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Indian doctor duped into buying 'Aladdin's lamp' for $41,500
Two men have been arrested in the Indian state of Uttar Pradesh for allegedly duping a doctor into buying an "Aladdin's lamp" that they promised would bring him wealth and health.
As part of the con, they even pretended to conjure up spirits from the lamp, in line with the tale from The Arabian Nights, Indian media report.
The men had reportedly wanted more than $200,000 for the lamp but settled for a down payment of $41,600.
A third, female, suspect is at large.
The doctor reportedly filed a complaint with local police in Meerut, western Uttar Pradesh, earlier this week.
In the complaint, quoted by NDTV, he said he met the two men when he began treating a woman he understood to be their mother over the course of a month.
"Gradually they started telling me about a baba (godman) whom they claimed also visited their home. They started brainwashing me and asked me to meet this baba," he says, according to NDTV. He then did meet the baba "who seemed to perform such rituals".
He also reportedly said that "during one visit 'Aladdin' actually made an appearance in front of me" and it was only later that he realised one of the accused had been dressing up as the iconic figure.
Other reports in Indian media suggest that the suspects pretended to conjure up a genie, to convince the doctor of the lamp's authenticity.
The men eventually offered him the lamp, promising it "would bring wealth, health and good fortune", for 15,000,000 Indian rupees ($201,200) but settled for a down payment of 33,10000 rupees ($41,584).
A senior Meerut police officer, Amit Rai, told NDTV that the same men were suspected of cheating other families in similar ways. "Two have been arrested. A woman is on the run," he said.


What's going on in the world of man? Ben has some interesting stories in ManLines and as always, they lead to loads of discussion. Contortionist Justin Phahlane a.k.a. Rubberman stops by and does some incomprehensible things. Is there a career in such a thing? Find out here.


A Fistful of Poetry: Donde Estan?
This is another poem inspired by the film 'Missing' and events during Pinochet and the CIA's coup in Chile. Sadly it could apply to so many other different countries as well.


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Die Benediktinerpropstei Istein im heutigen Ortsteil Istein der baden-württembergischen Gemeinde Efringen-Kirchen wurde etwa im 12. Jahrhundert gegründet und 1529 aufgelöst.

Hauskloster der Herren von Rötteln

Wann und durch wen das Kloster gegründet wurde, ist nicht belegt. Ein Berain aus dem Jahr 1610 nennt das Jahr 1105 als Gründungsjahr. Zu dieser Zeit war ein Dietrich von Rötteln Vogt der rechtsrheinischen Gebiete des Basler Klosters St. Alban. Da St. Alban 1356 das Recht zur Einsetzung des Priors von Istein erhielt (Kollatur), wird davon ausgegangen, dass das Cluniazenser Priorat Istein bereits von Beginn an unter dem Einfluss von St. Alban stand und die Herren von Rötteln – die auch später bedeutende Gönner des Isteiner Klosters waren – wohl auch dessen Stifter waren. Die Vielzahl der röttelschen Stiftungen für Istein führten zum Schluss, dass die Röttler das Kloster als Hauskloster betrachteten. Die Röttler übten auch die Vogtei über das Kloster aus, bis sie 1315 im Mannesstamm ausstarben. Auch in dieser Vogtei traten die Markgrafen von Hachberg-Sausenberg das Erbe an.

Frauen- oder Männerkloster?
Aus den Visitationsprotokollen wird geschlossen, dass es sich bei Istein ursprünglich um einen Frauenkonvent von etwa acht Nonnen handelte, dem ein männlicher Prior vorstand. 1365 beschloss das Generalkapitel der Cluniazenser, das Isteiner Priorat in ein Männerkloster umzuwandeln. Es erfolgte gleichwohl weiterhin auch die Aufnahme neuer Nonnen und erst um 1450 war Istein dann ein Männerkloster.

1387 wurde das Kloster bei einem Brand weitgehend zerstört und wurde erst Ende des 16. Jahrhunderts wieder aufgebaut. Während die Klosterkirche weiter genutzt werden konnte, lebte der Konvent im Weißen Haus zwischen Dorf Istein und Isteiner Klotz.

