text:
This is written by one of my colleagues and I don't think it sounds quite right:
please pop by to Room 159.
Shouldn't it be re-written as:
Please pop by at room 159?
I would always write or say, "Please pop by room 159", and I'm sure that's the form I mostly hear.
I would reserve "at" for, "Please pop by at 2pm today", "Please pop by at your convenience" etc.
not a teacher
Student or Learner


text:
The Worlds of Nam June Paik is an appreciation of and reflection on the life and art of Nam June Paik. Paik's journey as an artist has been truly global, and his impact on the art of video and television has been profound.To foreground the creative process that is distinctive to Paik's artwork, it is necessary to sort through his mercurial movements, from Asia through Europe to the United States, and examine his shifting interests and the ways that individual artworks changed accordingly. It is my argument that Paik's prolific and complex career can be read as a process grounded in his early interests in composition and performance. These would strongly shape his ideas for mediabased art at a time when the electronic moving image and media technologies were increasingly present in our daily lives. In turn, Paik's work would have a profound and sustained impact on the media culture of the late twentieth century; his remarkable career witnessed and influenced the redefinition of broadcast television and transformation of video into an artist's medium.
In 1982, my longtime fascination with Paik's work resulted in a retrospective exhibition that I organized for the Whitney Museum of American Art in NewYork.1 Over the ensuing years, his success and renown have grown steadily.The wide presence of the media arts in contemporary culture is in no small measure due to the power of Paik's art and ideas.Through television projects, installations, performances, collaborations, development of new artists' tools, writing, and teaching, he has contributed to the creation of a media culture that has expanded the definitions and languages of art making. Paik's life in art grew out of the politics and anti-art movements of the 1950s, 1960s, and 1970s. During this time of societal and cultural change, he pursued a determined quest to combine the expressive capacity and conceptual power of performance with the new technological possibilities associated with the moving image. I will argue that Paik realized the ambition of the cinematic imaginary in avant-garde and independent film by treating film and video as flexible and dynamic multitextual art forms. Using television, as well as the modalities of singlechannel videotape and sculptural/installation formats, he imbued the electronic moving image with new meanings. Paik's investigations into video and television and his key role in transforming the electronic moving image into an artist's medium are part of the history of the media arts. As we look back at the twentieth century, the concept of the moving image, as it has been employed to express representational and abstract imagery through recorded and virtual technologies, constitutes a powerful discourse maintained across different media.The concept of the moving, temporal image is a key modality through which artists have articulated new strategies and forms of image making; to understand them, we need to fashion historiographic models and theoretical interpretations that locate the moving image as central in our visual culture.
Paik's latest creative deployment of new media is through laser technology. He has called his most recent installation a "post-video project," which continues the articulation of the kinetic image through the use of laser energy projected onto scrims, cascading water, and smoke-filled sculptures. At the beginning of the twenty-first century, Paik's work shows us that the cinema and video are fusing with electronic and digital media into new image technologies and forms of expression. The end of video and television as we know them signals a transformation of our visual culture.
The first chapter of this catalogue, "The Seoul of Fluxus,"3 is a consideration of Paik's position as a Korean-born artist whose interest in art began with composition and performance. "The Cinematic Avant-Garde," a survey of independent film practices in the 1960s and 1970s, is offered as a backdrop to his engagement with various artistic milieus in NewYork and his preliminary explorations of the electronic moving image, through video, in the mid-1960s. Performance and film are integrally linked to Paik's transformation of the institutional context of television and video. "TheTriumph of Nam June Paik" documents and reflects on his heroic effort to support and articulate the expressive and compositional capacities of the electronic moving image. Paik put the video image into a vast array of formal configurations, and thus added an entirely new dimension to the form of sculpture and the parameters of installation art. He transformed the very instrumentality of the video medium through a process that expressed his deep insights into electronic technology and his understanding of how to reconceive television, to "turn it inside out" and render something entirely new. Paik's imagery has not been predetermined or limited by the technologies of video or the system of television. Rather, he altered the materiality and composition of the electronic image and its placement within a space and on television and, in the process, defined a new form of creative expression. Paik's understanding of the power of the moving image began as an intuitive perception of an emerging technology, which he seized upon and transformed. In addition to collaborating with a number of technicians such as Shuya Abe, Norman Ballard, and Horst Bauman to make new tools to rework the electronic image, Paik also incorporated sophisticated computer and digital technologies into his art to continue to refashion its content, visual vocabulary, and plastic forms.
This catalogue offers a set of exploratory observations. By clustering Paik's seminal artworks around key concepts and issues that define Paik's career and achievements, I hope to suggest the depth and complexity of his aesthetic project as he has sustained it.4 In addition, I have placed selections of Paik's writings throughout the catalogue to help illustrate these observations. The design of the catalogue, by J. Abbott Miller, offers a fresh view of Paik's art and career, much as the design of the exhibition within Frank Lloyd Wright's Modernist container sets new terms for looking at and engaging in the full range of Paik's art.Two site-specific laser-projection pieces dramatically transform the Guggenheim's rotunda: one laser projects a constantly moving display of shapes and forms onto the oculus of the skylight, while a second laser moves through a cascade of water falling from the top ramp to the rotunda floor, creating a dynamic visual display through the drops of falling water.These arresting laser installations can be viewed from multiple perspectives as the spectator walks along the ramp.The projections give expression to the dynamic dialogue between art and technology that is at the heart of Paik's contribution to art and culture.
On the rotunda floor, the artist has arranged one hundred television sets and monitors to distribute a pulsing display of his video imagery on multiple channels. Complementing these changing images are large screens installed on the sides of the rotunda, which visually link the monitors' glowing images on the ground floor to the laser projections on the oculus.
Garden (1974), Moon Is the Oldest TV (1965), and Video Fish (1975), which have been reconfigured by Paik to suit the unique exhibition spaces they occupy. Smaller-scale video sculptures are also installed on the ramps, including TV Chair (1968), Real Fish/Live Fish (1982), Video Buddha (1976), Swiss Clock (1988), Candle TV (1975), TV Crown (1965), and selections from Family of Robot (1986). One tower gallery will highlig tpieces from the 1950s and 1960s, which have been rediscovered and restored; early interactive video pieces including Magnet TV (1965), Participation TV (1963), and Footswitch TV (1988), accompanied by videotape and photographic documentation of original installations of this work; the Paik-Abe Video Synthesizer (1969) and documentation of video productions made with this early image processor; Fluxus objects, scores, posters, and videotape documentation of Fluxus performances that highlight this important aspect of Paik's career; and a tribute to Charlotte Moorman with her TV Cello (1971), as well as photographic and videotape documentation of her legendary performances.
Adjacent to this gallery is a single-channel screening room featuring Paik's videotapes and key collaborative works for global broadcast television, including the recently restored 9/23/69 Experiment with DavidAtwood (1969), Global Groove (1973), Good Morning, Mr. Orwell (1984), and Living with the Living Theatre (1989). In preparation for the exhibition, Stephen Vitiello of Electronic Arts Intermix was given access to the artist's personal video archive. In collaboration with Vidipax, Vitiello was able to restore a number of video and audiotapes which, until this exhibition, had been lost to public awareness. The High Gallery will feature Paik's latest laser sculptures developed in collaboration with Norman Ballard. Each of the three sculptures features a distinctive deployment of laser to evoke virtual spaces of moving light.
As the frontispiece for this introduction, I have chosen to reproduce a work from 1973 called A New Design for TV Chair. In it, Paik appropriated an image from a 1940s popular-science magazine that depicts the home viewer of the future watching television. Television had already become a monopolistic industry that was a conduit for advertising, a "communication" industry that operated on a one-way street of information. But in A New Design for TV Chair, Paik posited his own questions to project an alternative future for television:
How soonTV-chair will be available in most museums? How soon artists will have their ownTV channels? How soon wall-to-wal lTV for video art will be installed in most homes? Paik envisioned a different television, a "global groove" of artists' expressions seen as part of an "electronic superhighway" that would be open and free to everyone.The multiple forms of video that Paik developed can be interpreted as an expression of an open medium able to flourish and grow through the imagination and participation of communities and individuals from around the world. Paik, along with many artists working as individuals and within collectives through the 1960s 14 and 1970s to create work for television as well as for alternative spaces, challenged the idea of television as a medium and domain exclusively controlled by a monopoly of broadcasters.
This introduction concludes with a photograph documenting Paik's Robot K-456 (1964) in an "accident" staged in front of the Whitney Museum of American Art in 1982. Paik removed his remote-controlled robot from his retrospective exhibition at the Whitney and guided it up the sidewalk along Madison Avenue. As the robot crossed the avenue, it was struck by a car and fell to the ground.Paik declared this to represent a "catastrophe of technology in the twentieth century," stating that the lesson to be gained from these tentative technological steps is that "we are learning to cope with it." Paik's staged event drew attention to the fragility of humankind and of technology itself.Twenty years after his first experiments with the television set, this street performance was made for television: after the performance, he was interviewed by television news reports; Paik took this playful moment as an opportunity to recall the need to understand technology and make sure that it does not control us. Paik's staged event with his manmade robot was a humanist expression of a technology that subverted the dominant postinstitutions. Paik, who remade the television into an artist's instrument, reminded us that we must recall the avant-garde movements of the 1960s and learn from their conceptual foundation, which expressed. the need to create alternative forms of expression out of the very technologies that impact our lives. Robot K-456 is a statement of liberation, demonstrating that the potential for innovation and new possibilities must not be lost, but must be continually reimagined and remade by the artist.
It is my wish that The Worlds of Nam June Paik will offer a new look at Paik's career and inspire a new generation of artists to recognize his relevance to late-twentieth-century art and his impact on the future of an expanding media culture.5 His everchanging images offer themselves as the fleeting memories of history and as an empowering example of the struggle to proclaim the liberating and renewing possibilities of the future.
Video art imitates nature, not in its appearance or mass, but in its intimate "time-structure" . . . which is the process of AGING (a certain kind of irreversibility). Norbert Wiener, in his design of the Radar system (a micro two-way enveloping-time analysis), did the most profound thinking about Newtonian Time (reversible) and BergsonianTime (irreversible). Edmund Husserl, in his lecture on "The Phenomenology of Inner Time-consciousness" (1928), quotes St. Augustine (the best aesthetician of music in the Medieval age) who said "What is TIME?? If no one asks me, I know ... if some one asks me, 'I know not.' "This paradox in a twentieth-century modulation connects us to the Sartrian paradox "I am always not what I am and I am always what I am not."6 -Paik, 1976
Ken Hakuta
Nam June Paik Estate
2995 Woodside Rd, #400
Woodside, CA 94062
E-mail: firstname.lastname@example.com

