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Leonardo and the Last SupperBook - 2012
Early in 1495, Leonardo da Vinci began work in Milan on what would become one of history's most influential and beloved works of art- The Last Supper . After a dozen years at the court of Lodovico Sforza, the Duke of Milan, Leonardo was at a low point personally and professionally: at forty-three, in an era when he had almost reached the average life expectancy, he had failed, despite a number of prestigious commissions, to complete anything that truly fulfilled his astonishing promise. His latest failure was a giant bronze horse to honor Sforza's father: His 75 tons of bronze had been expropriated to be turned into cannons to help repel a French invasion of Italy. The commission to paint The Last Supper in the refectory of a Dominican convent was a small compensation, and his odds of completing it were not promising: Not only had he never worked on a painting of such a large size-15' high x 30' wide-but he had no experience in the extremely difficult medium of fresco.
nbsp;In his compelling new book, Ross King explores how-amid war and the political and religious turmoil around him, and beset by his own insecurities and frustrations-Leonardo created the masterpiece that would forever define him. King unveils dozens of stories that are embedded in the painting. Examining who served as the models for the Apostles, he makes a unique claim: that Leonardo modeled two of them on himself. Reviewing Leonardo's religious beliefs, King paints a much more complex picture than the received wisdom that he was a heretic. The food that Leonardo, a vegetarian, placed on the table reveals as much as do the numerous hand gestures of those at Christ's banquet. As King explains, many of the myths that have grown up around The Last Supper are wrong, but its true story is ever more interesting. Bringing to life a fascinating period in European history, Ross King presents an original portrait of one of the world's greatest geniuses through the lens of his most famous work.
From the critics
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This is probably the best art history book I have ever read! There is an abundance of historical details which fill out the narrative rather than bogging it down. Aspects of Leonardo's career, the institutions and politics of late 15th century northern Italy, techniques used by artists (including the special techniques for the Last Supper), and a wide array of social norms (they ate with their hands!, they drank like fish! (200 to 600 litres of wine per annum (compare to Italy today, which is at 60L p.a.))), add in superstitions and religious affairs, and you've got one romping history!
King, Ross. Leonardo and the Last Supper (New York: Bloomsbury, 2012). If you like historical detail and the way that history is built up from note books, paper scraps and letters, and such, you'll enjoy Leonardo. I did. King is a historian who apparently skipped university teaching and devoted himself, luckily, I think, to writing about the things that really teased his mind. So far, he's cut a fine path. I'd like to read more from his pen because he lets you know where his historical details are coming from. Leonardo is about Leonardo da Vinci, of course, and thanks to King's curiosity about him I learned a lot about Leonardo and probably would have liked him a lot had I known him. He was a gifted man, clearly, and he knew it and was able to persuade men of power to sponsor his creativity which, by the way, was not entirely given to works of art like The Last Supper. He preferred constructing war machines and applying mathematics to edifices and conducting experiments, and so on. Leonardo painted The Last Supper because the Duke of Milan offered him a deal he couldn't refuse—apparently a very good deal. The artist dallied in completing it in part because he was often attracted to other projects much to the Duke's chagrin like finding new techniques for bronze sculpturing, conducting ethnographic observations in the edges of town in search of new faces and hands to sketch for his voluminous note books including dissecting corpses to discover how muscles and tendons worked on bone. I also learned a lot about Italy in the 1500s. This includes the antics of bellicose kings, popes, rival dukes, and so on—the webs of pre-national politics and the cultural maze surrounding ordinary Italians and artists like Leonardo as well. On a smaller scale, the composition of oils for Leonardo's canvasses, the use of models for the apostles sitting around the Last Supper including the model for Jesus's face, together with the pederastic practices of many men in Milan and other cultural centers, not excluding Leonardo himself. King's work is a marvelous and fascinating 16th century compendium of Italian culture, indeed.
According to this fascinating book, Leonardo was infamous in his own time for being a procrastinator and failing to finish commissioned paintings. In fact, it seems from King's description of how Leonardo flitted from project to project that he may have suffered from ADHD.
This book focuses on Leonardo's service for Lodovico Sforza, the Duke of Milan in the 1480s and 1490s, and for whom he painted The Last Supper. The painting was done on the wall of a cafeteria for monks in Milan. The usual technique for wall painting was called fresco, but Leonardo the non-conformist decided to try something different. As a result, he was able to use a much wider range of colours than fresco typically allowed. This book explains the techniques and also discusses the contents of this, one of the most famous paintings in the world. King also provides context in terms of the political and social events of the times.
In the final few pages, King talks about Leonardo's legacy. Only about 15 of his paintings survive, and for centuries The Last Supper was the only one most of the world knew about (the rest being in private collections). The saddest part is that only about 20% of Leonardo's original paint is left. His new technique, in the long run, was not very durable. There is something very poignant in the world's attempts to preserve this 500-year-old work of beauty for a few years more.
The writing is very accessible and easy to read, although there are many Italian names dropped throughout the book that I'm sure I was mispronouncing in my head. The book also has a number of illustrations, including a colour insert in the middle.
A fascinating read that's well researched. The author makes several "pronouncements" or statements that, I expect, arise from his research, but I wasn't always so certain that the author ought to have been so certain. Just the same, I enjoyed this book - it's actually a biography of da Vinci (it covers his childhood to his death) without being a biography in the usual sense (in that the focus is on his art, his inventions and his apparent lack to finish much. But it's amazing that of the little work he did finish, two of his pieces of art, The Last Supper and The Mona Lisa are probably the most famous pieces of art in the western world.
Although this book is interesting from an academic standpoint, it's hardly a page turner. It's interesting to find out what life was like for Leonardo Da Vinci and life in the 1400's, but it's a bit like reading a textbook. It was not exactly light reading. Recommended for art buffs perhaps.
"In Leonardo and the Last Supper, acclaimed Canadian author Ross King focuses his narrative skills and historical expertise on the Renaissance artist Leonardo da Vinci. Providing a fascinating portrait of Leonardo's character, details about his technique, and intriguing history of Milanese politics, King explains how the great mural of Jesus' last supper with his disciples was commissioned - and executed in a mere three years." Biography and Memoir December 2012 newsletter http://www.nextreads.com/Display2.aspx?SID=5acc8fc1-4e91-4ebe-906d-f8fc5e82a8e0&N=581155
So far so good. Full with lots of information about the 1400s back in Italy. I have to say that I am really enjoying this book so far. In a couple of hours I am already up to the second chapter.
The Library Journal extract is incorrect, it should reference Charles VIII, not XIII.
Really enjoyed this. It's the kind of engaged, focused, penetrating (yet nuanced) exploration I devour. The fourth book by Ross King I've read, Leonardo and the Last Supper is the best so far. (I have to say he's better at European art history than Canadian. Even if I wasn't knowledgeable in that subject area, I would have found Defiant Spirits disappointing because it's reductive and uncritical. Not confronting the Group of Seven's narrow and elitist Anglo-Canadian boosterism effectively promotes it.) King does a good job here, however, of acknowledging his topic's complexity and of representing the intricacies of Italian politics at the end of the quattrocento. He's forthcoming about the lack of documentation re: some aspects of the fresco, but his speculations are informed and judicious. A recently discovered and detailed copy of the painting by one of Leonardo's students is very useful in that regard. Went to the authors talk at the VAG, and he's a personable, perspicacious and entertaining speaker. With half a dozen historical works to his credit to date, he may be coming into his own as a non-fiction writer. Can't wait for the next one.
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If you are applying for this course from within the UK/EU, click apply now.
Course starts: 14 September 2020Apply now
If you are applying for this course from within the UK/EU, click apply now.
Course starts: 14 September 2020Apply now
This is a four-year version of our popular BA (Hons) Media Production course, with an integrated foundation year. Get practical training in TV and radio. Pitch to industry professionals and go on air on award-winning radio. Join a course which best prepares you for a career in the industry.Watch our IFY webcast
Discover your specialism, or become a master of all trades. On this practical based course, you'll undertake a series of projects, making full use of the University's TV studios, radio studios and editing suites. Work alongside BBC Newcastle Journalists, take a placement with Made in Tyne & Wear or volunteer on internationally award-winning Spark Sunderland; all based in our dedicated Media Centre.
Supported by our experienced experts, you'll connect with industry; develop and pitch ideas to industry practitioners and take placements to build your network. Our students have taken advantage of our relationships with BBC, Capital FM, Sunderland AFC, Tyne Tees Television, Made in Tyne & Wear and various production companies.
In your final year, you'll produce a major piece of work in your chosen medium. This involves pitching and developing proposals and delivering a finished piece to professional standards. You'll also choose one of three routes which will lead your final degree title – so you can show off your specialism. Choose from:
Offering a year-round programme of exhibitions, events and performances, Sunderland Culture brings big-name artists from the worlds of contemporary visual arts, glass, ceramics and performance to the city, alongside showcasing the best and most exciting local talent. There is a huge range of opportunities for students to visit the venues, take part in events and get involved in the programme. Learn more about Sunderland Culture.
In the first year – the foundation year – you will study five modules; a module about the foundations of art, design, performance and media production, an essential study skills module, a foundation project module, practical numeracy skills, and an introduction to creative practice module. After completion of this foundation year, you will then move onto the Media Production honours degree course.
Our teaching methods develop subject-specific knowledge and transferable skills that enhance employability. These include skills in communication, analysis, research, teamwork, writing and presentation.
You will undertake small group work, one-on-one tutorials, workshops, lectures, computer-based learning and independent learning. An ongoing personal development planning tool will help you reflect on your learning and make the most of your educational experiences.
We encourage you to take a work placement module. Developing relevant experience of work is an integral part of the course, and throughout your time at Sunderland, you will be encouraged to continuously liaise with the TV and Radio industry with work experience placements and industry-run master classes.
Assessment methods include portfolios of practical work, essays, reports, group work, seminar presentations and self-evaluation.
The Creative Industries: Arts, Design, Performance, Media Production Integrated Foundation Year includes five modules:
Some modules have prerequisites. Read more about what this means in our Help and Advice article.
Get an introduction to key concepts in Media and Cultural Studies consisting of three units: Language Studies, Media Studies and Cultural Studies.
Look at the concepts and techniques used to develop a format for TV, radio or the internet.
Learn the key techniques of audio production in a multi-platform environment.
Learn practical skills to produce live programmes for both TV and radio, working in teams in our industry standard studios.
Explore and consider multi-platform content and post-production techniques required to produce edited video content ready for distribution.
Prepare yourself for studying and working in the media industry. Create a personal portfolio website to showcase your work to future employers.
Develop the concepts and approaches introduced in MAC101 through an analysis of non-fictional television texts and discussion of a range of perspectives on media consumption.
Learn a range of skills needed to create and manage content across digital platforms, including using social media, websites, online video and podcasts.
Produce a major piece of work in the genre of your choice working in a team or on your own.
For Media Production (TV):
For Media Production (Radio):
Alternative optional modules for Media Production:
The Integrated Foundation Year is specially designed to support you where you have just missed the grades required for direct entry onto a three-year degree, or if you have relevant work experience and are now looking to broaden your subject knowledge but want more time to develop study skills before starting your degree.
Entry requirements are provided for guidance only and we may offer you an entrance interview which will help us determine your eligibility for your chosen degree. This enables us to consider making you an offer if you are perhaps a mature student who has been out of education for a period of time, or you have gained significant knowledge and skills through employment rather than traditional education.
Eligible entry qualifications:
1. Normally a minimum of three Level 2 qualifications (NVQ, GCSE or equivalent ), including Maths and English at grade C or above** and a minimum of 40 UCAS tariff points from Level 3 qualifications (e.g. A or AS Levels, BTEC certificates/diplomas, access courses or equivalent)
2. Demonstrable evidence of appropriate knowledge and skills acquired from at least three years of post-school work experience.
Find out how many points your qualifications are worth using the UCAS Tariff calculator.
If you are unsure of whether you think you might be suitable for the course, please contact us!
** If you have studied for a GCSE which has a numerical grade then you will need to achieve a grade 4 or above. Equivalent alternative qualifications are also accepted, such as Level 2 Key Skills in Communication and Application of Number. If you have not achieved a grade C in Maths and English we may be able to work with you to ensure that you are able to gain these in the first year of the course, depending on your experience.
If English is not your first language, please see our English language requirements.
For more information about Integrated Foundation Year programmes, including more detailed module information, please see our Help and Advice articles.
The annual fee for this course is £9,250 but you will receive £3,000 cashback in Year 1 of the full undergraduate course.
In addition, you may receive free travel across the Tyne and Wear region and a University of Sunderland StudyPLUS Card loaded with additional offers up to the value of £200, plus a bundle of study skills books worth £80.
If you are a full-time UK student you may be eligible to receive financial support to cover your fee and maintenance loan for the full four years.
Please note, this course is not available to international students.
If you are not sure whether you qualify as a UK, EU or international student, find out more in our Help and Advice article.
Take a look at the Your Finances section to find out about the scholarships and bursaries that may be available to you.
Use our scholarships calculator to see what you may be entitled to.
This information was correct at the time of publication.
This degree prepares you for careers in TV, radio, video and new media industries. Your training in communication, teamwork and creativity will be highly relevant to roles in many different businesses and in the public sector.
Recent graduates from Sunderland have gained jobs with employers such as the BBC, Channel 4, Sky TV, Capital North East, I Daniel Blake, MTV and professional production companies.
You could also choose to continue your studies with a Masters degree at the University of Sunderland, such as MA Radio, MA Media Production (Film and Television) or MA Participatory Arts and Media.
We actively encourage students to gain relevant work experience while at university. In every year of your course, you will be guided and encouraged to gain meaningful experience that will fit around your studies
You will also undertake a number of practical assignments, which can include live briefs from clients outside the University. You will build up a portfolio of work, to show future employers.
In your second year, there is a compulsory work placement that involves spending time with a media organisation such as the BBC, Tyne Tees Television or one of the region's production companies. We help you find a suitable placement.
All students studying on-campus undergraduate media courses can take up a CV-enhancing work placement, a University-led industry initiative, or a professional and business development boot camp. By the term placement, we mean we are offering you a taste of the industry which might last anything from two days to four weeks on a part-time basis.
We frequently invite guest speakers to run workshops and master classes, allowing you to relate your learning to real-life experience.
We encourage you to take part in competitions; our students have a record of winning awards from organisations such as the Royal Television Society.
Throughout your studies, you'll be guided and supported by our experts, all of whom are working or researching in media. You'll study alongside scriptwriters, filmmakers, radio producers, presenters and independent film producers, who will share their experience and encourage you to build your network.
You have the opportunity to be actively involved in Spark Sunderland, the 24/7 community radio station based in the campus Media Centre.
Spark has won many awards including:
We also have links with Community Media Association, Community Radio and The Royal Television Society.
Sign up to receive emails about your subject area.
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The University of Sunderland is collecting this data in order for you to receive information on your chosen subject(s). Your information will be stored securely in our Customer Relationship Management system which is provided by a 3rd party and used only for the administration and provision of this information. Should you choose to opt in to further communications we will also use your information to facilitate other useful marketing information based on your preferences. Further information on how your data is stored and used can be found in our Privacy notice - marketing.