Nach der Reformation
1529 schloss sich die Stadt Basel der Reformationsbewegung an und löste auch das Kloster St. Alban auf, dessen Rechte damit an den Rat der Stadt Basel übergingen. Hierzu gehörte auch die Kollatur, das Recht zur Besetzung des Isteiner Priorenamts. Die Gemengelage diverser Rechte der Stadt Basel, der Bischöfe von Basel (Landesherrschaft) und Konstanz (zuständiger Diözesanbischof) sowie der Cluniazenser führte beständig zu Konflikten. Seit 1629 wurde die Propstei jeweils an Basler Domkapitulare vergeben, weshalb 1802 bei der Säkularisation der rechtsrheinischen Teile des Fürstbistums Basel auch die Propstei und damit die ehemaligen Klostergüter von der Markgrafschaft Baden eingezogen wurden.

Die Propsteigebäude und die Kirche des Klosters wurden 1783 mit Genehmigung des Rates der Stadt Basel abgebrochen, wobei die Titel der Kirche auf den Altar der Isteiner Pfarrkirche übertragen wurden.

Literatur
 Otto Konrad Roller: Die Geschichte der Edelherren von Rötteln. In: Blätter aus der Markgrafschaft Schopfheim, Jahrgang 1927, Schopfheim 1927, S. 1–49
 Erich Dietschi: Geschichte der Dörfer Istein und Huttingen. Basel 1930
 Fritz Schülin: Das Kloster "unser lieben Frowen zu Istein" und sein Fronhof zu Huttingen. In: Fritz Schülin, Hermann Schäfer, Pius Schwanz: Istein und der Isteiner Klotz. Beiträge zur Orts-, Landschafts- und Wehrgeschichte. 3. Auflage. Istein 1994, S. 258–264.
 Florian Lamke: Cluniazenser am Oberrhein. Konfliktlösungen und adelige Gruppenbildung in der Zeit des Investiturstreits. Verlag Karl Alber, München 2009, ISBN 978-3-495-49954-2, S. 345–354

Weblinks

 Geometrischer Plan theils strittig, theils ohnstrittiger Bann-Grenzen und Bann-Steinen zwischen denen Gemeinden Huttingen et Jgstein; Karte von 1773 mit dem Kloster auf Landeskunde entdecken online - leobw

Einzelnachweise

Istein
Aufgelöst 1529
Organisation (Landkreis Lörrach)
Religion (Efringen-Kirchen)
Christentum im Landkreis Lörrach

redpajama_set_name: RedPajamaWikipedia


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Merkel plays history teacher on Berlin Wall anniversary
German Chancellor Angela Merkel (right) has her picture taken with a pupil as she arrives for a visit to the Heinz Schliemann grammar school in Berlin, Aug 13, 2013. Ms Merkel on Tuesday delivered a guest history lecture on the erection of the Berlin Wall to grammar school pupils, on the anniversary of the building of the inner German border fortification. -- PHOTO: REUTERS
German Chancellor Angela Merkel (2nd right) poses with 6th graders, identical triplets Marlene (left), Charlotte (2nd left) and Elizabeth, after arriving at the Heinz Schliemann grammar school in Berlin, Aug 13, 2013. Ms Merkel on Tuesday delivered a guest history lecture on the erection of the Berlin Wall to grammar school pupils, on the anniversary of the building of the inner German border fortification. -- PHOTO: REUTERS
German Chancellor Angela Merkel writes her name on the black board before starting her lecture on the building of the Berlin wall on Aug 13,1961, to a 12th grade class during her visit to the Heinrich Schliemann Gymnasium, secondary school in Berlin, Germany on Aug 13, 2013. -- PHOTO: AFP
German Chancellor Angela Merkel writes her name on the black board and starts her lecture on the building of the Berlin wall on Aug 13,1961, to a 12th grade class during her visit to the Heinrich Schliemann Gymnasium, secondary school in Berlin, Germany on Aug 13, 2013. -- PHOTO: AFP
German Chancellor Angela Merkel bows as she enters the classroom to lecture on the building of the Berlin Wall on Aug 13, 1961, to a 12th grade class during her visit to the Heinrich Schliemann Gymnasium, secondary school in Berlin, Germany on Aug 13, 2013. -- PHOTO: AFP
German Chancellor Angela Merkel, campaigning for a third term, filled in as a school history teacher on Tuesday on the 52nd anniversary of the building of the Berlin Wall. -- PHOTO: AFP
http://str.sg/Z5ii
BERLIN (AFP) - German Chancellor Angela Merkel, campaigning for a third term, filled in as a school history teacher on Tuesday on the 52nd anniversary of the building of the Berlin Wall.
Merkel, who is leading in opinion polls ahead of next month's general election, returned from a two-week holiday to sit in on the class of sixth formers in east Berlin.
In 2005 she became the first chancellor who grew up in the communist east and she shared with pupils a few memories of the day when the East German authorities closed the border.
"It was 1961, the same year I started school," she said as she arrived at the Heinrich Schliemann secondary school in the now upscale district of Prenzlauer Berg.
"My favourite subjects back then were languages, German and maths." Merkel, 59, visited at the invitation of a youth magazine and accepted bouquets of flowers from excited pupils, who posed for smart-phone pictures with the chancellor in front of the school.
Wearing a teal blazer, Merkel signed her name in chalk on the blackboard next to a map of Berlin before beginning her class.
It was her first public appearance since her summer break in the Tyrolean Alps with less than six weeks to go until the September 22 vote, and apparently designed to capitalise on her enormous personal popularity.
Reporters were not granted access to the lecture but Merkel answered a few questions before speaking to students.
The childless Merkel, who said she had never taught before and hadn't been in a classroom in decades, swotted up on her Cold War history before giving the lesson.
"It's quite a difference between having personal experiences and teaching facts," said Merkel, a trained physicist.
She is to hit the campaign trail in earnest this week with a rally in the business capital Frankfurt on Wednesday.