subset: commoncrawl


text:
World of Warcraft
Template:I18n links start Template:I18n entry Template:I18n links end
World of Warcraft (WoW) is a Massively Multiplayer Online Role-Playing Game (MMORPG) by Blizzard Entertainment taking place in the fictional world of Azeroth, the world that previous Blizzard titles in the Realtime Stategy (RTS) Warcraft series. For more information about the game itself, visit the Official World of Warcraft website.
This article will describe how install and run in on Arch Linux using Wine.
- 1 Introduction
- 2 Installation
- 3 Post-Installation
- 4 Running World of Warcraft
- 5 Installing Wine
- 6 Configuring Wine
- 7 Performance Tweaks
- 8 Links
As Blizzard so kindly created World of Warcraft with OpenGL support, we don't need Transgaming's Cedega, which is a non-free version of Wine with better DirectX support. Wine has as good, or better, OpenGL support than Cedega, and doesn't cost you a penny.
Running WoW is slightly more difficult than some other games with Wine, but still relatively easy. It's quite possible that you will need to patch Wine to work with WoW, however, even this process is rather simple with Arch. The following guide will explain it all, step by step.
There are two options for installing World of Warcraft. One is to simply copy an exisiting WoW installation from a Windows drive to Linux.
NOTE: If you do not alreay have Wine installed, or have not run World of Warcraft with Wine before, you should skip down to #Installing Wine, then come back to this section. Please DO NOT SKIP this section unless you are absolutely sure you know what you are doing.
Copying an Existing Installation
Copy the C:\Program Files\World of Warcraft directory from Windows to ~/.wine/drive_c/Program Files/World of Warcraft.
Example (assuming your windows partition is mounted at /mnt/windows and you are in your home directory) (Quotes are needed because of the spaces in the file names):
cp -R "/mnt/windows/Program Files/World of Warcraft" ".wine/drive_c/Program Files/World of Warcraft"
This will ensure that Wine knows about your WoW and will be able to configure it properly, and also ensures that WoW won't notice it has even been moved at all.
Now that you have WoW installed, skip down to #Post-Installation.
New Installation from CD
NOTE: We will assume that your Wine CD-ROM drive is "D:\" for this guide. Please use the correct letter as set up in the #Installing Wine section.
Insert the first CD, mount it, and start the installation with:
wine "D:\Installer.exe"
When it asks for the next cd, simply unmount your CD drive and mount the next CD. Make absolutely sure that you mount the CD before telling the installer to load the CD, or it may make the installation fail. If you have any issues installing using the CDs, please read the next section.
The WoW installation uses all 5 CDs, so it will take a while. Go outside and get some fresh air while the CD loads, because soon you won't have any "free time". :P
CD Installation Issues
Some users have reported that World of Warcraft will only start the installation from the first CD, then will crash when attempting to change disks. An easy work around is to copy all of the data from each CD to a temporary directory, then install WoW from the directory. This will take a while, but the installation will run faster off your hard drive, and you are much less likely to get errors. The process would be something like this (our temp dir will be called /mnt/temp):
cd /mnt/temp mount /mnt/cdrom cp -R /mnt/cdrom/* /mnt/temp umount /mnt/cdrom (repeat above for each of the 5 CDs) wine Installer.exe
Now we will need to update WoW. As of today (2006-04-18), the latest version of WoW is 1.10.1. You can always find the latest patches at World of Warcraft Patch Notes.
The easiest way to update WoW is will a full patch, then let the WoW Updater take care of the minor updates. The latest patch can be found at the above Patch Notes link, or various places online. Note that you MUST get the proper patch for your language. If you are installing a enUS version of the game, you must get enUS patches. If you have a jp version of the game, you need jp patches. Always double check to make sure you are getting the proper language version of patches.
Once you have the patch, simply run the patch with Wine, like this:
wine wow-VERSION-LANG-patch.exe
If you have set up Wine properly, there should be no issues at all with the patching process, however, it's can be extremely CPU intensive and may make your desktop fairly unresponsive. So, once again, go outside and get some fresh air for 10 minutes.
Running World of Warcraft
After patching and installing the wine package (see further down on this page) and fixed the sound, run the following command to play WoW:
wine "C:\\Program Files\\World of Warcraft\\WoW.exe" -opengl
Run WoW in a Window
Some people perfer to play WoW in windowed, rather than fullscreen mode. To enable this, edit your ~/.wine/drive_c/Program Files/World of Warcraft/WTF/Config.wtf and add these lines:
SET gxColorBits "24" SET gxResolution "1024x768" SET gxWindow "1"
The gxColorBits bit is important. Make sure that it matches your desktop bit depth, or you may get strange rendering errors while running the game.
gxResolution can be any standard resolution. This will be the size of the window when you run the game.
If for some reason the game still runs in fullscreen after this, run winecfg and click on "Graphics" and enable the "Emulate a virtual desktop" option and change the "Desktop size" to match gxResolution.
Sound Issues
If have no sound, edit ~/.wine/drive_c/Program Files/World of Warcraft/WTF/Config.wtf and add or change:
SET SoundOutputSystem "1" SET SoundBufferSize "100"
NOTE: You can set the SoundBufferSize to anywhere between 75 and 200. For most users, 100-150 will be best.
Stuttering or Static Sound
Run winecfg, and in the "Audio" tab, selected "OSS" as the sound driver, using "Standard" hardware acceleration and driver emulation enabled.
You can also set WoW to run at a higher "nice level", which will usually improve sound performance (renice must be run as root):
sudo renice -15 `pidof WoW.exe`
Installing Wine
There are several ways to go about installing Wine with Arch Linux, but the standard version of Wine that comes with Arch will not work properly. There are two other ways to get a version that will work:
- wine-cvs-wow from the AUR
- wine custom package
Wine-cvs-wow From the AUR
wine-cvs-wow from the AUR is a version of Wine from CVS compiled with the WoW fixes. It uses the patches posted in Wine's appdb, and it is the easiest way to install a version of Wine that will run WoW. To compile and install this version of wine, run the following commands:
pacman -Sy alsa-lib cd /var/abs/local wget http://aur.archlinux.org/packages/wine-cvs-wow/wine-cvs-wow.tar.gz tar zxf wine-cvs-wow.tar.gz cd wine-cvs-wow makepkg -c pacman -U wine-cvs-wow-*.pkg.tar.gz
You now have a working version of Wine!
Wine custom
If you wish to compile wine from source yourself, you will need to edit the Wine PKGBUILD.
First, update your ABS with this command:
pacman -S cvsup abs
Next, copy the Wine PKGBUILD to /var/abs/local/wine:
cp -R /var/abs/extra/x11/wine /var/abs/local
and edit the PKGBUILD so that it looks something like this:
# $Id: PKGBUILD,v 1.12 2006/04/04 17:10:07 tpowa Exp $ # Maintainer: Dale Blount <email@example.com> # Contributor: Matt Smith (Majik) <email@example.com> pkgname=wine pkgver=0.9.12 pkgrel=1 pkgdesc="Emulator of the Windows 3.x and Win32 APIs" url="http://www.winehq.com" # don't add arts, it's only a dep if configured depends=('x-server' 'libjpeg' 'libungif' 'alsa-lib' 'glut' 'openldap' 'libxslt' 'lcms' 'libxxf86dga' 'freeglut') makedepends=('alsa-lib' 'arts' 'sane') install= source=(http://ibiblio.org/pub/linux/system/emulators/wine/wine-$pkgver.tar.bz2 \ wine-$pkgver-wow_fixes.patch) build() { cd $startdir/src/$pkgname-$pkgver msg "Patching Wine..." patch -Np0 ../$pkgname-0.9.11-wow-fixes.patch msg "Done patching, starting build..." ./configure --prefix=/usr --sysconfdir=/etc --enable-opengl --with-x make depend || return 1 make || return 1 make prefix=$startdir/pkg/usr install || return 1 # expand conflicts with textutils ( doesn't exist anymore ? ) # mv $startdir/pkg/usr/bin/expand $startdir/pkg/usr/bin/wine-expand || return 1 mkdir -p $startdir/pkg/etc/wine # mkdir -p $startdir/pkg/etc/profile.d # cp -r $startdir/src/$pkgname-$pkgver/documentation/samples $startdir/pkg/etc/wine } #md5sums=('b21d359b75f07255bb5cd34384bdc3cf' 'a65f6f2d422e5ee50af8492ebd38470f')
NOTE: You can get the wine-$pkgver-wow_fixes.patch from here: http://appdb.winehq.org/appview.php?versionId=4031
Now execute the following commands to build and install your custom wine:
cd /var/abs/local/wine makepkg -w `pwd` pacman -U wine-*.pkg.tar.gz
You now have a working version of Wine!
Configuring Wine
There are a couple of extra things we need to do before wine is completely set up.
First, run the following command to set up your ~/.wine, which is the directory that the "fake windows" will exist in.
Now, we need to configure Wine a little:
Check all the options and set things as necessary. You will need to create a CD-ROM drive for Wine by clicking on "Drives", then clicking "Add". Call this drive "D:\" and have it point to your mount point for your CD drive. You can also click the "Autodetect" button to have Wine set up drives for each of your partitions in /etc/fstab.
Next we need to "install" two DLL files for World of Warcraft to run. Download msvcp60.dll and mfc43.dll to ~/.wine/drive_c/Windows/System32.
The Blizzard update program also requires Windows ActiveX controls. You can get this with the Mozilla ActiveX Controls. To install these, download the MozillaControl1712.exe program somewhere, then install it:
wine MozillaControl1712.exe
You may also want to install the Mozilla Browser as well, but it's not necessary for WoW to work.
Congratulations! You now have a Wine system that should be able to run and install World of Warcraft without any issues at all.
Performance Tweaks
1. Here is a performance tweak that can boost your FPS significantly (everything without quotes):
- Open wine's version of the registry editor by running "regedit" - Navigate to HKEY_CURRENT_USER\Software\Wine\ - Select the "Wine" folder, right-click onto the folder symbol and select New-> Key and rename it to "OpenGL" - Select the OpenGL-Key, then right-click into the right-hand pane, chose New-> String Value and hit enter - Rename "New Value #1" to "DisabledExtensions" - Double-Click on the renamed Key and enter "GL_ARB_vertex_buffer_object" into the "value" field
That was it, close the registry editor again, your changes will be saved automatically.
2. If you are finding it annoying that turning your character by let's say 90 degree takes n seconds normally, but n+m seconds in pupolated areas (in other words: that the polygon count of your surroundings affects the camera turning speed), apply something to "GL_ARB_vertex_buffer_object", like let's say a "2", so it looks like this: "GL_ARB_vertex_buffer_object2". You will still have the performance boost of the above tweak, but with a smoother feeling.
World of Warcraft in the wine APPDB