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Why Choose Dr. Mulholland?
SpaMedica has been performing automated FUE procedures since 1997, longer than any other clinic on the continent. Dr. Mulholland's FUE expertise is like none other. He has lectured, taught, and/or trained the majority of automated FUE physicians in North America. At SpaMedica in Toronto, we're proud to say we've placed over a million FUE grafts!
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FUE Hair Transplant Timeline
Preparing for your surgery
Your head will be shaven pre-procedure to allow the grafts and genetic hair to grow out together post-procedure. Avoid shaving or cutting your hair for at least 2 weeks before your FUE transplant, and, as with all surgeries, avoid drinking alcohol for at least 3 days before your procedure.
FUE Procedure Overview
Phase 1 of the procedure involves extraction from the back of your scalp. This takes 4 hours. Phase 2 deploys a "stick-and-place" technique in which a small hypodermic needle creates a slit between your recipient hair. As the needle is removed, the graft is placed. This takes 2-4.5 hours. In total, you should plan for an 8-10 hour day.
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Post hair transplant, a dressing is placed over the tiny extraction holes at the back of your scalp. Follow-ups via FaceTime can easily be scheduled throughout your recovery! Most patients are able to return to work in 7-12 days. Allow 12-14 months before judging the full results of your hair restoration!
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Dr. Mulholland will ask you for "before photos," so be sure to get shots from several key angles: the front, with your hairline visible; left and right side profile shots; left and right side 45-degree angle shots; the crown of your head; and the back of your head.
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When traveling from Winnipeg to Toronto, affordable 2.5-hour flights are abundantly available. Check out Airbnb for budget-friendly accommodations. Above all: welcome to SpaMedica in Toronto! You've made the best possible choice for your FUE hair transplant!


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What we learned – Oklahoma State at Kansas: One test, one pass
Kansas clipped Oklahoma State, but a big week lies ahead for the 14-time defending champion Jayhawks.
The Jayhawks continue to dominate teams at Allen Fieldhouse, as they beat Oklahoma State by double-digits to move back into second place in the Big 12. Without Lagerald Vick, Kansas found a handful of contributors to keep its offense flowing, including Ochai Agbaji and Dedric Lawson. We break down the win and talk about if this is a blueprint the team can build off of.
The real challenge, of course, is getting performances like this on the road. Kansas has a fast turnaround this week, as they travel to TCU to take on a Horned Frogs team that's coming off its best win of the season. Will KU finally be able to buck their road woes and score a big conference win? Considering how well K-State has been playing as of late, they'll need this one. We break it down and discuss whether or not they can finally get off the struggle bus.