redpajama_set_name: RedPajamaCommonCrawl


WHAT IS THE SPICY HERMIT?
The Spicy Hermit crafts traditional and seasonal kimchi using fresh produce from local farms (including those at Durham Farmers Market!) and time-honored fermentation methods. What is kimchi? Simply put, kimchi is a delicious product resulting from seemingly magical alchemy of vegetables and spices. All kimchi from The Spicy Hermit is raw, gluten-free, and vegan, and manufactured at each produce's seasonal peak.


You will feel good driving the 2019 Buick Encore around Vermilion and Fremont, OH because this model has a confident presence. Its scalloped character lines blend well with its sweeping curves to produce a cohesive fluidity. Finished with chrome accents, lustrous LED lights, distinctive wheels, and a stainless-steel sport exhaust, this new Buick SUV boasts masterful craftsmanship.
Another reason to feel good behind the wheel is because the 2019 Buick Encore maximizes comfort. Select trims feature a power moonroof overhead that opens wide to let the warm sunlight and cool breeze inside. On colder days, turn up the heat on your seats and steering wheel to stay cozy. For a touch of fun, there are six speakers strategically positioned throughout the cabin for audio clarity.
Visit Our Sandusky Buick Dealership Today!
These exterior and interior niceties are just a few reasons we recommend this new Buick SUV to you. Want to learn more? Then test drive the 2019 Buick Encore at our dealership near Lorain and Amherst, OH. Once you sit in its leather-upholstered seats and experience its graceful movements on the street, we know you will want to buy or lease one from us at Kasper Buick GMC!


Kalani High School's prices for junior and senior proms are too high. The average cost of two prom tickets is $100-175. The total tally varies depending on your clothing and accessories choices.
You have to buy or rent a suit or a dress, a corsage, and boutonniere. Renting a suit is about $140, buying a dress can range from $100 to $400, sometimes more, a corsage is $35 to $45, and a boutonniere is approximately $15 to $20. These aren't mandatory, but they bring out the looks of the dress and suit.
Many in Hawaii don't have the money to spare, with high mortgages, rent, utilities, taxes and other living expenses. Some parents can't afford to spend that type of money just for one night of their kids' lives. Most students don't pay for themselves, but there is a small percentage that does.
The overall price for a guy with a date is roughly $300. That's without a limo. For a girl with her date, the price would be $425. Girls tend to spend more because they want to find (and buy) the perfect dress, and most of the time the perfect dress is hundreds of dollars.
Although it's a night to remember, some don't think it's worth the money.
"It's too expensive for what you get. Like, it's alright and all, but sometimes you spend the money on things you don't really want. They should spend it more on food," Tiffany Ly, a junior at Kalani, said.
The Prom King himself has some reservations.
"Prom is not worth it because I heard the music sucked, the food was kinda bad, and the dance floor was too small," said Trevor Nishida.
Nishida was elected prom king by his fellow students. If the prom king thinks it ain't worth the money, that really says something.


