apocalyptic that I had missed on that occasion too – partly, I think, a matter of surer control on Barenboim's part, for not once did he seem to waver.
Such command, especially in terms of of harmonic rhythm, was greatly in evidence in the scherzo, adding considerably to dramatic tension. The warm tone of the Staatskapelle's cellos at the opening is worthy of especial mention, likewise the 'natural' – I know, a loaded word – impression of changing organ registration. There was, though, a slight sense of disappointment in the way that the scherzo, first time around, rather fizzled out; this was more or less the only occasion on which the orchestra sounded tired, failing to further that apocalyptic tendency I referred to above. There was some beautifully detailed playing in the trio, not least from the harps; silences were given their proper due, save for the intervention of a mobile telephone.
The opening of the slow movement benefited from violin tone that was rich and yet veiled: mysterious, even in a theological sense. Barenboim and the orchestra revelled – and how or why could one not? – in the Wagnerian harmonies, always shaped with conviction, neither rushed nor indulged. If I had missed that sense of the apocalyptic in the scherzo, it was present at the opening of the finale: strings, brass, and of course kettledrums. Barenboim demonstrated the difference between drive and the merely hard-driven, his structural and dramatic command clear throughout. Occasionally I wished for something still more 'dramatically' conceived, but this apparently more 'objective' approach – and I am talking about matters of degree here – was undoubtedly successful on its own terms.
Anything to grumble about, then? The programme note, I am afraid, left more than a little to be desired. One does not necessarily expect full treatment of analytical controversies, though in the case of Bruckner there is a greater case for such discussion than with almost any other composer. Nevertheless, to read, 'The central trio section [of the scherzo] embraces some of the most inspired music Bruckner ever pinned,' without further comment on that music, does not suffice. Moreover, phrases such as 'thoroughly authentic' ought long since to have been consigned to the dustbin of history. The musical performance, however, exhibited a conviction that rendered such thoughts unnecessary. Purists may have cavilled at Barenboim's use of the Haas edition, but Barenboim, like Boulez and many others before him, made the case for it as the most convincing option for this symphony.
4 comments:
- David Allen said...
Unsurprisingly, I agree with you!
Sadly I was seated in the choir, so the sound was very messy, but I still thought this was outstanding. One benefit of sitting there, though, was seeing Barenboim's interaction with the orchestra. Aside from a look of wonder at his brass section's tone near the end of the finale, he seemed rather angry: not at the horribly wayward slip in the seconds after the Adagio's big climax (his fault, more than anything), but vehemently unhappy with the violas at the end of the Scherzo, and lecturing the cellos after the symphony's end.
He clearly drives them rather hard!
- 17 April, 2012 23:27
Outstanding ensemble sound from the Staatskapelle in the 8th, and an understanding of phrasing and paragraphs that rarely occurs in these symphonies.
But yes, what on earth was going on? Sitting in the stalls the angry body language was evident from behind, seemed the first trumpeter was being told off almost every time he played. And was it my imagination, or did the tension drop slightly each time the handkerchief came out to mop the face?
- 18 April, 2012 15:24
- Mark Berry said...
Yes, of course, you are both right: there were a good few slips. Perhaps I should have mentioned them, but for me, they did not detract, and given my relative harshness re the 7th, I thought I should let them pass... Strange to say, I somehow missed his words with the orchestra. It all sounds pretty noticeable, so I don't know how I managed to do that!
- 18 April, 2012 20:31
- Mark Berry said...
P.S. David, I hadn't realised you were in England. We must coordinate to meet on one of these many occasions.
- 18 April, 2012 20:31


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The Nepal Conflict Report Is Out
The report by OHCHR derives from a database of approximately 30,000 documents and cases relevant to the Nepal armed conflict.
The report by OHCHR derives from a database of approximately 30,000 documents and cases relevant to the Nepal armed conflict.
Ruben Carranza, in a latest report by ICTJ, writes on transitional justice in Nepal discussing ways of addressing the root causes of the armed conflict in the country.
Tikaswari Rai comments on the changing media landscape of Nepal.
An update on the news and views on the unique newscave event in Kathmandu, Sept 7-10, 2012.
Two recent survey reports offer the most detailed picture of social media use so far by Nepali journalists.
Purendra Pande calls for diversity in Nepali media coverage of contemporary topics.