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Together we can raise funds to support the families calling Kevin Guest House their home away from home. There is something for everyone, whether it is golf, beer tastings, having supper in the street or bidding on some great auction items.
Proceeds from these special events and community fundraisers make up 51 percent our budgeted income, and help to keep our doors open for guests.
500 Pearl Buffalo
Event Details
Enjoy one of Buffalo's newest venues with local bites, brews music and more!
Roswell Park Comprehensive Cancer Center, Buffalo General Medical Center, Oishei Children's Hospital. Sign up to be the next location! Contact Marianne at 882-1818 or email email@example.com to learn more.
Event Details
Celebrate Spring with beautiful, locally grown flowers in a variety of sizes and unique colors. Place your pre-sale order, or visit one of our site sales!
Glen Oak Golf Course
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Play a full 18 holes in the afternoon or shoot for nine holes in the morning! Both options include food and drink with fun auction items up for bid!
Kevin Guest House Gardens & Campus
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Our 48th Anniversary Celebration honors the founding of America's first healthcare hospitality house by Cyril T. & Claudia E. Garvey. Join us for a toast and celebration in the Healing Garden and tours of our growing campus.
YES, dinner right in the middle of Ellicott Street, in front of Kevin Guest House!
Event Details
WNY's favorite new event returns! Grab your friends and enjoy a farm to table meal and great conversation at the longest dinner table in Buffalo.
Roswell Park Comprehensive Cancer Center, Buffalo General Medical Center, Larkin at Exchange, Ellicott Square, Oishei Children's Hospital. Sign up to be the next location! Contact Marianne at 882-1818 or email firstname.lastname@example.com to learn more.
Event Details
Celebrate the season with beautiful, locally grown poinsettias in a variety of sizes and unique colors.
The Buffalo Club, 388 Delaware, Buffalo
Event Details
Our signature cocktail party features gourmet cuisine, wine pairings, auctions, dancing, inspirational stories and the presentation of the Kevin Garvey Heart Award.
There are several partnership opportunities for both companies and individuals to help underwrite these events and strengthen your brand while supporting our guests who cannot afford a place to stay. Become a sponsor, underwrite an item, join a committee, volunteer as a group, form a fundraising team or make an in-kind donation! Visit our Ways to Give section and download our Corporate Partnership Brochure to learn more or visit each event page if you're looking to sponsor a specific event.Learn More
Raise funds through dress down days, bottle & can drives, offer customers to "round up" their purchase, or other donation drives. Connect with us to share your ideas or learn how you can help!Connect With Us
There are several partnership opportunities for both companies and individuals to volunteer at these events and give their time and talents either as a committee member, or day-of volunteer. It is a great way to bond together as a family, with friends or co-workers and enjoy one of these great events. Visit our Volunteer section and download our Volunteer Opportunities Brochure to learn more or visit each event page if you're looking to sign up for a specific event.Learn More
At each event, we host a fund drive to help our guests that truly need the financial support to stay long term at Kevin Guest House while facing medical crisis away from home. You can literally help pay it forward for the next guest that cannot afford our modest $25/person suggested donation for a night's stay. Visit our Ways to Give section and to learn more about our Pay It Forward Annual Campaign.Donate


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This year, for the first time, I will attend the Qt Developer Days in Munich. I figure it would make sense to let people know this little fact in case they wanted to ask me about Nepomukish things.
One thought on "Qt Developer Days"
Awesome, I'll be there as well, so see you there!


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The South Australian Certificate of Education (SACE) prepares students for work, life and learning in a changing world.
SACE (Years 11 - 12)
The South Australian Certificate of Education (SACE) is awarded to students who successfully complete their senior secondary education. The Senior Secondary Assessment Board of South Australia (SSABSA) administers the SACE for all schools in South Australia qualifying students for admission to universities throughout Australia.
The SACE meets community expectations that school-leavers should have:
- Developed skills and knowledge for successful participation in Australian society
- Achieved a certain level of literacy
- Studied a broad range of subjects
- Been equipped to undertake further studies and employment
Students studying for the SACE undertake a course of subjects, usually over 2 years; Stage 1 (Year 11) and Stage 2 (Year 12).
Both the current and new SACE have compulsory requirements to be completed. These are detailed in the curriculum handbooks below. These handbooks will also help to clarify subject offerings in the following year and to guide subject choices.
SACE Handbooks
For further information regarding the SACE Programme, please contact:
Eoin McEvoy
SACE Coordinator
E: firstname.lastname@example.com


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Until a few years ago, the people who had lost one or more teeth for an accident or any reason had no choice to restore their ability to eat, speak properly and smile with confidence.
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Oral hygiene is also another benefit when opting for dental implants, since we can have easier access between the teeth, which allows to improve daily dental cleaning and thus avoid further complications in the gums and mouth.
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In case you've been TaskRabbiting your way through life and haven't had the chance to leave the micro-loft to stroll the alleys and streets of central San Francisco, the number of homeless tent encampments in town is approaching epic levels — as in Hooverville and Great Depression levels.
The queer group Gay Shame was the bane of DPW workers everywhere this past year, using "wheatpaste" (wheat + water = irritatingly hard-to-remove glue concoction) to post flyers targeting everyone from astroturfing pro-development group SFBARF to its capitalist benefactor, Yelp founder Jeremy Stoppelman (lest ye forget his epic response to now-fired Yelp staffer Talia Jane's Medium post complaining about the cost of living in SF: "Move to Phoenix!").
June 11, 2008
» Night&Day
Tags: Night&Day, Highlights, Committee for the Scientific Investigation of Claims of the Paranormal, Friday the 13th


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The Ritz needs little introduction and 'Tea at The Ritz' is a quintessentially English institution. Served in the beautiful Palm Court beneath a spectacular glazed skylight, choose from 18 varieties of tea, finely cut sandwiches, freshly baked scones with jam and clotted cream and a range of delicate pastries.
The Ritz received a Commended certificate at the Afternoon Tea Awards 2016 in recognition of their high standards in tea service.
The Ritz London has a dress code in different areas of the hotel as follows: Gentlemen are required to wear a jacket and tie (jeans and sportswear are not permitted for either ladies or gentlemen) for Afternoon Tea in The Palm Court and for lunch and dinner in The Ritz Restaurant and Terrace.
In all other areas of the hotel (The Ritz Restaurant breakfast service, The Rivoli Bar, The Long Gallery) and The Ritz Club, smart casual attire is required. Please note that shorts, trainers and sportswear are not permitted in any of the hotel or Club's restaurants or bars.
Sittings for Afternoon Tea take place at: 11:30, 13:30, 15:30, 17:30 and 19:30
Booking is essential
Green Park
Reception or the Hall porter
The Palm Court
Jacket and tie for gentlemen. No jeans, trainers or sportswear. Full details can be found in the About tab
Children of all ages welcome
All major credit cards accepted
Guide dogs only
Allergen menu is available upon request for guests who have special dietary requirements
Allergen menu is available upon request for guests who have special dietary requirements
Allergen menu is available upon request for guests who have special dietary requirements
Afternoon Tea Awards 2016 - Commended
Yes, please contact the dining reservations team for more information at email@example.com
£119Buy Now
£157Buy Now
You will receive instant confirmation of your booking by email