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Fujifilm GFX Crop Factor and GF Lens 35mm Full Frame Equivalent Focal Lengths
September 3, 2021 January 27, 2021 by Dan Carr
The Fujifilm GFX mirrorless medium format system has gone from strength to strength in recent years. What was once a limited lens selection has now been filled out with focal lengths from 23mm all the way up to 250mm, with no gaps along the way. What's more, there are now specialist lenses amongst the lineup, such as the GF 120mm macro and the stunning GF 80mm f/1.7. The launch of the original 50MP GFX 50S was something of a revolution in the industry. Never had there been a more affordable way to get into digital medium format photography. While Pentax …
Categories Tutorials Tags crop factor, Fuji GFX, fujifilm, medium format
Updated: Coronavirus (Covid-19) and Its Effect on the Photography Industry
April 15, 2022 March 6, 2020 by Dan Carr
As the COVID-19 virus continues to spread around the world, its effects are being felt in almost every industry as trade events are cancelled and manufacturing plants get shut down. Here's the latest info from the photography industry.
Categories News Tags canon, fujifilm, nikon, sony
FujiFilm X Mount Lens Roadmap
February 26, 2020 by Dan Carr
An overview of the Fujifilm X Mount lens lineup, including future lenses that will be launched in the near future.
Categories Gear Guide Tags fujifilm, lenses, roadmap
Fujifilm GF Lens Roadmap
April 14, 2022 January 26, 2020 by Dan Carr
Fujifilm likes to keep people informed about upcoming lenses and about once a year they offer up a roadmap that outlines lens release for the next 12-24 months. This most recent GF lens roadmap was unveiled in January 2020 and from it we can see two as-yet-unreleased lenses: GF 30mm f/3.5 R WR – This lens was launched on June 30th 2020 GF 80mm f/1.7 R WR Portrait photographers will certainly be looking forwards to the 80mm lens with the widest aperture yet on a GF lens at f/1.7. 80mm. Such a lens on the GF format would be equivalent …
Fuji X100 Mark II Wide and Tele Conversion Lens Review (28mm & 50mm)
March 2, 2020 July 14, 2019 by Dan Carr
The Fuji X100 series has been incredibly popular since the very first version and I was excited to buy my own X100F as soon as it was announced. The camera has a fixed 23mm f/2 lens on it that delivers an angle of view that's equivalent to a 35mm lens on a full frame camera, but Fuji have been selling two conversion lenses for a number of years. Alongside the X100F launch, they also launched new "mark II" versions of these 28mm and 50mm conversion lenses. Throughout this review, I'll be referring to the conversion lenses by using their 35mm …
Categories Gear Reviews Tags fujifilm, fujifilm X100
Fuji Lens Terminology and Abbreviations
June 16, 2021 April 11, 2017 by Dan Carr
Hello photography fans! Welcome to the latest in our series of manufacturer lens guides, where we take a headfirst dive down the rabbit hole that is lens terminology and abbreviations so that you don't have to! Today ladies and gentlemen we will be attempting to unravel the nomenclature of stalwart industry giant Fujifilm! Fuji Photo Film Co. Ltd was founded in 1934 with ambitions to become Japan's first manufacturer of photographic films. In the 1940's, having achieved their initial objective the company expanded into the optical glass and equipment industry, manufacturing various products including X-ray and printing equipment. Fuji remained …
Categories Gear Guide Tags Fuji GFX, fujifilm, lens terminology, x-mount
Fujifilm Instax Camera Review
April 16, 2022 May 4, 2014 by Dan Carr
Let's take a look at something fun, something that is sure to bring a smile to any photographer's face, and something that cost less than $70! Fujifilm Instax cameras.
Categories Gear Reviews Tags fujifilm, Instax