text:
Washingtons Blog – August 17, 2011
Radiation expert Dr. Chris Busby says that huge quantities of radiation – 1013 or 10 trillion becquerels per hour – are still being released from Fukushima.
This is down slightly from some of the radiation levels observed in March, which – as I noted in April – exceeded levels pumped out at Chernobyl during the week-long fire.
But given that the Fukushima crisis has continued for months, Fukushima dwarfs Chernobyl in terms of radiation released. See this and this.
Very High Radiation Levels Found in Tokyo
Busby brought sophisticated radiation testing equipment to Japan, and says that the radiation from one sample from Tokyo was higher than existed inside the Chernobyl exclusion zone.


text:
On Sunday, February 2, the Denver Broncos will face off against the Seattle Seahawks in Super Bowl XLVIII. That's 48 for all of you who don't follow the NFL or aren't caught up on your Roman numerals.
If you were too frugal to dish out the $500 to $6,000 tickets, then chances are you'll be watching the game from the comfort of your home in front of a big screen TV and with a bevy of rowdy friends at a Super Bowl party. And although we hope your party is chock full of chicken wings, spirits and the like, nothing completes a party like a well-dressed fan. Here are six pieces you should wear to a Super Bowl party to rep your team, especially if you're superstitious.
Wake Up In Style: The Super Bowl PJ
Get in the Super Bowl mindset as soon as you wake up by wearing sporty pajamas. This way you will be ready to put on your team colors as soon as the sun rises.
It will also let your friends know just how devoted you are to football and style. Get this set at Forever 21 for only $16.80.
If you're going to a casual party, feel free to keep these on for the game to stay comfortable.
Walk the Walk: In Chic Footwear
So you want to dress the part, but you don't want to wear chunky sneakers that make you look like one of the guys.
Try your hands on more stylish footwear alternatives that easily match your NFL attire while also providing some chic edge. These H&M wedge-heel sneakers have a mesh detail for style and a rubber sole for comfort. Find them for only $39.95 and save 25% off your highest priced item.
Zone Coverage: Get Covered in Colors
So you don't have any gear that actually shows off team names or players but you still want to join in on the fun? No worries. Opt for pieces and accessories in team colors.
If you're a 49ers fan who is sad that they didn't make the quest for six this year, you can still support them by pairing a red or scarlet colored scarf with some gold-tone jewelry like these from JCPenney where you can save an extra 10% off your order.
This blue and red striped Olsenboye beanie at JCPenney will give you the warmth you'll need if you're an east coast native who is bummed about your New England Patriots not making the cut.
Looking to wear something to represent a team that's actually going to the Super Bowl? Then you'll probably look great in orange and royal blue like the Denver Broncos. Wrap yourself in orange skinny belt and cover your hands in a comfy pair of blue chenille gloves.
The bright green, blue and gray colors of the Seahawks will be hard to miss at the game this year, so you're sure to stand out at any Super Bowl party in your color-coordinated accessories like this Nicole by Nicole Miller mini satchel juxtaposed against blue and gray striped socks.
Playing Favorites: The Favorite Player Tee
You don't have to spend a ton of money to represent the love you have for your favorite team. You can find a lot of great jersey-style shirts to give you the look without the cost.
Get decked out in this shirt that showcases the team name and the best player, with fashionable arm stripes for the NFL look.
Find this and similar styles at Target for under $25 and get free shipping on $50 on select women's clothing.
Dress It Up: All in Good Sport
Bodycon varsity style dresses are great for adding a sexier appeal to a man sport full of bravado. A dress like this is lightweight and casual, so they will go perfectly with your wedge-heel sneakers and some knee-high socks in your favorite team's colors.
If you'd rather be a bit more literal, try a vertical stripe referee dress. This will come in handy if anyone at your party gets a bit too rowdy and you have to blow a whistle and issue them a red card before halftime. Both looks are from Forever 21, where you can get free shipping on orders over $50 every day.
Outerwear Looks: Go Varsity
Last but not least, one of the coolest looks to make a comeback recently has been the varsity jacket. Varsity jackets are no longer reserved for the boys on the field or court and are now worn by just about anyone who likes the look and feel of this versatile outerwear. Dress it up with ripped jeans and low heels, or dress it down with shorts and sneakers.
This borrowed-from-the-boys look is street chic and a great piece for any Super Bowl party. And did I mention that a matching team beanie would totally rock this Forever 21 look?
No matter which team you're rooting for, be sure to style yourself in comfortable clothes that any NFL fan would envy at your next Super Bowl party. Game on!
Super Bowl XLVIII will be played on Sunday, Feb. 2 at 6:30 p.m. EST at MetLife Stadium at the Meadowlands in New Jersey. New York is also an official host. It marks the first time that the Super Bowl is being held at an outdoor stadium in a cold-weather city.


text:
Tuesday 15 October 2019 (other days)
Saint Teresa of Ávila, Virgin, Doctor
on Tuesday of week 28 in Ordinary Time
on Tuesday of week 28 in Ordinary Time
Dómine, lábia mea apéries.
Et os meum annuntiábit laudem tuam.
Lord, open our lips.
And we shall praise your name.
Regem vírginum Dóminum, veníte, adorémus.
Vel: Agnum, quem sequúntur vírgines, veníte, adorémus.
(repeat antiphon*)
1Veníte, exsultémus Dómino;
iubilémus Deo salutári nostro.
2Præoccupémus fáciem eius in confessióne
et in psalmis iubilémus ei.
(repeat antiphon*)
3Quóniam Deus magnus Dóminus
et rex magnus super omnes deos.
4Quia in manu eius sunt profúnda terræ,
et altitúdines móntium ipsíus sunt.
5Quóniam ipsíus est mare, et ipse fecit illud,
et siccam manus eius formavérunt.
(repeat antiphon*)
6Veníte, adorémus et procidámus
et génua flectámus ante Dóminum, qui fecit nos,
7quia ipse est Deus noster,
et nos pópulus páscuæ eius et oves manus eius.
(repeat antiphon*)
8Utinam hódie vocem eius audiátis:
«Nolíte obduráre corda vestra,
9sicut in Meríba secúndum diem Massa in desérto,
ubi tentavérunt me patres vestri:
probavérunt me, etsi vidérunt ópera mea.
(repeat antiphon*)
10Quadragínta annis tæduit me generatiónis illíus,
et dixi: Pópulus errántium corde sunt isti.
11Et ipsi non cognovérunt vias meas;
ídeo iurávi in ira mea:
Non introíbunt in réquiem meam».
(repeat antiphon*)
Glória Patri et Fílio*
et Spirítui Sancto.
Sicut erat in princípio et nunc et semper*
et in sǽcula sæculórum.
(repeat antiphon*)
The Lord is the king of virgins: come, let us adore him.
(repeat antiphon*)
Come, let us rejoice in the Lord,
let us acclaim God our salvation.
Let us come before him proclaiming our thanks,
let us acclaim him with songs.
(repeat antiphon*)
For the Lord is a great God,
a king above all gods.
For he holds the depths of the earth in his hands,
and the peaks of the mountains are his.
For the sea is his: he made it;
and his hands formed the dry land.
(repeat antiphon*)
Come, let us worship and bow down,
bend the knee before the Lord who made us;
for he himself is our God and we are his flock,
the sheep that follow his hand.
(repeat antiphon*)
If only, today, you would listen to his voice:
"Do not harden your hearts
as you did at Meribah,
on the day of Massah in the desert,
when your fathers tested me –
they put me to the test,
although they had seen my works."
(repeat antiphon*)
"For forty years they wearied me,
that generation.
I said: their hearts are wandering,
they do not know my paths.
I swore in my anger:
they will never enter my place of rest."
(repeat antiphon*)
Glory be to the Father and to the Son
and to the Holy Spirit,
as it was in the beginning,
is now, and ever shall be,
world without end.
(repeat antiphon*)
* If you are reciting this on your own, you can choose to say the antiphon once only at the start of the psalm and not repeat it.
The psalms and canticles here are our own translation. The Grail translation of the psalms, which is used liturgically in most of the English-speaking world, cannot be displayed on the Web for copyright reasons. The Universalis apps and programs do contain the Grail translation of the psalms.
You can also view this page in English only.
|This web site © Copyright 1996-2019 Universalis Publishing Ltd · Contact us · Cookies/privacy