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|Ball pipe joint
|Compound swivel adapter
|Swing joint
|Steel hose joint
|October, 1950
a swivel wye tee member having a hollow central body member;
a pair of hollow branch members disposed across one end of said central body member, and in fluid communication therewith;
a locking means disposed on the end of each of said branches;
a hollow cylindrically shaped arm having an orifice through a sidewall thereof into which a branch member extends, said locking means of said branch engaging the inner side of said sidewall to securely lock yet permit articulation between each of said branches and said arms; and
a sealing means disposed about each of said branches to prevent gases leaking out of the juncture between said branches and said arms, while also permitting the free swiveling between said arms.
2. Field of the Invention
This invention relates to breathing circuits and more particularly to wye junctions for those breathing circuits.
A breathing system may be defined as an assembly of tubing that provides passage of the flow of respiratory gases between a ventilator or anesthesia machine and a patient. The breathing system includes a tracheal tube, the tracheal tube connector, a breathing tube or tubes, adapters and other components sometimes used within the assembly such as humidifiers, monitoring spirometers, airway pressure monitors, oxygen analyzers and end tidal CO2 analyzers.
These breathing systems maybe utilized to assist or sustain patients by mechanical ventilation, either in conjunction with surgical anesthesia or in long-term ventilatory support. Examples of systems such as this may be seen in U.S. Pat. Nos. 4,240,417 and 4,463,755.
In these breathing systems however, disconnection may sometimes result, leading to an injury or death. The causes of such accidental disconnection are complex and are such as to relatively rarely cause an injury. Disconnection events are fairly common in critical care and is anesthesia. They occur principally at or immediately adjacent the tracheal tube connection to the rest of the breathing system.
Other U.S. Patents which show an attempt to deal with the junctures of tracheal tubes are shown in U.S. Pat. Nos. 4,475,548 and 4,346,702.
While recommendations for snug or tight interfitting connectors or wyes have been made they are at best awkward to use and may interfere with convenience to the patient or to the caring personnel. Other problems with a standard friction fit connection include the possibility of leakage at these joints, which would most certainly effect other personnel inasmuch as the gases being transported within these tracheal tubes may be any type of anesthetic including halothene, isothane or even ether. Any leakage of these gases would certainly have a detrimental effect on medical personnel adjacent the patient being treated.
It is thus an object of the present invention to provide a wye interconnection arrangement in a breathing circuit which is articulatable to permit portions thereof to swivel according to the needs of the patient and of the administrator.
It is a further object of the present invention to provide an interconnection arrangement for a breathing system which is articulatable with one hand.
It is yet a further object of the present invention to provide a interconnecting means for a breathing circuit which will not permit the escape of gaseous fluids passing therewithin.
It is still yet another object of the present invention to provide a swivel assembly interconnection device which will not come apart when moved or swiveled in a normal course of a patient's movement.
A breathing system for connecting a patient to a mechanical ventilator for either long-term ventilation or for anesthesia delivery comprising a tracheal tube which is used to provide fluid communication to the patient, a tracheal tube connector which is attached to the tracheal tube, an adapter assembly, and an arrangement of breathing tubes which are usually corrugated in nature and extend in fluid communication from the adapter to a expiratory valve or an inspiratory valve as part of the breathing circuit. The adapter comprises a swivel wye tee and two swivel wye arms attached thereto, the swivel wye arms each being in fluid communication with the corrugated breathing tubes leading to the valves. The swivel wye tee has a central body portion which interconnects with the tracheal tube connector. The body of the swivel wye tee has a plurality of longitudinally disposed rings or ribs for assisting the gripping between an anesthesia mask and the swivel wye tee. The swivel wye tee has a pair of opposed branches which are each in fluid communication with the body of the swivel wye tee. Each branch has a flange at its distalmost end. Each flange has a bevel face on its distalmost edge. The flange has a shoulder which steps radially inwardly towards a first peripheral portion. Proximal from the first peripheral portion is a second shoulder, which is contiguous to a main flange. The main flange is disposed about the periphery of the branch.
The shoulder of the distalmost flange engages the inside wall of the opening on the swivel wye arms. An `o`-ring is disposed about the first peripheral portion and is caused to be pressed between the second shoulder and the outside wall of the opening on the swivel wye arm. The `o`-ring comprises the sealing means, while the proximal side of the beveled flange, which flange is press-fit through the orifice in the wye arms, provides the locking interrelationship therebetween.
The objects and advantages of the present invention will become more apparent when viewed in conjunction with the following drawings in which:
FIG. 1 is an overall view of a ventilator breathing system;
FIG. 2 is an exploded view of a swivel wye assembly;
FIG. 3 is a side elevational view taken along the lines III--III of FIG. 2; and
FIG. 4 is a sectonal view taken along the lines IV--IV of FIG. 2.
Referring now to the drawings in detail and more particularly to FIG. 1, there is shown a typical ventilator breathing system 8 comprising a ventilator machine 10 in fluid communication through a corrugated hose 12 with a humidifier device 14. The humidifier device 14 is in fluid communication through a further corrugated hose 16 to a airway pressure gage 18 thence through another corrugated hose 20 to a nebulizer 22. A corrugated hose 23 connects the nebulizer 22 to a swivel wye assembly 24 which comprises the invention of this application. Another branch of the ventilator breathing system includes a spirometer 26 which receives exhaled gases through a corrugated hose 28 which is passed through a exhalation valve 30 which receives gases through a further corrugated hose 32 which itself is also connected to the swivel wye assembly 24. The swivel wye assembly 24 has a body portion which is connected to an elbow adapter 36 which connects to a tracheal tube 38 which may enter the patient. The swivel wye assembly 24 is shown more particularly in FIG. 2. The swivel wye connector 24 comprises a swivel wye tee member 40 of hollow configuration having a plurality of ribs or rings 42 arranged coaxially about its central body portion. The rings 42 serve to act as gripping means to facilitate attachment of an anesthesia mask thereto, (not shown). The tee member 40 has opposed branches 44 and 46 which are in fluid communication with the hollow body portion 40. Each branch 44 or 46 is matable and in fluid communication with a swivel wye arm 48. Each arm 48 is hollow to provide fluid communication to the body 40 of the tee member 24 to the corrugated tubes. A sealing means 70 is disposed near the distal end of each branch 44 and 46 where it engages each swivel wye arm 48. The swivel wye tee member 40 is shown in cross section in FIG. 3. The central body portion 41 is shown in fluid communication with each branch 46 and 48. Each branch 46 or 48 has a flange 50 on its distalmost edge. Each flange 50 has a beveled distalmost surface 52. The distalmost flange 50 has a shoulder 54 which meets a circumferential surface 56 which extends to an annular "shoulder" ring 58 on the distalmost side of a main proximal flange ring 60. The sealing means 70 which may comprise an `o`-ring is disposed about the circumferential surface 56, as shown in FIG. 3.
The swivel wye arm 48 is shown in cross section along its longitudinal axis, in FIG. 4. The arm 48 is hollow and is generally of cylindrical configuration. The arm 48 is attachable at its proximal end through an orifice 62 disposed across a planar surface 64 arranged on the proximal end of the arm 48. The orifice 62 has a shoulder cut-out 66 therearound.
Each branch 44 or 46 is arranged so as to be engageable through the orifice 62 in its respective wye arm 48. The flange 50 on each branch 48 or 46 thereon extends into the wye arm 48. The shoulder 54 on the proximal side of flange 50 is arranged to slidingly and rotatably engage the inner wall surface adjacent the periphery of the orifice 62 of its wye arm 48. The sealing means 70 is disposed against the shoulder 66 on the wye arm 48 and is arranged so as to encircle the periphery 56 and seal longitudinally against the shoulder 58 on the proximal flange 60.
Each sealing means 70 arranged between the locking engagement means on each of the branches 44 or 46 permits the wye member 40 to be articulatable with respect to its arms 48. The sealing member 70, in this case, preferably a resilient rubber `o`-ring, prevents any leakage of gas from the breathing system which gas might be detrimental to those personnel and the medical care facility in which the system is being used. The interlocking arrangement of the flanges within the wye arm permits the arms to be freely moved for the convenience of the patient and the operating personnel.
Thus there has been shown a swivel wye assembly for use in a ventilator breathing system, which swivel wye assembly permits a free flow of gases through the system while it prevents leakage thereof detrimental to the patient and to the personnel therewith. The articulation of the arms of the swivel wye assembly permits convenience and adaptation into the assembly.


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January 21, 2019
Chinese New Year isn't complete without some pineapple tarts. Pineapple Tarts (凤梨挞,黄梨饼) This is basically a two-step process: making the pineapple jam and the dough. Pineapple Jam1 Pineapple50 g Sugar (Adjust based on sweetness of pineapple)Dough250 g Flour125 g Butter25 g Sugar1 pinch Salt Pineapple JamPeel the pineapple, remove the…


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The Marriage of Heaven and Earth (In the Guadiya Vaishnava Tradition)
The union of marriage is based on such stability and this virtue is one of the main values that makes it truly sacred. To get married, according to the tradition, means to build a relationship founded on religious principles. This relationship's value persists beyond time, regulates and harmonizes the entire emotional sphere through an eternal promise of fidelity, esteem, respect and cooperation in serving God. Marriage is in its essence a samskara.
The first samskara, garbhodana samskara, is celebrated before the child is even conceived, as it takes place when parents plan the act of procreation. From this first samskara to the last (that hopefully marks the great departure from the earthly dimension to a superior one) a major step in the path of the human being is the one that coincides with the samskara of marriage, vivaha samskara, when a person becomes two through the encounter with another soul, and together they form an indissoluble unity, while each maintains one's own autonomy and individuality.
Traditionally, marriage is conceived as a union between two persons having the higher purpose to help each other live fully and joyfully their humanity in order to accomplish their spiritual fulfillment.
Spiritual awareness is the greatest wish and the most precious gift we can offer to those who undertake the way to married life.
Spiritual awareness and the mutual affection that comes from it, helps us to face the trials and crises that are essential to overcome if we want to transcend our human limitations.
In order to avoid our wishes remaining vain, they should be based on spiritual Good because marriage does not only strive for the union of two bodies but for a particular relationship between two souls.
Since all of what we do on Earth has an impact in Heaven, the Good we want to build into the dimension of immortality should be carried out here, in this world and through the passage of time. May marriage be made sacred by respecting the principles of dharma, and may it always be enlivened by the awareness and joy of its spiritual dimension.
We can only forever possess what we offer as a sacrifice. On the other hand, we lose what we withhold selfishly. In reality, it was never truly ours to begin with.
Only what we love remains stable with and within us.
If we want to keep the treasure that is a relationship over time and make it always greater, satisfactory and beneficial to us and to others, we must invest in this treasure every day.
Even relationships, if they are not constantly nurtured day after day, become worn out and it becomes difficult to maintain them.
In fact, what is celebrated on the human level has only a subordinated value to what happens on the cosmic level. Marriage, in its essence of sacred union offered to God, invokes divine energies. It is anchored to eternal spiritual values ??and in this respect, it is an anthropo-cosmic event. Because of its spiritual value, it will exist eternally. No human act can exist without a divine association.
Religious marriage connects Earth to Heaven and is a tool of spiritual elevation and authentic Good for everyone.
To that end, we should learn to distinguish between authentic freedom and the vagaries of the mind.
An important criterion of distinction is the following: freedom does not hurt anybody, while the vagaries of the mind cause suffering to ourselves and to others. Solidarity and collaboration in the name of dharma as well as pursuing the principles of virtue and the highest spirituality, allow us to gradually get rid of the whims of the mind and to overcome all forms of egoism. Such a high achievement can only be the result of work on oneself over a long period of time. For this reason, an accurate preparation is indispensable for the most important choices in life, like marriage, in the Tradition. Preparation times may naturally vary from individual to individual.
"The earth is supported by the truth, the cosmic order is supported by the sun and all that exists.
I am poem, you are verse; I am heaven, you are earth.
May all devas join us.
May only one spirit dwell in us."
By virtue of religious marriage, may spouses live a full and happy life on Earth, earning Heaven.
Matsya Avatar das