"It's pure squid tactic on his part," Luna told INQUIRER.net in a text message.
"Under E.O. (Executive Order) 43, we have the mandate to keep the public abreast of the status of complaints. There are no sacred cows in the war on corruption. Bello's move will not fly," he added.
Earlier, Luna said Bello, former Bureau of Customs Commissioner Isidro Lapeña and National Commission on Indigenous People Chairman Leonor Oralde-Quintayo are facing allegations of corruption which prompted the PACC to conduct an investigation.
Bello, however, claimed that he did not properly receive a copy of any complaint against him and only learned of the investigation in news reports after it was announced by Luna.
He also said that he will ask President Rodrigo Duterte to dismiss Luna from PACC for abuse of authority.


On Thursday, November 20 at the IFC Center in New York City, 15-time Grammy winner Béla Fleck will premiere his new documentary, How to Write a Banjo Concert (Argot Pictures). The screening begins at 7:15pm and runs 96 minutes, followed by a Q&A with Béla. "Béla Fleck: How To Write A Banjo Concerto" follows banjo trailblazer Béla Fleck through one of his most challenging musical journeys, into the world of the Symphony Orchestra. Béla is commissioned to compose a banjo concerto, possibly the first of its kind, for banjo and 80 piece symphony orchestra. It begins before he has written a note, and concludes a year later, with the sold out premiere concert with the Nashville Symphony. An intimate look at the process of composition and collaboration, "How to Write a Banjo Concerto" features Earl Scruggs, Chick Corea, Edgar Meyer, Chris Thile, Zakir Hussain, Abigail Washburn and other close musical friends of Béla's.


A web of family secrets unravels in this moving documentary following a family fractured by war. Two brothers, Izak and Shep, were born inside the Bergen-Belsen displaced persons camp in 1945 and separated as babies, never told of the other's existence. Nearly 70 years later, the discovery of family records leads the brothers to an emotional reunion with their elderly mother, Aida, who hid more from Izak and Shep than just each other.