text:
Central California growers struggle with farmworker shortage
Kevin Steward has spent more than a quarter-century in agriculture, much of that growing grapes for wineries. He's always been able to rely on seasonal workers to tend the vines and bring in the year's harvest.
But this year, workers are harder to come by.
"I could use 30 men," Steward said. "We'll get 'er done, but I can't find anybody."
Growers around the Central Valley are wringing their hands as they struggle to find the manpower they need, though the situation appears better in Stanislaus County.
Anti-immigration laws and policies, an aging population and even a raging drug war south of the border are contributing to a slowdown in the pipeline of Mexican workers.
Steward, president of the Sacramento County Farm Bureau, said he has only a fraction of the 40 workers he depends on to tend the 1,000 acres of vineyards he manages in Amador and San Joaquin counties.
"I've never seen it this bad," he said, though he's heard there are "a lot of good workers who are busy picking cherries." But cherry growers say their labor situation is only marginally better.
Laborers available to harvest San Joaquin County's lucrative cherry crop are down as much as 30 percent, according to the county's farm bureau.Situation OK in Stanislaus
Stanislaus County has not had much trouble, said Wayne Zipser, executive manager of its farm bureau. The county is the nation's leading producer of apricots, a hand-harvested crop now in season, but its cherry crop is much smaller than San Joaquin County's.
Stanislaus relies on hand labor for its sizable peach crop, which will start to be harvested next month. Ceres-area grower Scott Long said he has not had a problem finding workers.
"We're fortunate enough right now to be able to cover everything, and hopefully that goes through harvest time," he said.
The county's grape crop is mostly harvested by machine, unlike premium regions. So too are the far more extensive almond and walnut orchards.California Farm Bureau officials say the labor force typically peaks at about 450,000 in September.
Farm labor contractors saw warning signs as early as last year's grape harvest when a late season stretched the labor supply to the limit, said Guadalupe Sandoval, managing director of the Sacramento-based California Farm Labor Contractor Association.
"Things didn't ripen until late, so everybody needed workers at the same time," Sandoval said.
Reasons for the brake on immigrant labor are many.
Prices asked by the "coyotes" who smuggle workers across the border continue to rise — as high as $7,500, Sandoval is told. And, he said, "There's no guarantee of getting across. The coyotes may take your money. Maybe your life, as well."
The narco-terrorism plaguing Mexico makes a treacherous journey north even more perilous.
Fewer crossing the border
Jeff Passel, a senior demographer at the Pew Hispanic Center in Washington, D.C., said surveys tracking the labor force "show a huge drop in the number of people setting out from Mexico. It's not surprising that that's having an effect on agriculture."
Mexico's demographics are changing, too, said Bryan Little, director of farm labor affairs at the California Farm Bureau Federation. Families are getting smaller and the population is aging, shrinking the number of workers crossing the border, he said.
Lawmakers have battled for years about various immigration reform strategies, including the guest-worker programs favored by many in the agricultural industry.
But Chuck Dudley, president of the Yolo County Farm Bureau, said the implications for American food consumers are severe if shortages worsen."If you don't get it planted, picked and packed, it won't get to the table," he said.


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Where business meets pleasure
When it comes to corporate and organizational events, Target Field® means business. Whether you're planning a full-blown conference, holding your annual shareholder's meeting, throwing an honors dinner or seeking a location for the holiday party, look no further than the choices available here.
We have a venue to match your needs, whatever the function. And we'll provide the attention to detail your business expects. Employees will feel inspired, clients will be wowed, and you'll be 100% buttoned up. Those are great results for any company.
Delaware North Sportservice is the exclusive caterer of Target Field corporate events. With Executive Chef Pastor Jimenez and his staff conjuring up exquisite spreads, meals are anything but business as usual.
Get a glimpse of Target Field from behind the scenes. Treat your guests to private tours.
An hour-long home plate photo shoot. It's a great way to recognize employees and clients.
For a bolder event, display a slide show or video on one of our video boards.
Our marketing team held a two-day meeting for over 130 people. Target Field did a terrific job covering
all the details, and the added touches like scoreboard images really brought it to life. I continue to
marvel at this great facility.
Barry Wolfish, SVP, Land O'Lakes, Inc.
Target Field's most exclusive space. Located directly behind home plate at field level, it has capacity for up to 380 guests.Explore this venue »
Add a touch of sophistication to your event. Enjoy superb views of the field and city skyline. Capacity for up to 490.Explore this venue »
Filled with memorabilia of Kirby's legacy as a Twin. With views of the video board, it's just right for parties. Capacity for up to 1,000.Explore this venue »
Our largest interior space works well for conferences. Big views of the ballpark and downtown. Capacity for up to 1,500.Explore this venue »


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Griffin Poetry Prize winner Ken Babstock's art-inspired poem
June 13th, 2012
Click to play:
Toronto poet Ken Babstock won the prestigious Griffin Poetry Prize for his book Methodist Hatchet last week. It's an amazing achievement and, inspired by his win, we want to share a piece of Babstock's poetry that's near and dear to our hearts.
For the Gallery's reopening after Transformation AGO in 2008, we invited Babstock to create a piece based on Betty Goodwin's Tarpaulin #8. The recording was installed in a room dedicated to Goodwin on level 5 as part of "Multiple Perspectives," which captured and shared views on artworks from artists, collectors, curators, conservators, teens and kids. Visitors accessed these recordings through audio stations next to the work or by calling a number and listening on their cellphones.
And now you can listen to Babstock's poem right here or download it and take it with you. Enjoy!
Curious about this artwork? Listen to AGO conservator Sherry Phillips talk about it and how it was stored and installed here.


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"I Don't Know How She Does It"
Sarah Jessica Parker stars in this adaptation of the Allison Pearson bestseller about a woman trying to juggle family and career. Co-stars Greg Kinnear and Pierce Brosnan. Opens Sept. 16.
We don't waste our time on anything not worth your time. We celebrate the best of what's coming on film and TV. We cheer when our expectations are met and criticize when we're let down.


text:
- About Us
- Programs
- Membership
- Events
- News
- Resources
- Support Sustainable Works
Assumption Park gives residents of this city lovely views of the Ambassador Bridge and the Detroit skyline.
Lately they've been treated to another sight: a three-story pile of petroleum coke covering an entire city block on the other side of the Detroit River.
Detroit's ever-growing black mountain is the unloved, unwanted and long overlooked byproduct of Canada's oil sands boom.
And no one knows quite what to do about it, except Koch Carbon, which owns it.
The company is controlled by Charles and David Koch, wealthy industrialists who back a number of conservative and libertarian causes including activist groups that challenge the science behind climate change. The company sells the high-sulfur, high-carbon waste, usually overseas, where it is burned as fuel.


text:
The United Nations has set up a three-member commission of inquiry to look into allegations of human rights violations by Israel against the Palestinians, the UN said on Tuesday.
The three members are John Dugard, a South African professor of international law at Leiden University in the Netherlands, Richard Falk, a professor of international law at Princeton University in the United States, and former Bangladeshi foreign minister Kamal Hussein.
The commission was set up following a resolution adopted by a special session of the United Nations human rights commission in October.
However Israel has earlier gone on record as saying that it will not cooperate with any such commission.
A UN press release said the three members had been chosen "on the basis of their independence and objectivity."
It said the commission was expected to begin its work soon.
"The inquiry commission is expected to complement the various efforts being undertaken towards establishing a just and lasting peace in the Middle East by contributing to the cause of promotion and protection of human rights," it said.
UN High Commissioner for Human Rights Mary Robinson, who was also called on to visit the region by the special session, denounced the worsening human rights situation in the Palestinian territories on her return towards the end of November.
Israel said just after the special session that it would not cooperate with the UN human rights inquiry, calling the resolution hostile, unbalanced and unnecessary -- GENEVA (AFP)
© 2000 Al Bawaba (www.albawaba.com)