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The new Streamlight TLR-6 light/laser is specifically designed for the SIG P365.
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This new, .22 long rifle integrally suppressed upper is designed to fit the Ruger Mark I, Mark...
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Car Accident | Who pays my medical bills?
In Florida, your PIP will pay your medical bills.
You have been injured in an automobile accident, who pays the medical bills?
If you own or lease a vehicle in Florida, you are required by law to have a minimum amount of $10,000.00 in Personal Injury Protection ("PIP").
Also called "Florida No-Fault Insurance", for the large majority of people, PIP covers the first $10,000.00 in medical treatment regardless of fault. Some individuals choose to purchase additional PIP coverage and/or MEDPAY coverage, but this is rare.
Your automobile insurance policy (PIP) should be the first to pay for your medical bills and lost wages – even before your health insurance.
Our personal injury attorneys will help you navigate through your auto insurance policy, to ensure that your available benefits are clearly explained to you. Your insurance will be responsible for 80% of your reasonable medical expenses related to the accident and 60% of your lost earnings subject to the limits of the coverage and any applicable deductible (or up to the specified policy limit).
I don't have auto insurance – am I still covered by PIP?
Our accident and injury attorneys frequently receive phone calls from potential clients who don't have auto insurance but have been injured in an auto accident. The first question is always…"How am I going to pay my medical bills if I don't have car insurance?
What most people do not realize is that PIP insurance can come from several sources, often times from resident family members, the driver of the vehicle (if you were a passenger), or the at-fault vehicle (if you were a pedestrian). In every accident and injury case, our attorneys will explore every possible way to obtain coverage for you or a loved one.
What happens if I do not qualify for PIP or PIP exhausts?
If you do not qualify for PIP or PIP exhausts, you can STILL receive treatment on a letter of protection (LOP) or through your health insurance (if applicable). Please review one of the other articles on Letters of Protection or call one of our experienced personal injury attorneys.


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- Guaranteed Secure Payments on Every Order
- Refund if your item is not delivered or as described
- Buyer Protection after order confirmation
- Place of Origin: Henan
- Brand Name: changsheng
- Model Number: 11F
The baby in the quality control of car production process, from the pipe into the factory, parts procurement, carefully check for each production and processing sectors, until the baby carriage assembly debugging, and for each infant car factory must have 24 test run on-site records check and confirm that, the model for a baby baby in the car, lifted the baby car rear wheel 150mm from the ground, the front wheel of baby 150mm from the ground under pressure, with 15 1 times per minute, and continually test 3000 times, the visual platform is damaged, after packing shipment. Check the records show that Andy Lau in the Yulong pram program according to the national requirements of 3C implementation. All the parts with no cutting corners as parts.
- Place of Origin: Henan
- Brand Name: changsheng
- Model Number: 11F


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Parsley is the world's most popular herb and if left will self seed returning to the garden year after year once it is established.
I can't imagine a garden without it, as well as being an ingredient in most dishes it is a very attractive herb.
When growing from seed be patient, as parsley takes a while to germinate. Seed can be 'scarified' to hasten the process by pouring boiling water over the seed and leaving it over night and planting directly into the soil the next day.
Parsley requires about 6 hours of sun a day and prefers a humus rich well drained soil.
I grow the Italian parsley which is flat leafed and ideal in cooking (see my parsley relish recipe), you can also grow the Curley leafed variety which has a much stronger flavour.
Parsley is high in vitamin C, iron and is rich in vitamin A. It also contains folate, potassium and calcium. Some of the potent chemicals in parsley include:
- Polyacetylenes, which seem to protect against certain cancer-causing substances found in tobacco smoke. It may also help to regulate the body's production of prostaglandin, which is a powerful tumour promoter.
- Coumarins, which help prevent blood clotting, reducing your risk of arterial blockages that can lead to heart attacks.
- Flavonoids, some of which act as anti-oxidants that neutralize dangerous free radicals, others that have been shown to prevent or slow the development of some cancers.
- Monoterpenes, which are thought to have cancer-delaying properties, especially with breast tumours, and to reduce cholesterol.


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Musings from Suburbia on a variety of everyday topics. I have realized that MANY times, it is "just me", but I always hold out hope that there are others out there who occasionally see things as I do.
Monday, April 13, 2015
K is for...
15 comments:
I love that! "Barbies to play with, or something equally as important to attend to."ReplyDelete
This show was a little too old for me at the time. Certainly I've seen it but it wasn't a fave.ReplyDelete
This comment has been removed by the author.ReplyDeleteReplies
We used to watch this show faithfully. He had such an attitude!ReplyDelete
I didn't watch this very often either, but Philly is TOTALLY rockin' the bald look! I LOVE IT!!!ReplyDelete
Can't say I watched this one...ReplyDelete
I remember it being on but never really watched. It was one of those shows Grandpa liked so I was probably somewhere in the house playing with Barbies :)ReplyDelete
I remember watching this and enjoying it as a kid, but I don't think I really knew what it was about.ReplyDelete
It was just some bald guy, sucking on lollies, fighting crime and saying "who loves ya baby."
My Daddy was a loyal fan of the show. So, I was exposed to it, because back in the day there was one TV and when Daddy was home, he controlled it.ReplyDelete
Visit me at: Life & Faith in Caneyhead
I am Ensign B of Tremps' Troops
with the A to Z Challenge


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PROJECT TITLE: Stability of SiC-based Current Source Converters in Power Electronic System
PhD period: 2015.12.01 – 2018.11.30. (has been prolonged till 2019.05.31)
Section: Power Electronic Systems
Research Programmes: Efficient and Reliable Power Electronics and Electronic Power Grid Infrastructure
Supervisor: Frede Blaabjerg
Co-Supervisor: Xiongfei Wang and Claus Leth Bak
Contact Information
Funding: China Scholarship Council and the Department of Energy Technology, AAU.
The recent advances in semiconductor devices, as Silicon Carbide (SiC) power electronic semiconductors which provide high breakdown voltage, fast switching, low on-state resistance, and high temperature tolerance, help current source converter (CSC) to been considered in many applications such as renewable energy systems, high-voltage direct current transmission systems, motor drives. Moreover, CSC exhibits several features including easy regenerative capabilities, inherent short-circuit protection that make it attractive.
However, the CSC system may experience instability problems caused by the resonance from LC filter, grid-impedance and the interactions from others in a multiple system. This project will firstly study the design and control of the CSC. SiC power devices is an essential part of this period. Secondly, stability issues of the CSCs are to be researched. Damping methods both active and passive based on filters is a task and also the concept of active damper will be introduced to reshape the impedance in order to stabilizing CSCs system. Finally, hybrid system containing CSCs and VSCs is to be developed.
Publications in journals and conference papers may be found at VBN.