Yet another report on Nepali media by the International Media Mission.
Manju Mishra discusses journalism and communication education in Nepal and her vision for the future. Interview with Gerhard Schoenhofer of Nepal Monitor.
Nepal registered progress in press freedom during the last year, says the annual report 2012 by Freedom House.
Nepal's mobile subscribers have reached more than 14.215 by mid-March 2012, says the latest report by NTA.
Nepal ranks 6th in the world in unsolved cases of journalists' murder, says CPJ.
· Home · About · Support · Contact · Privacy Policy© Copyright 1999-2012, Nepal Monitor (formerly Newslookmag.com). All Rights Reserved.


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Momma Dee
Momma Dee Net Worth is $250 Thousand.. Love & Hip Hop: Atlanta is the Atlanta based spin-off of Love & Hip Hop. It premiered on June 18, 2012 at 8/7c on VH1. The second season premiered on April 22, 2013, with new cast members: Atlanta DJ and radio personality Traci Steele plus D...
Momma Dee Net Worth is $250 Thousand.Momma Dee Net Worth is $250 Thousand. Love & Hip Hop: Atlanta is the Atlanta based spin-off of Love & Hip Hop. It premiered on June 18, 2012 at 8/7c on VH1. The second season premiered on April 22, 2013, with new cast members: Atlanta DJ and radio personality Traci Steele plus DJ Babey Drew, Traci's ex and father of their son Little Drew.
Stevie J is a music producer who had worked with many famous celebrities such as Mariah Carey and P. Diddy. Yet, Stevie is the longtime boyfriend of Mimi Faust on top of having an affair with Joseline Hernandez.
Davis has migrated from Mississippi to Atlanta. She is an aspiring singer who says she's born to entertain and can be found applying her bartending skills at some of Atlanta's nightspots. She not only serves up the some good tasting cocktails in town, but also great advice and always a good time. This celebrity bartender is truly the levelheaded sounding board for her best friend and fellow cast member, Mimi Faust.
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Woman organizes weekly breakfast for the homeless in daughter's memory: 'Come eat at Mama Dee's'
OLYMPIA, Wash. -- We are all local in Olympia this week and we want to highlight someone who's made a difference in the lives of hundreds of people within the homeless community. She's known ...
Posted: February 24, 2019, 4:00 pm
'Love & Hip Hop: Atlanta' Star Momma Dee Gets a Full Body Makeover!
New body, who dis? Love & Hip Hop: Atlanta star Momma Dee is opening up about her plastic surgery makeover, including a boob job, tummy tuck, and a Brazilian Butt Lift — in that order. Fans of the ...
Posted: April 24, 2018, 6:32 am
D'Andra Simmons "Shocked" By What Mama Dee Said at Her Anniversary
Howdy, Y'all! Or "YAWL" as my niece Addy would say when she is throwing me some shade! I am beyond excited to be back this season, and I know you are excited to see what all of us gals have been up to ...
Posted: August 16, 2018, 5:39 am
The Real Housewives of Dallas Recap: Do You Smell What Mama Dee is Cooking?
Guys, I'm going to be totally honest with you. This is, like, our eleventh week together, so I hope I can be a little vulnerable and candid: I'm having a hard-night-good-morning. (Except not a very ...
Posted: October 25, 2018, 8:27 am
Momma Dee To Wendy Williams: You Forgot Where You Came From — Exclusive
One of the stars of Love & Hip Hop Atlanta is fuming because talk show host Wendy Williams recently said, "The show makes me embarrassed to be black." Momma Dee, who is Lil' Scrappy's mom, came to ...
Posted: July 15, 2019, 5:00 pm
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Lorde, Katy Perry, Taylor Swift + More Set To Perform at 2014 Grammy Awards
As if you needed another reason to tune in to the 56th Annual Grammy Awards on Sunday, Jan. 26. Lorde will take the stage, making her Grammy debut, while Katy Perry, Taylor Swift and Pink will return to the stage to perform as well.
Other performances scheduled for Music's Biggest Night include Chic's Nile Rodgers, who had a resurgence in 2013, thanks to his appearance on Daft Punk's smash 'Get Lucky.' He will join Pharrell Williams, Stevie Wonder and the aforementioned French EDM duo for a performance.
Robin Thicke, riding high on the song of the summer with 'Blurred Lines,' will be performing with rock band Chicago.