text:
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text:
Planting wheat required fewer workers than tobacco, leaving a pool of field laborers available for specialized training. Jefferson embarked on a comprehensive program to modernize slavery, diversify it and industrialize it. Monticello would have a nail factory, a textile factory, a short-lived tinsmithing operation, coopering and charcoal burning. He had ambitious plans for a flour mill and a canal to provide water power for it.
Training for this new organization began in childhood. Jefferson sketched out a plan in his Farm Book: "children till 10. years old to serve as nurses. from 10. to 16. the boys make nails, the girls spin. at 16. go into the ground or learn trades."
Tobacco required child labor (the small stature of children made them ideal workers for the distasteful task of plucking and killing tobacco worms); wheat did not, so Jefferson transferred his surplus of young workers to his nail factory (boys) and spinning and weaving operations (girls).
He launched the nailery in 1794 and supervised it personally for three years. "I now employ a dozen little boys from 10. to 16. years of age, overlooking all the details of their business myself." He said he spent half the day counting and measuring nails. In the morning he weighed and distributed nail rod to each nailer; at the end of the day he weighed the finished product and noted how much rod had been wasted.
The nailery "particularly suited me," he wrote, "because it would employ a parcel of boys who would otherwise be idle." Equally important, it served as a training and testing ground. All the nail boys got extra food; those who did well received a new suit of clothes, and they could also expect to graduate, as it were, to training as artisans rather than going "in the ground" as common field slaves.
Some nail boys rose in the plantation hierarchy to become house servants, blacksmiths, carpenters or coopers. Wormley Hughes, a slave who became head gardener, started in the nailery, as did Burwell Colbert, who rose to become the mansion's butler and Jefferson's personal attendant. Isaac Granger, the son of an enslaved Monticello foreman, Great George Granger, was the most productive nailer, with a profit averaging 80 cents a day over the first six months of 1796, when he was 20; he fashioned half a ton of nails during those six months. The work was tedious in the extreme. Confined for long hours in the hot, smoky workshop, the boys hammered out 5,000 to 10,000 nails a day, producing a gross income of $2,000 in 1796. Jefferson's competition for the nailery was the state penitentiary.
The nailers received twice the food ration of a field worker but no wages. Jefferson paid white boys (an overseer's sons) 50 cents a day for cutting wood to feed the nailery's fires, but this was a weekend job done "on Saturdays, when they were not in school."
Exuberant over the success of the nailery, Jefferson wrote: "My new trade of nail-making is to me in this country what an additional title of nobility or the ensigns of a new order are in Europe." The profit was substantial. Just months after the factory began operation, he wrote that "a nailery which I have established with my own negro boys now provides completely for the maintenance of my family." Two months of labor by the nail boys paid the entire annual grocery bill for the white family. He wrote to a Richmond merchant, "My groceries come to between 4. and 500. Dollars a year, taken and paid for quarterly. The best resource of quarterly paiment in my power is Nails, of which I make enough every fortnight [emphasis added] to pay a quarter's bill."
In an 1840s memoir, Isaac Granger, by then a freedman who had taken the surname Jefferson, recalled circumstances at the nailery. Isaac, who worked there as a young man, specified the incentives that Jefferson offered to nailers: "Gave the boys in the nail factory a pound of meat a week, a dozen herrings, a quart of molasses, and peck of meal. Give them that wukked the best a suit of red or blue; encouraged them mightily." Not all the slaves felt so mightily encouraged. It was Great George Granger's job, as foreman, to get those people to work. Without molasses and suits to offer, he had to rely on persuasion, in all its forms. For years he had been very successful—by what methods, we don't know. But in the winter of 1798 the system ground to a halt when Granger, perhaps for the first time, refused to whip people.
Col. Thomas Mann Randolph, Jefferson's son-in-law, reported to Jefferson, then living in Philadelphia as vice president, that "insubordination" had "greatly clogged" operations under Granger. A month later there was "progress," but Granger was "absolutely wasting with care." He was caught between his own people and Jefferson, who had rescued the family when they had been sold from the plantation of Jefferson's father-in-law, given him a good job, allowed him to earn money and own property, and shown similar benevolence to Granger's children. Now Jefferson had his eye on Granger's output.


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Day Against DRM Today!
Today is the 2011 Day Against DRM. I stand firmly against digital rights management of any kind. As stated in the eBooks Bill of Rights I co-authored with Andy Woodworth, "Digital Rights Management (DRM), like a tariff, acts as a mechanism to inhibit this free exchange of ideas, literature, and information." That is not acceptable to me. There are arguments to made for some kind of ideal future with lightweight and invisible DRM, but I do not agree with them. DRM is bad. Period.
As a librarian, I cannot in good conscience endorse spending library funds on content laden with DRM. It is not a sound investment for the long-term, and it supports and sustains a business model of proprietary control that I do not agree with. As a librarian, I believe in free access to information and the right and responsibility of libraries to preserve the cultural record. DRM prevents that. DRM prevents fair use, the ability to purchase and give away/resell content you've purchased, back-ups, and control over content you purchased.
DRM takes the control of the content or device's functionality away from the owner–forcing compliance with a company's preferences through sheer brute force. DRM treats you, the person who bought the content, as a de facto criminal. You can't use the content you legally and rightfully purchased or licensed in the way that is consistent with private property rights. DRM is also crazy expensive to develop and maintain — so every time you buy a piece of content with DRM on it (say an Overdrive eAudioBook or an AAC music file from iTunes), part of that money is going toward the development of software that restricts your rights to use that very piece of content you just bought. Just think how many more books we could buy for our libraries if we weren't paying out the nose for companies to develop DRM to "protect" them from their rightful owners.
The Day Against DRM is celebrated internationally, and you can follow what's going on via the Twitter hashtag #nodrm. A lot is also being posted to blogs, traditional media sites, etc.
If you're looking for things to do to announce your solidarity against digital rights management, look to Defective by Design (lots of ideas). The organization puts out a lot of information, flyers, images, and posters for organizations to use to educate people about digital rights management and its effect on their privacy and freedom of information access. Here is a particularly good half-sheet leaflet explaining what DRM is and why it's bad.
So what can you do?
* Stop financing the people who restrict information access. Don't buy DRM-encoded content and products, like Blu-ray, iTunes music in AAC format, Windows Media Player, Amazon Kindle eBooks, Apple iBooks, and many more. Don't buy from retailers who insist on DRM as part of their content or devices.
* Promote collections of open access and DRM-free content at your library.
* Support and participate in open projects like Project Gutenberg and the ever-amazing OpenLibrary, an Internet Archive project to build a complete library of digital content.
* Tell our digital content providers (like Overdrive or ProQuest) that we don't want DRM on our library eBooks — that it gravely damages the user's experience and our image as a digital content provider.
* You can buy a shirt like mine that says "Librarians Against DRM" (which I am proudly wearing today at my library). I've gotten 7 questions so far from users about its meaning.
* Which leads me to the last item: educate your users about digital rights management — both on library items and on the items they are buying as consumers. What does DRM do? What are the legal issues involved? How can they advocate for change?
Digital rights management, and digital content overall, are issues of primary importance to libraries today. It is our job to educate our communities about what is happening to their digital rights, and what they (and we) can do to promote continued open access to information. After all, that's what a library is all about.


text:
REVIEW BY: Christine Williams
An Author ("Prophecy
and the Fundamentalist Quest", "Islam,
Women and the Challenges of today", and "Echoes
from the Abyss"), a Freelance writer, Women's rights activist,
Musician, M.A., MBA, EdD.
A Reader's Review
There have been several calls for an Islamic Reformation since 9/11
and yet few Muslim scholars and activists have been able to grapple
with the most intractable theological tenets within the Faith.
Farzana Hassan has admirably filled the void by reviewing the toughest
issues in Islamic theology that challenge modernity, such as domestic
abuse, the laws of inheritance, polygamy and matrimonial norms. The
fulcrum of reform movements in Islamic societies is around contested
notions of feminism. Farzana has attempted to find solutions to social
inequities from within the existing ideological framework of Islam and
has consistently worked towards eliminating these from Muslim
societies. No doubt, her views are considered controversial and have
already been rejected by many mainstream clergy. However, reform
movements frequently encounter such initial dissent and only through
persistence can Islamic inertia be confronted from within the ranks of
the Faithful. As a committed Muslim, Farzana has greater legitimacy
than many other scholars in this field and her voice is beginning to
resonate beyond her Canadian base. One can only hope that her efforts
will not be co-opted by Islamophobes in the West nor become fodder for
the conspiracy theorists within Islam.
(Vermont, USA) -
Book review


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The winners of the VFW and Ladies Auxiliary sponsored Voice of Democracy audio-essay competition and the Patriot's Pen essay competition were announced yesterday[Monday] during the 2014 VFW Legislative Conference in Washington, D.C.
The Voice of Democracy program celebrated its 67th year with this year's theme, "Why I'm Optimistic About Our Nation's Future." The first-place winner, Madison Haley, sponsored by VFW Post 777 and Ladies Auxiliary in Mount Pulaski, Ill., received an all-expense-paid trip to Washington, D.C., where she was presented with the T.C. Selman Memorial Scholarship Award in the amount of $30,000. The second-place winner, Grace Speas, sponsored by VFW Post 10097 and Ladies Auxiliary in Fort Myers Beach, Fla., received the $16,000 Charles Kuralt Memorial Scholarship Award. The third-place winner, Luke Ball, sponsored by VFW Post 2573 and Ladies Auxiliary in Wilmington, N.C., received the $10,000 VFW Scholarship Award. All other state winners received at least a $1,000 college scholarship. More than 40,000 students participated in this year's competition.
Read Madison Haley's award-winning essay.
See the complete list of all winners.
The Patriot's Pen program is designed to foster patriotism by allowing students the opportunity to express their opinions on democracy based on an annual theme, this year's being, "What Patriotism Means to Me." The first-place winner, Alexis Canen, sponsored by VFW Post 1125 and Ladies Auxiliary in Glendive, Mont., received an all-expense-paid trip to Washington, D.C., where she received a $5,000 award. The second-place winner, Noelle Nakaoka, sponsored by VFW Post 2875 in Ewa Beach, Hawaii, will receive a $4,000 award. The third-place winner, Olivia Leising, sponsored by VFW Post 9357 in Cambridge, Neb., will receive a $3,500 award. More than 111,000 students participated in this year's competition.
Read Alexis Canen's award-winning essay.
See list of all winners.