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A beautiful new collection of photographs from all around Kent for 2019.
Includes photographs of our lovely Kent countryside, and views of various towns and villages. Each image montage matches the month it is on display for.
See the Calendar Information page for more on calendars, and find the Colours of Kent images here.
Colours of Kent 2019 Calendar


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|Compact version
|Monday, 30 March 2020
Cyprus News Agency: News in English, 13-09-08
Cyprus News Agency: News in English Directory - Previous Article - Next Article
From: The Cyprus News Agency at <http://www.cyna.org.cy>
says Interior Minister
[01] Economic difficulties will not bend our determination for a solution says Interior MinisterInterior Minister Socrates Hasikos sent Sunday the message that any temporary difficulties due to the economic woes in Cyprus will neither bend nor curb the determination and the fighting spirit of Cypriot people.
In his speech at a national memorial service, he said that now is the time to consider "our own historical responsibility and our duty towards our homeland".
"We will not allow any forgery or falsification of our history. Nor we will bend to any blackmail and inappropriate pressure, "he said.
[02] Government aims to reverse dangerous positions in Cyprus issueThe government's aim is to reverse dangerous positions as regards the Cyprus issue and to abate Turkish intransigence, which will in turn boost a new process of talks, Minister of Defence Photis Photiou has said.
He was speaking during a memorial in honour of the men of National Guard Battalion 336, who perished during the Turkish invasion, in Ayios Dometios Nicosia.
Hard work, good preparation and unity of efforts on all levels are imperative and the only way out in order for the Cyprus problem to be seen in its true dimension, Photiou noted.
[03] Family farming in EU meeting in LithuaniaThe Minister of Agriculture, Natural Resources and Environment Nikos Kougialis will take part in the Informal Council of Ministers of Agriculture and Fisheries of the EU, in Vilnius.
According to an official announcement, the Informal Council will discuss, inter alia, the issue of family farming and its prospects in the context of globalization, due to the determination of the year 2014 as the Year of Family Agriculture by the General Assembly of the United Nations.
The Minister returns to Cyprus on Tuesday, September 10.
[04] Syrian refugees the focus of PACE, in ParisMP Athena Kyriakidou travels Monday, September 9, to Paris, to attend a meeting of the Committee on Migration, Refugees and Displaced Persons of the Parliamentary Assembly of the Council of Europe (PACE) on 10 September.
The issue of Syrian refugees in Jordan, Turkey, Lebanon and Iraq and the organization and delivery of international aid, the issue of Chinese immigrants in Europe and the issue of AIDS in relation to migration and refugee flows will be discussed during the Committee's work, according to an official announcement.
Issues of effective and fair return of migrants and asylum seekers who do not qualify for hosting, the issue of missing persons as a result of European conflicts and difficulties that arise in efforts to ascertain their fate, will also be discussed.
Cyprus News Agency: News in English Directory - Previous Article - Next Article


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We, to be totally accurate, the journey began in my mind about 18 months ago. Or maybe it really began 10 years ago when I started teaching. Or it could be argued that the journey began more than 40 years ago, depending on how you look at it.
I was born in the same year that Nolan Bushnell founded Syzygy Engineering, which became Atari a year later. I can vividly recall my first experiences with Pong and the Atari 2600. I spent countless hours programming text-based adventures on a TRS-80, hoping to emulate the thrill and mystery of Zork. My father was involved in the computer industry from its earliest days, and I absolutely inherited the early-adopter gene from him. So much time and money was spent in arcades and gamerooms during my formative years that I shudder to think what its value would be today. What I do know is that I still spend more time gaming than my kids do – which, compared to a tech-immersed 10- and 7-year old is really saying something. There has always been, and still is, something about gaming that provides moments of escape, challenge, elation, and satisfaction that is matched by few other pursuits.
Given this background, it is probably no surprise that, even before my career as a science teacher officially began, I knew that I wanted to make the learning experience fun. Chemistry is a tough subject for many students, but I have always felt that there was much of that difficulty that could be overcome if learners could get past the fear and see the underlying concepts for what they were. My instincts told me that there was value in play, and from the beginning, I looked for ways to change the focus from the unfamiliar, obscure realm of electrons, Avogadro's number, and VSEPR to something that the students could connect with and enjoy.
Part of this process involved using demonstrations and inquiry-based activities, while another part of the process involved games. Some games were simple: having a technical term of the day for students to translate. Some games were more involved: electron configuration Battleship. Some games were borrowed and adapted, while others were made from scratch. Some worked. Some didn't. I was always looking.
Fast forward about 8 years. Still teaching. Still searching. I was in the process of applying to the Doctor of Education Program in Educational Technology at Boise State University. As part of the process, I had to conceive and articulate what it was I really wanted to do when I "grew up" in an educational technology sense. My initial answer was that I wanted to create an immersive, adaptive virtual environment that would allow learners to explore and experience science at their own pace and without fear of failure.The environment would adjust in real time to the needs and abilities of each student, offering assistance or ramping the difficulty as appropriate. The more I thought about it, the more it began to sound like a game.
Things really crystallized during a course on Games and Simulations with Dr. Chris Haskell at Boise State. Dr. Haskell designed the entire course as a game. From beginning to end, students completed quests, earned experience points, badges, and awards for completing work. The evidence of learning provided by each student was largely determined by the students themselves. Within certain parameters, a product could be anything we wanted, a video, a blog entry, an infographic, etc. As I worked my way through the course, it occurred to me that all of the games and activities that I had been using or attempting to use over the years were great, but I needed to think bigger. Could I create an entire, year-long chemistry curriculum in the form of a game?
That is what I plan to find out. And the attempt will be chronicled here all along the way.