Tons of nominees will be commandeering the broadcast.
This all adds up to one thing and that's a night to remember! The Grammy broadcast is known for tons of often unexpected collabs and unique mashups -- and this year will be no different.
The 56th Annual Grammy Awards air on Sunday, Jan. 26 from the Staples Center in Los Angeles. The broadcast begins at 8 and runs through 11:30PM ET.


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1 John 5:7 is the clearest verse in the Bible regarding the Holy Trinity, yet it is missing in many modern versions like the NIV, NASB, RSV, NRSV and Jehovah witness versions.
Those who say this verse is not part of Holy Scripture will often say it is not found in the majority of Greek manuscripts and for this reason it should not be included in the Bible.
It is true that the words "in heaven, the Father, the Word, and the Holy Ghost: and these three are one. And there are three that bear witness in earth" are not found in the majority of remaining Greek manuscripts that exist today. However there is very much and weighty evidence for its inclusion.
Those who argue that it is not in the majority of texts are being totally inconsistent when they bring up this argument. Most of the people like James White and Daniel B. Wallace who use this majority argument, do not care one bit for the majority of texts and what they might read. They themselves follow the UBS text of Westcott and Hort which itself departs from the majority readings in literally thousands of places.
It should be noted too that Michael Maynard significantly points out that there are only 5 remaining Greek manuscripts that even contain the epistle of 1 John in whole or in part that date from the 7th century or before. That is a whole lot of time to have past by with only 5 partial Greek witnesses that remain today.
The old commentators on 1 John 5:7 - John Calvin, John Gill, Matthew Henry, John Wesley.
JOHN WESLEY commented on 1 John 5:7 saying: " I would insist only on the direct words, unexplained, just as they lie in the text: "There are three that bear record in heaven, the Father, the Word, and the Holy Ghost: And these three are one."
"As they lie in the text :" -- but here arises a question: Is that text genuine? Was it originally written by the Apostle, or inserted in later ages? Many have doubted of this; and, in particular, the great light of the Christian church, lately removed to the Church above, Bengelius, -- the most pious, the most judicious, and the most laborious, of all the modern Commentators on the New Testament. For some time he stood in doubt of its authenticity, because it is wanting in many of the ancient copies. But his doubts were removed by three considerations: (1.) That though it is wanting in many copies, yet it is found in more; and those copies of the greatest authority: -- ( 2.) That it is cited by a whole gain of ancient writers, from the time of St. John to that of Constantine. This argument is conclusive: For they could not have cited it, had it not been in the sacred canon: -- (3.) That we can easily account for its being, after that time, wanting in many copies, when we remember that Constantine's successor was a zealous Arian, who used every means to promote his bad cause, to spread Arianism throughout the empire; in particular the erasing this text out of as many copies as fell into his hands. And he so far prevailed, that the age in which he lived is commonly styled, Seculum Aranium, -- "the Arian age;" there being then only one eminent man who opposed him at the peril of his life. So that it was a proverb, Athanasius contra mundum: "Athanasius against the world."
To read their entire quotes in context, see this site: http://turretinfan.blogspot.com/2007_04_22_archive.html
JOHN CALVIN - "However, the passage flows better when this clause is added, and as I see that IT IS FOUND IN THE BEST AND MOST APPROVED COPIES, I am inclined to receive it as the true reading."
MATTHEW HENRY on 1 John 5:7 - "We are stopped in our course by the contest there is about the genuineness of v. 7. It is alleged that many old Greek manuscripts have it not. It should seem that the critics are not agreed what manuscripts have it and what not; nor do they sufficiently inform us of the integrity and value of the manuscripts they peruse...There are some rational surmises that seem to support the present text and reading."
"The seventh verse is very agreeable to the style and the theology of our apostle...Facundus acknowledges that Cyprian says that of his three it is written, Et hi tres unum sunt—and these three are one. NOW THESE ARE THE WORDS, NOT OF V. 8, BUT OF V. 7. They are not used concerning the three on earth, the Spirit, the water, and the blood; but the three in heaven, the Father, and the Word, and the Holy Ghost...If all the Greek manuscripts and ancient versions say concerning the Spirit, the water, and the blood, that in unum sunt—they agree in one, then it was not of them that Cyprian spoke, whatever variety there might be in the copies in his time, when he said it is written, unum sunt—they are one. And THEREFORE CYPRIAN'S WORDS SEEM STILL TO BE A FIRM TESTIMONY TO V. 7."