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Ultraviolet Radiation and Primary Productivity: Effects May Go Beyond the Antarctic
ENSO/SAV Links in Lake Pontchartrain: More than Coincidence
Are Created Marshes Equal, Above the Ground and Below?
Elkhorn Slough's Living History
The "hole" discovered in the ozone layer over the Antarctic revealed another kind of hole to the scientific community - the large gap in our understanding of how ultraviolet B radiation (UVB), reaching the earth's surface in larger doses, affects species and ecosystems. In the 25 years since the hole's discovery, many studies have found that the increased UVB doses have not been kind to oceanic phytoplankton communities and primary productivity, particularly in Antarctic waters closest to the hole. Detrimental effects have extended to higher trophic levels as well. But what about nearshore phytoplankton in temperate areas? Does the increased distance from the Antarctic hole mean less trouble from UVB radiation?
Investigators conducting a recent laboratory study with San Francisco Bay (SFB) phytoplankton speculated that in addition to its distance from the Antarctic, the high turbidity of the Bay might offer enough "sunscreen" to mitigate the deleterious effects of the UVB. The sunscreen did not turn out to be protective enough: When natural SFB phytoplankton samples were exposed to ambient UVB radiation in experimental containers, nutrient uptake ability (for ammonium more so than nitrate) was depressed compared to samples held in containers that filtered out UVB. This effect was perhaps due to UVB's inhibition of an enzyme used in ammonium assimilation. The authors conclude that present-day UV levels are having a damaging effect on the SFB phytoplankton community. If things are bad for phytoplankton in turbid SFB, the authors speculate that the situation might be even worse, and primary productivity might be even more affected, in other estuaries where less turbid conditions afford less sunscreen from the UV.
Source: Hogue, V. E., F. P. Wilkerson and R. C. Dugdale. 2005. Ultraviolet-B Radiation Effects on Natural Phytoplankton Assemblages of Central San Francisco Bay. Estuaries 28(2): 190-203. (View Abstract)
The major submersed aquatic vegetation (SAV) decline in New Orleans' Lake Pontchartrain, documented since the inception of monitoring in 1953, has been attributed to anthropogenic changes in water quality. However, it seems that more recent dramatic changes in SAV beds are actually related to a natural cycle: the El Niño Southern Oscillation (ENSO) climate pattern. Careful study of climate and SAV parameters for 1996-2003 has revealed interesting patterns and parallels. The strong 1997-1998 El Niño brought increased precipitation leading to lower salinities and reduced light penetration in the estuary. Accordingly, freshwater plants dominated, but were found mostly in depths less than 1 meter. As climate conditions shifted from wet El Niño to dry La Niña conditions, culminating in a severe drought in 2001, higher salinities were observed and the freshwater SAV species were replaced by the salt-tolerant Ruppia maritima. Better light conditions (because decreased precipitation means less runoff of particles from the land) allowed the R. maritima to utilize deeper depths. The freshwater species made a comeback with the return of El Niño in 2003.
Interestingly, the colonization of deeper waters by R. maritima occurred more quickly than the plant's life history would predict. The authors hypothesize that appropriately-timed tropical storms may have served as a rapid seed dispersal mechanism, spreading seeds into deeper water, where seedling growth was encouraged by La Niña's increased light penetration.
This study serves as a reminder that not all changes in SAV distribution are due to anthropogenic water quality issues, and that natural variations must be accounted for when establishing restoration goals. Also, these analyses indicate that for this system SAV restoration could be brought about by improving water clarity.
Source: Cho, H. J. and M. A. Poirrier. 2005. Response of Submersed Aquatic Vegetation (SAV) in Lake Pontchartrain, Louisiana to the 1997-2001 El Niño Southern Oscillation Shifts. Estuaries 28(2): 215-225. (View Abstract)
At wetland restoration sites all over the country, the question of "functional equivalency" is raised. Will the new marsh do what a natural marsh does, and how long will it take for it to "act" like its natural counterparts? One way to tell is to compare primary productivity, both in the aboveground and buried parts of the plant, in created and natural areas. Such a study was undertaken at created and natural Spartina alterniflora marsh sites in the Sabine National Wildlife Refuge in southwest Louisiana. The study measured aboveground and belowground primary productivity in marshes created 3, 6, 9, and 19 years ago and in two natural marshes estimated to be about 50 years old. Aboveground productivity was highest at the youngest created site and decreased with the age of the site, approaching, but not matching, that of natural marshes at the oldest created site. Belowground the story was a little different. Productivity in the youngest created site was intermediate to that at the natural sites, decreased in the six-year-old sites, but then increased with the age of the created site. Belowground productivity levels were 20% higher than the natural marshes at the oldest site, with no indication that it would head downward toward natural levels. An analysis of the trajectories of productivity over time revealed that in terms of aboveground productivity, not only had equivalency not been reached after 19 years, but it would take 35 years for the created marshes to match the natural ones. Belowground productivity matched after only 6-8 years, but increased at the created sites as they aged, outpacing the natural marshes.
Topography of the created marshes also appeared to have an effect on productivity: where elevations of the created sites were higher than planned and topographies were heterogeneous, aboveground productivity was lower. To avoid this problem, restorations need to aim for elevations and topographies similar to natural marshes. Even then, patience is required, as functional equivalence may not be reached for decades.
Source: Edwards, K. R. and K. P. Mills. 2005. Aboveground and Belowground Productivity of Spartina alterniflora (Smooth Cordgrass) in Natural and Created Louisiana Salt Marshes. Estuaries 28(2): 252-265. (View Abstract)
The relatively new discipline of historical ecology integrates disparate data sets to construct and analyze environmental histories of discrete areas. These records can read much like human histories, complete with threats to an area's integrity, battles against invading enemies, and times of peace and prosperity.
Using historical maps and aerial photographs, researchers recently constructed a 150-year ecological history of central California's Elkhorn Slough, where dramatic shifts in habitat type, vegetation coverage, and human use patterns have occurred. An important goal of the project was to develop accurate, repeatable methods for conducting this type of analysis. The researchers characterized the overall progression of wetland changes in the Slough by examining parameters such as hydrology, vegetative cover and tidal channel width during a sequence of representative periods between 1853 and 2003. The Slough's story includes loss, transformation and degradation of more than two-thirds of its salt marshes, and a nearly five-fold increase in the width of its tidal channels. These changes are largely attributable to construction of an artificial navigation channel in 1947, which transformed the Slough from a depositional to an erosional system. In recent decades, intentional and accidental levee breaches have restored the area under tidal influence to near-historic levels, and most of the Slough is now protected for conservation purposes. Despite these moves toward restoration, rates of conversion of marsh to mudflat remain high and may actually be accelerating, suggesting that a new equilibrium may not be reached for several decades.
A comprehensive understanding of an estuary's history can be invaluable in suggesting hypotheses that can be tested with contemporary data, and can help in setting ecologically justifiable and achievable management and restoration goals. Given appropriate data availability, the methods outlined in this study could be used to the advantage of many other systems.
Source: Van Dyke, E. and K. Wasson. 2005. Historical Ecology of a Central California Estuary: 150 Years of Habitat Change. Estuaries 28(2): 173-189. (View Abstract)