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US Report: Vets missed chances involving Breeders' Cup fatality
LOS ANGELES (AP) — A report on the death of Mongolian Groom in the Breeders' Cup Classic at Santa Anita says veterinarians missed opportunities to remove the gelding from the US$6-million race because of time constraints or deficiencies in the process used to evaluate horses.
In the 20-page report issued Wednesday (January 15), Dr Larry Bramlage identified six suggested improvements aimed at refining safety and evaluation protocols for future events.
Mongolian Groom, a four-year-old gelding, suffered what Cup officials described as "a serious fracture" of his left hind leg in the late stages of the Classic last November, which was shown on national television. Four vets recommended that he be euthanised.
Bramlage noted it was "unlikely" that the track surface influenced Mongolian Groom's injury since it had recently been removed and redone and there was no significant rain at the time. He said the question of whether Santa Anita's surface predisposes horses to an increased incidence of injury long-term was beyond the scope of his report.
Bramlage said Mongolian Groom had small stress fractures in both hind cannon bones before the Classic, but they hadn't caused any inflammation in the fetlock joint even though they were just millimetres away from the joint surface. He said once the gelding's left hind fracture occurred during the race, it resulted in a chain of events that created the fatal injury.
"There is no evidence that the horse's injury was ignored or covered up," Bramlage wrote.
He said the defect in Mongolian Groom's left hind cannon bone was roughly one-quarter inch in size and not easily spotted on X-rays. It would have taken a combination of confirming lameness and X-ray proof to diagnose.
"It is not an easy task at any time," Bramlage wrote, "but is especially difficult in the circumstances of a pre-race examination."
Bramlage also found there was "no reason to believe medication played any role in the horse's injury".
During Breeders' Cup week, Bramlage said Mongolian Groom was informally on a watch list for increased observation, but he said four other Classic runners were on the same list. In all, 24 Cup horses — including Mongolian Groom — were on the list for extra scrutiny. Of those, eight were disqualified from competition.
Three different officials made multiple observations that Mongolian Groom was "stiff" or "choppy" from behind, but was symmetrical in both hind legs, similar to his previous two races. He was one of 17 horses that had such issues on the pre-race barn exams. Sixteen of those horses competed without incident.
"It is hard to fault a process that had a 99.6 per cent accuracy rate," Bramlage said, noting that of the 229 horses that competed in last year's world championships, Mongolian Groom was the only one to be injured.
Bramlage's six recommendations were:
— Pre-identify horses before arrival at the event with histories of concerns to be looked at.
— Focus responsibility for individual horse exams. Seven regulatory vets looked at Mongolian Groom a total of 10 times and Bramlage concluded that had there been fewer people, a more focused assessment may have resulted.
— Improve the quality of on-track observations leading up to the event.
— Create space in the barn area where regulatory vets could observe horses on the extra security list jog in a circle.
— Make diagnostic imaging part of the pre-race exams for selected horses.
— Take advantage of all available video footage of horses before the event.
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Make sure that you're working with a full deck of fifty-two cards with no jokers. Hand the deck to a spectator for shuffling. Stress that he can shuffle as much as he wants. (Later, you're going to want the audience to remember that the cards were thoroughly mixed.)
After the shuffle, take the deck back. You're going to spread through it and remove three red cards and three black cards. I always use eights and nines. These cards are so similar in appearance that they encourage the audience to focus on the colors and ignore the identities. This is important because in the course of the effect the identity of one of the black cards will change.
In the process of removing the six cards, you must secretly sort the deck into reds and blacks. You do this by means of an underspread cull as follows. Spread through the deck and quickly shift two black eights and/or
nines to the top. Then casually shift cards as needed to ensure at least two black cards (other than eights or nines) on the face of the deck. (This is necessary to provide enough cover for culling the first red card.) Now start spreading the cards from the left hand into the right hand. Cull the first red card you come to under the spread. This is done by clamping your left thumb on the face of the card above it and pushing with your left fingers on the back of the card until it disappears from view and strikes your right palm. The right hand now pulls its cards to the right until you feel the left edge of the culled card come free of the spread. This card now becomes the guide card for the rest of the cull. You'll slide every black card above the guide card and cull every red card under it.
The action of culling subsequent red cards is different from the action of culling the guide card. First, youll find it's no longer necessary to clamp your thumb on the card above the one you want to cull. Simply push the card to be culled far over with your left thumb. Then lift the right-hand cards so that the guide card goes above the one
1. \ ^------/ ^ \ ^^ / you want to cull. Move the right-hand cards to the left until they cover the card to be culled. As soon as the card disappears from view, the right fingers contact the back of the card and pull it to the right until it clears the spread, (See the exposed view in illustration J.) Continue this process, each black going above the guide card, each red being culled under it.
Each time you come to one of the eights and nines you intend to use for the effect, you must split the spread at that point and toss the card face up on the table. The reds go to the left and the blacks to the right. You should have five cards on the table when you reach the two black eights and/or nines that you had initially shifted to the back of the deck. Leave one of these at the back of the deck. Remove the other one and toss it with the two black cards already on the table. The deck will now run, from face to back: twenty-two black cards, twenty-three red cards, one black card (either an eight or a nine).
There will be six cards lace up on the table. The three black cards will be all the black eights and nines except the one left at the back of the deck. The three red cards will be all the red eights and nines except one. I always leave out the nine of diamonds. (The point of always skipping the same red card is that it makes removing the six cards automatic. This leaves your mind free to concentrate on the cull.)
This culling process probably sounds daunting. Undeniably, if you don't have complete mastery of the under-spread cull, you'll have to put in some practice time to be able to separate the reds from the blacks smoothly, quickly, and deceptively.
However, with practice it becomes, not only fast and deceptive, but also almost automatic. This means you can—and definitely should—keep up a running line of patter throughout the process. (Of course, your patter should be completely memorized so it also doesn't demand undue concentration.) The audience should be more concerned with listening to what you're saying than watching what you're doing. Furthermore, there is no reason for them to watch the spreading action carefully. The important cards, apparently, are the ones you're removing, not the ones you're passing by.
It's important that, throughout the cull, you keep the cards tilted downward so that the faces are toward the audience. This move looks great from above but terrible from underneath. Therefore, you can easily fool yourself into thinking that youre doing it deceptively if you keep the cards tilted up coward you. It will look deceptive to you but to no one else. Keep the cards tilted down and you'll have one of the all-time great utility moves. (Tilting the cards down will feel unnatural at first, so keep practicing until it feels natural.)
Once you've finished spreading through the deck, you perform a simple overhand shuffle. Run twelve cards and throw the rest of the deck on top. Turn the deck face up and take it in dealing position. Obtain a break under the face card. (This will be the fourth black eight or nine.) Keep your wrist turned downward as much as possible to keep this face card out of view. There is no harm if someone should catch a glimpse of it, but you don't want anyone to particularly notice it.
The First Separation
If the three red cards you're using are the eight and nine of hearts and the eight of diamonds, casually rearrange them so that the diamond is on the face. Scoop these three cards onto the face of the deck. Pick up the three black cards with your right hand and hold them in a fan. At the same time, thumb over the two face cards of the deck so that all three red cards are visible. (Continue to maintain your break.) Thus, the six cards are displayed as in illustration 2.
As you explain that you'll use exacdy three black cards, flip each of the three black cards into a facedown pile on your right. Explain that you'll also use exacdy three red cards. As you do so, take the red card on the face of the deck into your right hand and flip it face down onto the table to your left. Do the same thing with the second red. Apparently do the same with the third red card. In reality, you take both of the cards above the break. (I execute a Vernon two-card push off as I take the double.)
To flip the double face down onto the other two cards, place the left edge of the double against the right edge of the tabled cards. Place your left second and third fingertips against the left edge of the tabled cards. (See illustration 3.) Then flip the double face down as if performing a double turnover. Immediately place your right third fingertip against the right edge of the cards. The double will thus be trapped between fingertips on both sides as it lands, ensuring alignment. Place the rest of the deck aside.
Pick up the red cards in your left hand from above and turn your hand over to turn the packet face up. Spread over two cards, keeping the last two together as one. Flip the "three" cards face down into left-hand dealing position.
Flip over the tabled packet on the right and spread the cards to again display the black cards. Pick them up with your palm-down right hand, and then turn the hand over to turn the packet face down.
You will now alternate the reds and the blacks by dealing them into a facedown pile in the center of the table. Deal alternately, starting with the right hand. Eventually you'll be left with a double in your left hand. Take the double from above in your right hand and drop it on top of the packet. Perform this alternating action slowly and openly so there can be no suspicion or doubt about what you've done.
Perform a magical gesture, and then pick up the packet from above in your left hand. Turn your hand over to turn the packet face up. Spread them lace up on the table to your right.
You will now display the three red cards (hiding the black card second from the top) by means of Ken Krenzel's pressure hideout. Your right hand grasps the cards from above with the forefinger at the outer right corner and the thumb at the inner right corner. You now, in effect» perform a pressure fan with the packet, the cards being dragged along the length of your left forefinger. Stop when three cards are showing. Illustration 4 shows this action in progress. The top card of the fan is a double. This double should be in perfect alignment due to the control offered by your right forefinger and thumb at the corners.
Reverse count the "three" cards into your right hand, clipping the outer right corner of each one in turn in your thumb crotch. (Just treat the double as if it were a single card.) Then flip the cards face down into left-hand dealing grip. Take the black cards in your right hand from above then turn the hand over to turn the packet face down.
You're now going to repeat the previous alternation sequence except that this time you will show the face oi (almost) every card as you deal it onto the table. Turn your right hand palm down, at the same time pushing the top card over as far as possible with your thumb. This will display both the face card of the packet and the top card. Turn the hand palm up again and deal rhe top card onto the table face down. Turn your left hand palm up to display the face card, but do not push over the top card as you did before. Turn the hand palm up again and
deal the top card onto the one already on the table.
Repeat the right-hand action: Turn your hand palm down, at the same time pushing the top card over; turn the hand palm up and deal the top card onto the tabled pile. Repeat this action with the left hand. (This time you do push over the top card as you turn the hand palm down.) Show the face of the card remaining in your right hand, then drop it iace down on the pile. Finally, your right hand takes the double card in your left hand from above, turns palm up to display its face, then drops it iace down on the tabled pile.
You have thus displayed the face of every card except the first one dealt from the left hand. This sort of thing worries some magicians. They fear the audience will wonder why that one card wasn't shown. You might rather turn the question around and ask why you would need to show any faces. The handling is such that the audience should already be positive that the right-hand cards are black and the leit hand's cards are red. Showing the cards as they're dealt is a bonus. Failing to show one is a harmless oversight.
Showing and dealing the cards should be done slowly and cleanly but also casually and in rhythm. (Your patter as you deal can reinforce that rhythm.) The one time you don't Hash the top card, you still turn over your hand to show the face card. (This is similar in principle to Mario's Olram subtlety.) Thus the audience still gets a consistent rhythm of seeing black, red, black, red, black, red. All of this ensures that they will hardly notice, let alone question, that you iorgot to show one card. (Note, you don't hide anything; you just forget to show one.)
You may have realized that this flashing of faces during the alternation process could be incorporated into the first phase since the first and second phases are technically identical. There is a good reason for not doing so. This is the sort of effect that demands repetition. But the second phase should be stronger than the first to create a sense of progression. The added condition of showing the faces of the cards during the dealing provides that progression, (See pp. 177-82 of Strong Magic for more of my thoughts on this subject.)
Perform your magical gesture. Pick up the packet and flip it face up into left-hand dealing position. Spread over the three face cards, all black, and table them to the right. Perform a Krenzel pressure hideout to show the remaining cards as three reds.
You will now count the cards into the right hand but in a slightly different way from the previous phase. Clip the outer right corner of the double in the right thumb crotch and snap it into the right hand. Count the next card onto it but outjogged about an inch. Place these cards onto the one in your left hand so that it's injogged about an inch. This will leave you holding an elongated spread as in illustration 5. Square the cards, taking a fourth - linger break under the face card as you do so.
Place your right fingertips onto the face card of the tabled spread of black cards to steady them as your left hand scoops them up onto the cards it already holds. Immediately take all the cards above the break into your right hand in Biddle grip. The face card of the left-hand packet will, of course, change. Due to the way you
arranged the red cards at the outset, however, this will involve either the eight oi hearts changing to the nine oi hearts or vice versa. The similarity oi the cards camouflages the change.
Immediately spread the left-hand cards face down on the table. The fact that there are three cards will indirectly prove that no transfer of cards could have occurred in the moment the packets touched. (I always place my left fingertips on the tabled spread and pull it towards me. This sells the fact that there really are three cards in the spread, no more and no less.)
Take the black packet into left-hand dealing grip. Push off the face card and take it in your right hand. Push off the next card and take it below the first one, spread over to the left. Finally, insert the double remaining in your left hand between the two in your right hand, outjogged for about lialf its length. (This is similar to Ken KrenzeTs "chopsticks" concept.) Three black cards will show, indirectly proving that the three tabled cards must be red. The tabled cards are indisputably the right number. The cards in the hand are indisputably the right color. Thus each packet proves the validity of the other.
Flip the right-hand cards face down into left-hand dealing grip. Your right hand now gathers up the tabled cards and takes them from above in Biddle grip. Hold the packets well apart. Then very cleanly and dramatically drop the right-hand packet onto the left-hand packet. (The point is to de-emphasize the moment the packets touched earlier, which was important to the method but irrelevant to the effect, and emphasize the touching of the packets now, which is irrelevant to the method but important to the effect.)
Perform your magic gesture. Slowly and dramatically deal the cards into an overlapping row face up on the table to reveal that the colors now alternate. When you've dealt five cards you will be left with two cards in your left hand which the audience believes to be one. Flip this double face up into your left hand, much as you woidd perform a double turnover onto the deck. Then pick up the double from above with your right hand and drop it on the end of the tabled spread. I use Ascanio's "burning double* concept. Lower your hand to the table until the fingertips touch the surface, then open the hand, allowing the double to drop.
The idea is that the fingertips should recoil from the tabletop as if it were burning hot. (I agree with Ascanio that the usual approach of placing the nail of the forefinger on the double as you table it is a tell. Have you ever done this when you were really placing a single card on the table?)
After the effect has registered, gather up the spread and place the packet face down in front of you near the table edge. Pick up the deck and turn it face up. You will now perform a faro shuffle. Since the pack consists of an odd number of cards, this will be a straddle faro. Cut as close to half as you can, but the smaller of the two packets (one card lighter) should be the one in your right hand, the one you cut off the face. Faro these cards into the larger packet so that the new top and bottom cards come from the larger packet. Push the packets together up to the point where the index number of the face card of the right packet is hidden, (This should be somewhat less than half an inch.)
Now position the cards ior a cascade flourish as shown in illustration 6.
You're now going to perform Joshua Jay's faro ribbonspread hideout. In performing the cascade you must exert all the pressure at the outer right corner with the base of the right forefinger and the inner left corner at the base of the left fourth finger. (This is indicated by the arrows in illustration 7.) This will result in the packets meshing with a very pronounced side-jog as shown in illustration 8.
Pivot the cards ninety degrees counterclockwise into your left hand. The right hand should remain above the cards in Biddle grip to obscure the jogged condition. (This is shown in illustration 9.) The left fingers squeeze the packet together until the jog is reduced to slighdy less than an inch. Your right hand now slides the top card over until it aligns with the right-jogged half.
Throughout this sequence your patter should be to remind the audience that the deck was thoroughly shuffled at the outset hy a spectator. For good measure, you'll give the deck one last shuffle.
Your right hand now grips the deck, the forefinger at the outer left corner of the top card and the thumb at the inner left corner of the top card. The left hand shifts to the position shown in illustration 10 to obscure the jogged condition of the deck. Ribbonspread the deck from left to right.
Thanks to Joshua Jay's concept, the deck will appear to be separated into reds and blacks. (See illustration II.) In reality the colors alternate but, thanks to the sidejog, every other card in the deck is hidden in the spread.
The Full-Deck Reverse Oil and Water
This full-deck separation is very strong for a lay audience and is quite enough to provide the routine
with a spectacular ending. But you have something even more powerful in store for them.
Gather up the spread. The best way to do this to avoid flashing any of the hidden cards is to position your right hand at the right end of the spread and gather the spread irom left to right with the other hand. As you scoop up the spread, note the identity of the uppermost card of the red half (the one at the point where the reds meet the blacks). Remember this card, as it will be a key card later.
Flip the deck face down into your left hand and squeeze the cards together to eliminate the jog. Place the deck face down in the middle of the table-
Pick up the small packet and take it into facedown dealing grip in the left hand. Obtain a fourth-finger break above the bottom card by means of either a pull-down move or a buckle. Take the packet in Biddle grip in the right hand, the thumb taking over the break. Use the right fingertips to pull the deck toward you. As you do so, allow the card below the break to secretly drop onto the deck. (This is a Bernard Bilis idea.) Finish the pulling action by tilting the hand up, back toward the audience, so that the packet and deck touch for only a moment.
Perform a one-hand fan with the packet (which now consists of the right number of cards). Use the fan to tap the deck as you explain that the act of tapping the deck with the alternated cards causes something amazing to happen. Flip the packet face up, retaking it in Biddle grip. Pick up the deck into left-hand dealing position. Spread the face-up packet in the space vacated by the deck.
You will now deal the deck in an overlapping row face up above this spread to reveal that the entire deck now alternates red and black.
For dramatic purposes, I suggest starting to deal slowly and gradually speeding up as you go. As you deal, watch for the key card that you memorized when you gathered up the spread deck earlier. As soon as you see it stop dealing. (The key card is twenty-fourth from the top, so you don't have to start watching for it until you figure you're nearing that point. In fact, if you forget your key card you can just silendy count and stop when you've dealt twenty-four cards.)
Turn the remainder of the deck face up and ribbonspread it above the spread of dealt cards to reveal that all the cards alternate in color.
layout shown in illustration 12. Since
This will leave you with the final
the audience saw just a moment before that the deck was segregated by color, this instantaneous alternation gives you a stunning ending.
You may be wondering why I rec ommend revealing the alternation of the deck by dealing half the cards, then ribbonspreading the rest. Why not either deal them all out or ribbon-spread the entire deck?
The first reason is to hide a discrepancy. In fact, if you ve worked through the effect with the cards while reading the description you may have fooled yourself.
Look at the last card dealt in the overlapping row. It's red. Look at the top card of the ribbonspread. It's also red. The reality is that the deck does not end up in a perfect red/black alternation. There are two red cards together in the middle of the deck. If the colors alternated perfectly, the deck would show as either all red or all black during the ribbonspread hideout. The only way to show half red and half black is to have two cards of the same color in the center. By shifting from dealing to spreading at exacdy that point you hide this. (And I guarantee that if you handle the climax exactly as I've described nobody will spot the discrepancy.)
There is also another technical consideration. The Joshua Jay spread does not look exacdy like a genuine spread of a full deck because only half as many cards are showing. This is no problem as long as the audience doesn't have a basis for comparison. If you were to either ribbonspread or deal the whole deck at the end, you would be providing them with such a basis for comparison. By handling the climax as I suggest the final picture can't be compared to the spread in the previous phase,
Technical considerations aside, I think that the deal-and-spread approach is the best way to handle the climax purely from a dramatic standpoint. If you ribbonspread the entire deck, the climax is over too fast; the audience doesn't have a chance to absorb it. Dealing out the cards is very dramatic and allows the climax to build, but dealing all the cards would drag things out too long. Dealing half the cards, starting slowly and gradually accelerating, brings the climax to a crescendo with the ribbonspreading of the remaining half providing the cymbal crash at the end.
After the applause has ended, take the face card of the middle spread (your key card) and use it to scoop up the spread. Gather up the other two spreads and drop them on top. The entire deck will now properly alternate, in case anyone should want to check.
(I usually use this effect as a closer and give the deck away as a souvenir at this point. Therefore, I want to make sure the alternation is correct in case the spectator should check the cards after she gets home.)
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With its own party barn this property is ideal as an exclusive party venue.