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I am a breast cancer survivor.
There. I said it.
Growing up in an era confined by euphemisms, I never thought to actually say the word 'breast' aloud, much less use it in a public newspaper.
That part of the body, if it was referred to at all, was a bosom.
And for skinny me, an anatomical wasteland. I was a teenager cursed with friends generously endowed. My theme became "What God hath forgotten, we stuff with cotton."
They were called falsies and we used them to fill out bras cleverly lined with pockets. For bathing suits, there were the rubber variety that had an amazing ability to surface at pool parties to the glee of some and the utter complete agonizing embarrassment of the swimmer.
Bosoms were dominant in barber shop magazines like Esquire with their center folds of Petty and Varga girls. Who can forget Jane Russell, bosom queen, in Howard Hughes's production of his rule breaking western "The Outlaw."
After marriage and giving birth to five children, one would think that nature would help in bosom design, but to my chagrin, for years, I shopped for underwear in the teen department. Try celebrating your 40th birthday wearing a Teensy Sweet bra.
Only nagging by the media took me to the clinic for breast cancer checkups.
These were not fun. My body was not intended to be stretched and flattened with cold impersonal metal.
But, everything seemed fine. My report cards from the X-ray labs came in the mail with results marked "satisfactory." Time passed. Checkups became an annual but necessary ordeal.
One year, an X-ray technician suggested in an aside that I might want to get a second opinion.
Whoops. ASAP, I made an appointment with an expert and daughter Tamela drove me out to Fort Stewart's hospital.
"Not to worry," said the doctor. "It's fine."
We had lunch and went home.
A year later, I went in for my customary examination and before I knew what was going on, that little 'not to worry' spot had morphed into a big 'something to worry about' and Gordon Krueger, surgeon' extraordinaire' had sliced and diced it away at the Beaufort Naval Hospital.
That was the 21st of October 1996, 15 years ago.
October is now designated as the month we particularly nag both men and women to be aware of breast cancer.
Have that checkup, so you can say with certainty, "Truly, everything is peachy keen hunky dory fine."
Annelore Harrell lives in Bluffton and can be reached at firstname.lastname@example.com


text:
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text:
20 second super short animation done in 5 hours
I have spent my time with learning basic of animation and practice by myself last week, and I want to share it to anyone who is the beginner and interested in animation. You can do it by hand drawing, PC or Mac just use Photoshop or hand drawing, Flash to make the sequence and Final cut or iMovie. We can learn it together and let's start to make your own!! :D
The making of ... I plan to make a short animation in 20 second. Which had the concept idea about the spirit of nature..I did the easy explaining the cycle of nature.
I decide to drew 105 images by Photoshop, I separated layer background sky, sea and the main character. I didn't move layer sky in every fame, I just moved the sea and the main character frame by frame. After I had done all images I used Flash to make the sequence by set the frames rate to 10.00 and set some part that I want it move slow by add the space more on key frame and then just used iMove to make easy sound.
Here is the final :D


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Flying Magazine
Flying is an aviation magazine that is a primary source for pilots and others with a serious interest in aviation for the latest industry news, technology, safety, product and service information and expert opinion.More Info >>
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About Flying
Since its first publication in 1927, Flying has grown to become one of the world's most widely read aviation magazines. Its editorial staff is comprised of dedicated pilots and aircraft owners who seek to engage, educate and entertain, while showcasing new products and services, and providing expert advice on technique and air plane safety. Flying magazine targets active and future pilots, but is also a great resource for aircraft owners and aviation-oriented executives in business and general aviation markets worldwide.
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text:
Creatures B&W
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Use the form on the right to contact us.
You can edit the text in this area, and change where the contact form on the right submits to, by entering edit mode using the modes on the bottom right.
Portland, OR,
United States
Photography in Portland OR. Family Portraits, Maternity Portraits, Senior Portraits, Event Photography, Boudoir / artistic Nudes, Photo Booths and more.


text:
A group of 68 US lawmakers on Thursday demanded Mexico take all possible measures to ensure the safe return of a former US marine, jailed after crossing the border with an antique shotgun.
Jon Hammar, 27, a veteran of the wars in Iraq and Afghanistan, was arrested after entering Mexico on his way to Costa Rico for a surfing vacation. In Mexico, shotguns are reserved for use by the armed forces.
The US lawmakers insisted Hammar's case "is of the utmost importance," alleging the former soldier has been mistreated in prison, according to the letter released by Republican congresswoman Ileana Ros-Lehtinen.
According to the letter, Hammar was told by Mexican customs agents he was allowed to bring the gun, which he inherited from his grandfather, into the country as long as he registered it immediately with authorities.
"We would like to know how this could have happened, and why the (Customs and Border Protection) agents at the border gave Jon what was obviously wrong information," the letter continued.
The lawmakers write that Hammar, who has been treated for post-traumatic stress disorder after his deployments in Iraq and Afghanistan, has faced beatings and other abuses from fellow prisoners.
"His parents immediately began receiving extortion calls from these inmates," the letter states, adding "the inmates even forced Jon to speak to his parents on the phone and tell them to pay the money or he would be killed."
His family has also accused Mexican prison authorities of repeatedly handcuffing Hammar to his bed, which Mexico denies.


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[Intro: Vince Staples & Earl Sweatshirt]
"What's up, nigga? Why you so depressed and sad all the time like a little bitch? What's the problem, man? Niggas want to hear you rap. Don't nobody care about how you feel, we want raps, nigga."
[Verse 1: Earl Sweatshirt & Vince Staples]
My grandma's passing
But I'm too busy tryna get this fuckin' album cracking to see her
So I apologize in advance if anything should happen (Cut that bitch off!)
And my priorities fucked up, I know it, I'm afraid I'm going to blow it
And when them expectations raising because daddy was a poet, right?
Talk all you want, I'm taking no advice, nigga
I'm 'bout to relish in this anguish, and I'm stressing over payment (Cut that bitch off!)
So don't tell me that I made it, only relatively famous
In the midst of a tornado, misfitted, I'm Clark Gable
I'm not stable, abrasive as fuck and they all (Cut that bitch off!)
Pay me, I'm chuckling cross-faded in public
Heart racing 'til blunt is lit, (Like he don't give a fuck again, right?)
[Interlude: Vince Staples]
"Hey Thebe, nigga, what's up nigga? I heard you back, I need them raps, nigga. I need the verse, I don't care about what you going through or what you gotta do nigga, I need bars, sixteen of 'em."
[Verse 2: Earl Sweatshirt]
I don't fuck with too much of y'all's shit
Judging by the pants and the mall grip
Gully, in the vans with the dark tints
I'm a start-shit type nigga (Cut that bitch off!)
Night life living
Riding in the Jeep, I'mma side-swipe niggas
What's your life like? That's alright nigga
Hammer in the left ready when the price isn't
Right got the whip and I ain't got the license for it
And Jill got me living like my life is golden
Sitting on the sofa feeling high and dormant
If we could smoke another while the mic records it (Cut that bitch off!)
The nicest doin' it, who the fuck you staring at?
Acting like you've never seen a tooth that's carat-capped
Bars hotter than the blocks where we be at
Stuntin' these niggas gon' flop like Divac
See that nigga? And for the time being
I'mma be that nigga, believe that nigga
You see that nigga? And for the time being
I'mma be that nigga, believe that, nigga (Cut that bitch off!)
Produced by The Neptunes, this song is off of Earl Sweatshirt's second album, Doris. Pictures were released earlier of Pharrell and Earl working in the studio, and this was one of the products of that session. More forthcoming tracks from that session were hinted at like the song "Feet" (currently unreleased).
The "Cut that bitch off!" sample found throughout the track originates from Preacher's "The Power of the Truth."
The significance of the colour in the song's title is tied to a carpet. He mentions a burgundy carpet on "epaR" and "Couch" on the Earl album: there, it's burgundy because burgundy is the colour of blood, which has soaked into the carpet. Truer to life, it may be the colour of the carpet in his grandma's house, as mentioned in the song's opening lines. This might tie together two distinct connotations of blood: blood as in violence and blood as in family. Tyler often talks about "Earl's burgundy carpet." It just ties in with Earl's geriatric tendencies.
The purpose of "Burgundy," as stated here, is basically Earl venting to Vince about how he really feels about rapping at that point in time. There were some points when he didn't even want to be rapping or doing anything at all relating to music.
In a 2013 interview on NPR, Earl said:
There was that period of time when no one from the label got what I was trying to do, so they were trying to put me in the studio with the wrong niggas. I got a beat that had a John Legend hook on it already. It was a very messy period of time and I was just like: "Oh my God, I'm fucked, I'm gonna have to put out a album that I do not fuck with at all."