Publishing Technology, PLC and the China National Publications Import and Export Corp. (CNPIEC), unveiled the Digital Gateway, a digital publishing platform for Chinese libraries.
Developed by Publishing Technology, the gateway was built on its pub2web online publishing platform; Digital Gateway is managed by CNPIEC. With semantically enriched content and interfaces in English and Mandarin, the site directly links international publishers to over 10,000 of CNPIEC's public and academic member libraries and potentially millions of new users.
The goal of the Digital Gateway is to extend the reach of international publishers into the Chinese market. CNPIEC is the largest company fully licensed by the Chinese government to import publications. The new site, in line with the government's long-term digital publishing plans, is designed to improve online access and discoverability of content in Chinese libraries.


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Keith Seward
Jim Anderson's formal lexicon derives from the guitar, which he perverts into all manner of what Duchamp called "objets d'ard," including sculptures of bedpans, sex toys, and S/M paraphernalia of obscure purpose, to name but a few. In Swan Song (all works 1995), a V-shaped guitar is no longer a prosthetic rock-star penis but has been coaxed into a form simultaneously resembling a swan and a strappado. One of the accompanying videos shows the artist bound to this torture device, the wings of the V pinioning his arms behind his head, the neck of the sculpture sidling down his spine into his ass.
Allan Kaprow
"Once, the task of the artist was to make good art; now it is to avoid making art of any kind," wrote Allan Kaprow in a 1966 manifesto, formulating a paradox that has come to pervade his entire oeuvre. The Happenings and Environments through which he made his name in the '50s and '60s all attempted to merge art and life, to bring the audience inside the work instead of leaving it standing stupidly around in front of it. Kaprow has never ceased to make works or pen position papers (such as "The Education of the Un-Artist: Part II," 1972, and "Art Which Can't Be Art," 1986) that decry this separation
"Critics as Artists"
It goes without saying that every critic is a failed artist, bitterly transforming his resentment and disaffection into superfluous analytical bitchiness. Those who can, do, and those who can't, write criticism. As if to give credence to the stereotype, by and large the works in "Critics as Artists" demonstrated about the same level of quality as a collection of thrift-store paintings; if you were looking for technical virtuosity or esthetic vision, there was no point in looking here, even though taken as a whole the works could have comprised a great conceptual maneuver à la Jim Shaw. To be
print Summer 1995
Nicola Tyson
Nicola Tyson excels at figure studies of the human body—not as it is but as it could be. Like a balloon artist, Tyson twists a basic form into novel arrangements, building an inner pressure that erupts in unexpected evaginations and bulbous erections. Little holes denote misplaced anuses, vestigial urethras, or other orifices of obscure purpose. In Self-Portrait: Early '70s (all works 1995), a figure—isolated against a flatly painted background that nevertheless suggests the corner of a room—stands with her feet pointed at the viewer and her head at the corner, truncated arms groping blindly
Like the other Beats, Allen Ginsberg upheld an esthetic that emphasized directness, immediacy, and lived experienced-a kind of aformalism that enabled its practitioners to sow their creative seeds in a variety of fields. William Burroughs added collage and painting to his writing; Paul Bowles added writing to his music; and Ginsberg took up photography alongside his poetry. Given the pictures exhibited in Ginsberg's show—some from the halcyon '50s and '60s, others more recent, in either case mostly portraits, unpretentious in form, personal in content, all in black and white—he appears to treat
Bunnies—unlike the "death of painting," the "rebirth of abstraction," or the "return to figuration"—are rarely the conceptual framework for a group show. Bunnies are thought to be cute, huggable, cuddly; even the word, which rhymes with "funny" and "sunny," connotes something infinitely friendlier, happier, goofier than art, which almost never aspires to cuteness and only infrequently allows itself to be touched, let alone cuddled. In "Bunnies," the apparent incompatibility between this fuzzy creature and the work of art is embodied by Dieter Roth's Rabbit, 1975, which insinuates that even shit