"It was far more easy for a transcriber, by turning away his eye, or by the obscurity of the copy, it being obliterated or defaced on the top or bottom of a page, or worn away in such materials as the ancients had to write upon, to lose and omit the passage, than for an interpolator to devise and insert it. He must be very bold and impudent who could hope to escape detection and shame; and profane too, who durst venture to make an addition to a supposed sacred book."
"I think, in the book of God,... THE TEXT IS WORTHY OF ALL ACCEPTATION."
JOHN GILL commenting on 1 John 5:7 - "As to the old Latin interpreter, it is certain it is to be seen in many Latin manuscripts of an early date, and stands in the Vulgate Latin edition of the London Polyglot Bible: and the Latin translation, which bears the name of Jerom[e], has it, and who, in an epistle of his to Eustochium, prefixed to his translation of these canonical epistles, complains of the omission of it by unfaithful interpreters."
"And as to its being wanting in some Greek manuscripts, as the Alexandrian, and others, it need only be said, that it is to be found in many others; it is in an old British copy, and in the Complutensian edition, the compilers of which made use of various copies; and OUT OF SIXTEEN ANCIENT COPIES OF ROBER STEPHEN'S, NINE OF THEM HAD IT."
Speaking of the citations of the early church fathers Mr. Gill continues: "And yet, after all, certain it is, that it is cited by many of them; by Fulgentius, in the beginning of the "sixth" century, against the Arians, without any scruple or hesitation; and Jerome, as before observed, has it in his translation made in the latter end of the "fourth" century; and it is cited by Athanasius about the year 350; and before him by Cyprian, in the middle, of the "third" century, about the year 250; and is referred to by Tertullian about, the year 200; and which was within a "hundred" years, or little more, of the writing of the epistle; WHICH MAY BE ENOUGH TO SATISFY ANYONE OF THE GENUINENESS OF THIS PASSAGE; and besides, there never was any dispute about it till Erasmus left it out in the first edition of his translation of the New Testament; and yet he himself, upon the credit of the old British copy before mentioned, put it into another edition of his translation."
"Majority text" or "minority readings"
It is also fallacious and hypocritical to suggest that just because the reading found in 1 John 5:7 is not "in the majority of texts" that it therefore cannot be legitimate, when the very men who are behind the ever-changing modern critical text admit that the true reading may be found in a few or even one manuscript.
J. K. Elliott, a modern textual critic comments on transcriptional probabilities: "By using criteria such as the above the critic may reach a conclusion in discussing textual variants and be able to say which variant is the original reading. However, it is legitimate to ask: can a reading be accepted as genuine if it is supported by only one ms.? There is no reason why an original reading should not have been preserved in only one ms. but obviously a reading can be accepted with greater confidence, when it has stronger support" Even Kurt Aland says: "Theoretically, the original readings can be hidden in a single ms. thus standing alone against the rest of tradition," and Tasker has a similar comment: "The possibility must be left open that in some cases the true reading may have been preserved in only a few witnesses or even in a single relatively late witness." - The Effect of Recent Textual Criticism upon New Testament Studies," The Background of the New Testament and its Eschatology, ed. W. D. Davies and D. Daube (Cambridge: The Cambridge University Press, 1956)
Sure, there are a few minority readings in the King James Bible, but for every one in the KJB there are at least 20 minority readings found in the NASB, NIV, RSV, and that is no exaggeration.
Another very common objection to 1 John 5:7 is the allegation that Erasmus said he would include the verse if he found a Greek manuscript that contained it. Then almost made to order, hot off the presses, one appeared.
Bruce Metzger who was partly responsible for propagating this urban myth at least had the integrity to retract this false accusation in the 3rd edition of his book. Here is the exact quote from Mr. Metzger himself.
"What is said on p. 101 above about Erasmus' promise to include the Comma Johanneum if one Greek manuscript were found that contained it, and his subsequent suspicion that MS 61 was written expressly to force him to do so, needs to be corrected in the light of the research of H. J. DeJonge, a specialist in Erasmian studies who finds no explicit evidence that supports this frequently made assertion." Bruce M. Metzger, The Text of The New Testament, 3rd Edition, p 291 fn 2.