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Working for Reform and Renewal
By Gregory Erlandson and Matthew Bunson
Our Sunday Visitor, 2010
208 pages, $12.95
To order: osv.com
(800) 348-2440
In Pope Benedict XVI and the Sexual Abuse Crisis, Gregory Erlandson, publisher of Our Sunday Visitor, and Matthew Bunson, editor of The Catholic Almanac, examine this grievous old sin that has lacerated the Catholic Church and has been the subject of much media attention in America and Europe.
As the authors remind us, St. Basil of Caesarea (d. 379) spoke out on this issue, in terms as harsh as any modern critic.
"He wrote that any priest or monk found guilty of sexually molesting young boys should not only be removed from the clerical state but should also face physical punishments, such as public flogging and incarceration for six months — after which they were to undergo long and prayer-filled penances under the stern supervision of spiritual authorities," they write. "Above all, Basil urged, the priest or monk so convicted should never be permitted contact with, or have access to, young boys or men."
Erlandson and Bunson set themselves the task of writing an overview of the crisis and how Pope Benedict XVI has reacted to it. While the media have excoriated Benedict for not always "defrocking" clerical abusers immediately, Erlandson and Bunson show that, after an initial period of tending to downplay the crisis, he came to a deeper understanding of the issue and that "he has evolved into a historic advocate for the reform and the renewal of the Church, and he understands the significance of the struggle."
The authors see this in his actions: his appointment of Cardinal William Levada, an American "aware of the scale and scope of the scandal," as head of the Congregation for the Doctrine of the Faith; his discipline of Father Marcial Maciel, founder of the Legionaries of Christ, communicating that "keeping silent to 'avoid scandal' was not an option for a Church leader"; his stern directness in speaking to the Irish bishops; and his understanding that this is "first and foremost a spiritual challenge to the entire Church."
After an overview of the scandal and the Pope's actions, a helpful appendix follows with sections on canon law, excerpts from the Pope's speeches and letters and the entire text of his letter to the Irish bishops.
This book, however, lacks a personal dimension. No stories of the victims themselves are recounted, at least not in the kind of detail that would matter. The Pope has listened to the victims, and so should we.
I disagree with those, such as John Manly, one of the lawyers bringing many abuse cases against the Church, or William Lobdell, author of Losing My Religion, that this crisis is a reason to abandon faith. I agree with Dostoyevsky: that if there is no God, then "everything is permitted."
But these outrages perpetrated on innocents should make us weep — or at least make us heartsick. This book does not make me weep, and though it is a sound defense of the Pope, it would have more impact if it presented the story of one abuse victim, one of "these little ones."
Franklin Freeman writes from Saco, Maine.


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"Life is open book."
With the advent of widely accessible, inexpensive (or even free) computational tools and Computer Algebra Systems (TI-89, Wolfram|Alpha, etc.), much of what traditionally comprises a high school math curriculum can now easily be done by almost everyone. Factoring polynomials, solving inequalities, graphing linear equations, differentiation and integration -- these are the types of skills high school math students spend most of their time learning, and yet all of it can be done for free by anyone with a web browser.
What does this mean for the high school math curriculum? On the one hand, we could leave it more-or-less the same, insisting that today's student learn what we learned decades ago, while banning or carefully regulating the use of these new tools. On the other hand, we could embrace the tools and the opportunities they create to spend more math class time on different topics and skills, perhaps focusing more on analytic and synthetic problem solving and less on mechanical symbolic manipulation -- but at the risk of students never learning some basic foundations.
So how about it? Binomial coefficients? The angle-addition formulas for trig functions? The conditions under which a function has an inverse? Basic computer programming? Keeping in mind that the vast majority of high school students do not go on to become professional mathematicians, what should the high school math curriculum consist of?
Btw, I post this question (inspired by this discussion) here because this is a community of thoughtful mathematicians. I recognize this discussion may belong in a different forum, but I don't what/where that forum is. Any suggestions are welcome.