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Four Ways to Unroot an Android Deviceby Raj Kumar Maurya January 12, 2016 0 comments
The best thing about Android is that it is open to all kinds of custom development activities. You can improve your device performance, battery life, UI, and default setting by rooting your device. But performing a root on your device may void your warranty, you may not receive OTA updates, or may even turn your device unstable. So if you're ready to take that risk, here's how to unroot an Android device.
Method 1: Use File browser to Unroot
1.Download and install a root file manager or ES File Explorer app from the Play Store. Here, we use ES file Explorer app.
2.Don't install or move it in SDcard.
3.Run the app and tap the menu button
4.In the menu section selects 'Root Explorer' option to turn it on.
5.If Superuser app asks you to grant privilege or root privileges to the app, allow it.
6.Look for /system/ folder and open /bin/. In the bin folder delete busy box and su file and delete them. If you haven't found any of them just move to next step.
7.If you didn't find the two files above then open /system/xbin/ folder and delete su file from here too.
8.Next, go to system folder and open app folder
and then delete the supeuser.apk file located in
the folder.
9.Now restart your device. It should now be unrooted.
Method 2: Unrooting Using Apps
If you are using a phone or tablet running Android 4.2.2 or older you can download the Universal Unroot or Ginger Unroot app from the Google Play Store and run the app. You can also unroot your device by using Kingo root software on your PC to unroot your device. This software can also be used to root your device. It supports the latest Android OS also.
Method 3: By using SuperSU App
The SuperSU app setting itself has an option to unroot the device if you haven't installed a custom recovery on your device.
1.Open your SuperSU app, tap Settings tab and scroll down to "Full unroot" option and tap it. A pop-up message will display tap Continue.
2.Now reboot your device and when it boots up, uninstall SuperSU app by selecting Uninstall option on the SuperSU app page on Google Play Store.
Method 4: Through OTA Update
1.Go to Settings and download the latest update if available. The device will reboot after updating.
2.Now reboot your phone into recovery mode and open command windows. To perform the commands in next step, you must have ADB and Fastboot on your computer.
- Type the command adb shell
- You will see '#'. Now type su
- If you get "permission denied" or something like that as a result, your device has been successfully unrooted. Otherwise, manually remove SuperSu app.
Method 5: Flashing the stock firmware
The most successful and popular method to unroot your device is by flashing or restoring the stock firmware of your device. By using this method, you can also unroot the custom recovery CWM/TWP or even devices with custom ROM. This method is a little bit tricky and not easy; that's why people hardly try this method. There are lots of tutorials about flashing available online for your phone model but before performing this process, you need to be careful with your preparation.