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Cluck Y'egger speaks!
SpaceVenture is a sci-fi comedy adventure game that combines interplanetary exploration, puzzle-solving, and space travel- not to mention "pant loads" of pop culture satire and some good, clean "potty" humor.
When the spaceport "facilities" are backed up and stuff's about to hit the fan...
When someone's darling little spawn tries to flush their pet Narblitz down the john...
When your life support ducts are in need of , er...life support...
It s time to call in a professional!
Who is that professional you might ask?
Click below to find out:
Microsoft Powerpoint version click here
PDF version click here
GOG.com Credits have been added to the $50 and the $150 tiers! ALL DRM FREE!
- $50 = Credit to download a DRM free Space Quest package from www.gog.com of your choice.
- $150 = Credit to download a DRM free Space Quest package from www.gog.com. That means you get both Space Quest Packages!
What really happened when the "Two Guys" reunited?
No pledge funds will be deducted from your account until the Kickstarter goal is reached and ended. For international backers, please include $15 extra shipping for rewards that involve physical items. If it's too late, you can square up on PayPal after the end date. Want to help us get the word out? Use http://tgakick.com to make spreading the word easy. It brings you right here!
ADDED: New $515 and $1015 tiers added (5/12/12)
* The actual game will 100% be available as an executable non-browser based install file.
* You will not need Chrome or any or browser to run our game.
Social Links: Twitter, Facebook, YouTube
Our Message:
Hey there, Classic Adventure Gaming fans as well as those relatively new to our worlds. Scott Murphy and Mark Crowe, aka 'The Two Guys from Andromeda', are back together. No, your optic orbs have not been on a bender. You read correctly. After a very brief 20+ year hiatus, we have joined forces once again and are tooling-up to bring you a new Space Adventure, or SpaceVenture™, if you will.
A little older, a little wider (well, Mark at least) and a bit more demented than before (a toss-up on that one), we're both ludicrously psyched to be working together again. Combine that with what has been literally years of pent-up intergalactic pressurized cabin fever to go with it and we have some real wonderful…, uh, 'stuff' to share, incorporating that same style of comedy, wonder and delusion you expect from a Two Guys SpaceVenture™.
You'd be very surprised to know the range of requests we sought out and have been received from supporters. We know we can't be everything to everyone but we're working hard to find a happy compromise. The only thing we won't compromise on is your game-play experience (and maybe caloric intake).
Scott and Mark will have their hands all over this project with final say on everything, including how much cheese and Orat meat goes in the crust. What this means, people, is that no aspect of this game will come into being without the personal, crusty-eyed, occasionally salivating and barely comprehensible approval of The Two Guys from Andromeda. This is YOUR guarantee, for you fans and friends, that everything you are about to see is ultimately the work of The Two Guys.
Before we go any further, lets make clear one major question. What platforms are we working to make the game run on? Scan this list:
- Mac
- Linux
- iPad
- Android Tablets
All of those platforms, from day one of the release!
Our philosophy from day one and game one was to make games that WE would want to play and that, ultimately, YOU would as well. We aren't straying from what has been a successful formula according to our sales then and your feedback since. We're back to create more while also incorporating what we've learned in analyzing our past work, from you via comments made from the days of snail-mail to the present methods of email and social media. It's been fascinating to learn what you've found fun, funny and/or annoying, and what games you've favored. Clearly, not everyone has well-rated taste, but we can work around that. Yes, we're givers!
The way games are made and gotten into a player's home and on to their devices of choice have changed greatly thanks HUGELY in part to Kickstarter. They are helping dreams come true for so many of us. During that time you have continued to talk about the adventure game genre and how you've missed it. We're adapting to the changes, taking advantage of them and charting a new course through this new space, and looking forward to finding that 'new game smell' that we can enjoy and to bring to you as well.
We have fan encouragement, you incredibly loyal fans who have kept the legacy of their work alive. We appreciate the many fan sites, fan games and fiction, game homage's and remakes, but probably the best part of the past has been directly related to some very enjoyable, interesting and inspiring emails. Thank you for sharing your stories with us about what the games meant to you from whether you enjoyed them (or not), which puzzle(s) made you mad, and who you played them with. Some were actually quite poignant and those will never be lost on them.
Yes, you read that right. FREE stuff, another small thing we wanted to do to make your visit to our Kickstarter page special as well as to be a little different than the others, not that they didn't blaze a brilliant trail for all of us. We think you'll agree that not taking it to the next level would be lazy and sad on our part.
We want to give you a small digital 'thank you' gift just for showing up and at least considering supporting us. We never want you to feel we aren't grateful regardless of what you decide. We're nothing without you. This wallpaper image was put together for you by Mark Crowe specifically for our Kickstarter campaign. Thank you for hanging in there and seeing this. Please help yourselves to these great graphics at no charge to you.
Go ahead and take what's yours! Click below to download one of the official SpaceVenture™ Wallpapers! (In some browsers you may need to right click and hit "Save As" in order to download them.)
We've recently started our own game studio, Guys From Andromeda LLC. We've invested in the absolute best virtual office environment money can buy (on the cheap). On a serious note, this also allows us to be an Earth conscious company by being able to go Green.
No commuting, much less wasted paper and toner, Rogaine for Mark and Clairol for Men for Scott, etc.
In doing this, it allows us to hire top tier game developers - all big Space Quest and adventure game fans, of course - to help make this a reality. Having fan-developers means we'll get the best possible results because of the passion they also carry for our style of the genre. This model helps keep costs down on overhead like office space, so more goes into the game.It also allows us to partner with people in quite literally different parts of the world!
BUT, with all of this we will need YOUR help! In order to make this dream a reality, we are asking our fans and friends to contribute through our Kickstarter campaign and to help us to once again do what is a serious passion we have never lost, and what drives us to make the very best games we can, games you've asked for. Not only do we have some of the top game developers available, we are also pulling in some of the top voice over talent as well! We take multimedia seriously, if nothing else. For voice talent we know you want the one and only narrator, the man with the golden pipes, Gary Owens. Done! But take a look at, along with Gary, a few of the others already on board to voice our characters.
- Gary Owens - Narrator from SQ4 and SQ6, voice of Space Ghost, Laugh-in, and many many others in a long and distinguished career.
- Rob Paulsen - Pinky from Pinky and the Brain, Yakko from Animaniacs, Raphael the Ninja Turtle, and multiple characters from Monkey Island among many other characters he has voiced.
- Robert Clotworthy – Jim Raynor from StarCraft 1 & 2, Senator Evran & Supreme Chancellor from Star Wars: The Old Republic, and Narrator of The History Channel's Ancient Aliens series, Big Bang Theory, etc.
- Ellen McLain - GLaDOS from Portal 1 & 2, Overwatch from Half-Life 2, Administrator from Team Fortress 2, Witch from Left for Dead 2 and many more.
- John Patrick Lowrie - Sniper from Team Fortress 2, Sword Control from Halo Reach, Citizens from Half-Life 2 and author of Dancing with Eternity.
- For musical talent we are talking with some of the best composers we can find. Did you like the music from the Space Quest series? We are in talks with some of the original composers, including the man that brought you the music from Space Quest 3, Supertramp rock legend Bob Siebenberg.
We fully intend to bring back every element that you guys loved from our original games! You've been very clear and concise as to what you enjoyed from our previous efforts. Here's a short list of things you can expect if our project gets funded:
- A Sci-fi adventure from Scott Murphy and Mark Crowe working happily together as a team once again.
- Hilarious death sequences
- Tons of the fresh (and moldy) pop-culture references
- Fun and unique humor
- Art design and direction by Mark
- Dialog that will make you blow nostril Tang, written by Scott along with Mark
- Narration of all this by Gary Owens and the voice acting of other characters by the above mentioned quality industry voice talent
- Game music that will hopefully give you chills and wedge in your main orb for the rest of your natural Earth life and make you wish you lived inside your computer!
- A game that you will feel comfortable playing with your children, but with some entertainment that will safely appeal only to the adult psyche
Yes, we know, they all say that, but WE really mean it! Fresh from the Sarcasm Cluster and the Hyperbole Nebula, this is the first Kickstarter effort by the Two Guys From Andromeda. We're here to tell you THIS is huge to us.
We really are going to do things differently than some of the other campaigns you may have seen, even though we love those people, so don't take that in a mean spirited manner. We know you guys are aching for something truly special, so we've been butting heads in the Andromedan luxury bunker to come up with a way you guys can feel extra, extra special while we empty your bank accounts for our own devious, suspect ends: You are going to get something fun to play throughout our Kickstarter campaign! Yeah, you read that right!
Here is what we're talking about:
- Every time we reach another $100,000 milestone, we'll release another enhanced prototypes version for you to play.
- The playable prototypes will be the direct ideas of Scott and Mark. (Who else?)
- We will take your feedback to improve the demos for each milestone.
Everyone involved in the project will be keeping a project diary, including Scott and Mark! (You may have problems reading Scott's, but we'll do our best to provide Cliffs Notes or a hieroglyphics translator.) Do you ever wonder why Scott chose a specific piece of dialog to go into a particular game situation? Or how Mark built the Space Quest 2 box or was inspired to create art for a certain game location? Wouldn't you like to know?
These are the things you'll be privy to in our behind-the-scenes diaries for the new game! The project diary will be dated and time-stamped as everyone involved documents their thoughts and feelings throughout the game development process. (Don't be alarmed by occasional high-pitched sounds that sometimes drown out the spoken audio. It's really just a technical glitch. Those crazy gizmos these days! or bleeps as they are know in the industry.) This will include lots of behind the scenes photos, short videos, and audio clips that give you fascinating insight as to how things were brought to life - and how much we had to tip the cleaning lady to remove trace evidence.
Alright, let's talk rewards! We know you're dying to be rewarded. (Who isn't?) And we're dying to reward you because, really, we wouldn't be in all this mess without you guys, right? We know that and we appreciate it. We hope you know that. So, apart from the running demo thing, we really want to make sure you get something of additional value.
First of all, everything you have read above is being giving to you at just $15.
That's right, a DRM-free digital download version of the game for PC, MAC, or Linux, a code that allows you to play the game on Steam, as well as all the behind the scenes material turned over to you once the game has been released. All that for just $15! We may even get the Space Quest historian to write you a completely generic congratulatory message - with YOUR name cut and pasted in. Yes, YOUR name! Just for being so awesome!
Okay, we can sense that won't cut it for some of you. Well, if that doesn't sound exciting enough, how about this?
For those that want to step things up a level, we hope you'll find that we have included some really awesome reward tiers. (Prepare for a nosebleed.) The rewards should tickle the fancy of people who like physical collectibles, autographs, as well as those who love digital goods! In fact, for those of you who live outside the US and don't want to deal with customs issues, consider our "Digital Only" reward tiers -- the one-stop shop for getting your nerd on without leaving the comforts of your remote, backwaters Earth nation! (As opposed to OUR remote, backwaters Andromedan location.)
We created this chart to help you understand the rewards you'll get for participating in the various tiers of our Kickstarter campaign!
Some of our rewards allow you to have your name etched in digital eternity by becoming part of the game. One thing you have made VERY clear to us is that although you want to see your name in the game, you also don't want to take away from the game play. So, to help with this, the game will randomly select a name from the pool of those people who have paid the highest amounts and plop them fully across the screen at regular intervals for the duration of the playing exper-- sorry, that's not right. Of course, we're kidding! Here's what's ACTUALLY going to happen: There will be a very limited amount of names in the intro credits. There will also be many well crafted 'Special Thanks' in the closing credits which will optionally run upon exiting the game. These will not hinder game play or the experience in the least. You may be credited as the Head of the Andromedan Nose Ministry, or maybe the High Council on Mohawk Regulation and Hair Product.
Many of you want more recognition, so we're giving it to you. Who are we to argue with vanity? The game will have 'hidden objects'. There will be a collection of digital fan cards placed very strategically in the game. When you see one, you simply click on it, and the card will zoom to the front of your screen and tell you about the fan on that particular card. We feel this will add an extra element to the game, get you excited to give to the project, and give us the ability to reward you in the game for finding them all.
But if that doesn't appeal to you, we've thought of that too. If you feel this hinders your game playing experience, you can simply disable this feature at any time! But that one idea you guys had actually made a lot of sense. We're not going to force our closest friends and most loyal supporters down the throats of people who couldn't care less. But we ARE going to give the people who truly want it to have the chance to turn on the feature for all to see, and bask in your glory. Oh, and did we mention we love you? Oh, you knew that already, right?
A personal message from "The Guys"
We wish to express our sincerest thanks and gratitude to some amazingly talented and dedicated folks for helping us get this Kickstarter campaign launched in high style.
Special thanks to:
Brad Herbert, Chad Briggs and the rest of their visual FX team at Element X Creative for they're truly amazing and heart stirring intro animation. Their passion for all things Sierra and for Space Quest in particular really shows through in this "labor of love", as Brad puts it. You guys are fantastic. We can't thank you enough! Everyone should check out all other amazing stuff their up to at: http://www.elementxcreative.com/
SpaceQuest.Net has been so amazing for allowing The Two Guys From Andromeda to house their forums with them!
Justin Crowe for his mad videography, direction, and post production skills. Justin, a University of Oregon Undergrad, studying Journalism and Digital Arts, managed to pull some gripping, Oscar- worthy performances from a couple of old, broken down has-beens from Andromeda- all while in the midst of mid-terms. Check out some of Justin's documentary work here Justincrowefilm
Martin Kool and Q42, a studio based in the Netherlands, with a passion for the adventure genre for approaching us with some innovative solutions for bringing our vision to multiple platforms simultaneously. You'll be seeing more of what we mean in the next few days and coming weeks as we rollout something really innovative and unique to the whole Kickstarter concept.
Not coincidentally, Martin is responsible for Sarien.net and for bringing some of Sierra's classic games (including Space Quest) to the iPad. Check out his site.
Funding period
- (35 days)


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But I already have the chiller. I saved $7.99!
Quote from: majorvices on August 06, 2013, 03:29:13 PMlol!My favorite is using a chainsaw to cut your butter.He must be running a NANO size rig. Major large conical!
I'm such a show off but I thought you guys would appreciate this. Hooked up a loop on my glycol chiller into my 1" port "pre-chiller" for my heat exchanger and dropped the temp of a 10 gallon batch down to 50 degrees in about 25 minutes. You can see pre-chiller in upper left corner with glycol loop. Note condensation on kettle!Driving factor:


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Fertility Success and Failure Success is as dangerous as failure. Hope is as hollow as fear. What does it mean that success is as dangerous as failure? Whether you go up the ladder or down it, your position is shaky. When you stand with your two feet on the ground, you will always keep your balance. What does it mean that hope is as hollow as fear? Hope and fear are both phantoms that arise from thinking of the self. When we don't see the self as self, what do we have to fear? See the world as your self. Have faith in the way things are. Love the world as your self; then you can care for all things. - Tao te Ching
What constitutes success in your mind - the ability to become pregnant? Give birth to your own biological child? What if you achieve this success? Will your heart be satisfied? No. When your mind's satisfaction comes from achieving a goal, it will need to be maintained. A past retreat participant recently confessed, "My children did not cure my infertility."
Another woman at our last retreat lost a child, had a child, and now is desiring another. She acknowledged how much she was stuck in fear – fear for losing the child she had, fear for not achieving success with this desire, fear that she would never overcome the loss that she experienced when she lost a child. She was living in the ambiguity between success and failure; hope and fear.
What if you don't achieve your idea of success? Will you consider your path a failure?
I am often asked, "What is your success rate?" asking that my answer be confined to a percentage rate. Western medicine thrives on statistics. And yet, most of the women who I treat have already been told by Western medicine that their likelihood of success is less than 5%. We all look for hope in something solid and tangible, as if we could restrict how the future will present itself.
I consider the success rate of The Fertile Soul process to be over 99%. Although many of these successes are in the form of children, it is not confined to the birth of a child. When success is defined as the ability to open up to life in its highest form for you, you start to see the world as your very self and have faith in the way life comes through you. You begin to occupy the space where the most miraculous potential resides.