Hiroshi Sugimoto is known primarily for the three series of photographs he has been working on since the late '70s, early '80s. The series are nominally differentiated by content—movie theater interiors, seascapes, and dioramas—although Sugimoto approaches them all with a precise sense of form: balanced if not symmetrical compositions, extreme clarity of focus, grays modulated into a sort of photographic grisaille, long exposure times reminiscent of Atget. All of this—the impulse to work in a series, to foster a project over a period of ten years or more, to apply a stringent set of compositional
László Moholy-Nagy
Though photography may be an a posteriori medium by nature, László Moholy-Nagy had a very a priori notion of what comprises a good photograph—one shared by many of his contemporaries. It had to be distinctly photographic, he felt, an exploration and exploitation of the technical possibilities inherent in various kinds of picture-making processes—and the result, generally speaking, were photographs with geometric, Constructivist compositions. In his camera-made works, Moholy-Nagy demonstrated how the worm's and the bird's eye view can transform a European metropolis into an aggregate of plunging
Adolph de Meyer
Adolph de Meyer is largely remembered as a pictorialist photographer. He was a close friend of Gertrude Kasebier, and Alfred Stieglitz not only showed his work at the Photo-Secession Galleries in New York but also devoted two entire issues of Camera Work to his pictures. However, with the incredible ascendancy of fashion in recent times—we now have supermodels, though not superartists or superwriters—it should come as no surprise that this exhibition of de Meyer's photography makes a convincing, intelligent argument for reevaluating the commercial work that he produced for magazines such as
Allan Wexler
Allan Wexler's brilliantly inventive oeuvre, which consists of variations on and mutations of something far older than the novel or the easel painting—domestic architecture—should give hope to anyone suffering from the anxiety of influence. Perhaps the key to Wexler's inventiveness lies in his description of himself as an architect trapped in an artist's body. In architecture, the realm of the possible is often fenced in by practical exigencies (everything from the constraints of construction to the demands of clients) that can be swept aside when working on a smaller scale. Thus, in applying
Christian Lemmerz
In his first New York solo show, Christian Lemmerz delights in injecting death and decay into an otherwise elegant and precise post-Minimalist esthetic. In Body Bag 1 & 2, 1994, two black body bags are labeled "vagina." Augenzeugen (Lucy) [Eyewitness (Lucy), 1993-94] presents nine fish tanks filled with formaldehyde and pigs' eyeballs. Embryo (Anal) II is comprised of what looks like a brown fetus pulled out of someone's asshole. Naturally, such a project produces a certain je ne sais quoi that an accompanying catalogue essay describes as "revulsion," and the press release deems "Evil." In a
"WE HAVE AN OFFICE. But there's no office in the office," says a Chiat-Day employee, intending neither a Zen paradox nor a Heideggerian tautology but simply trying to explain the ad agency's new "virtual office." There tends to be little that's properly virtual about virtual reality—it's not a simulacrum that anyone honestly mistakes for the real thing-but in the popular mind the word has come to designate vanguard technology, as though its origins in the Latin word for "man" (vir) had been amputated and replaced by a new prosthetic connotation. The realest thing about virtuality may be the
Andres Serrano returned from the land of the dead and apparently decided to go East—to Budapest, "a city that attracted his attention in 1993 during a brief detour from Vienna," as the press release for his latest exhibition so picturesquely put it. Serrano is the artistic equivalent of a band that puts out concept albums, and for this new show the theme is not the morgue, the KKK, or body fluids, but the city. While being plunged into the rhythms of a new metropolis tends to produce a discombobulating sense of contingency in most of us, Serrano appears to have emerged from Budapest with an
Jeanne Dunning
Jeanne Dunning tends to take two kinds of photographs: at first glance, you might characterize them as pictures that either defamiliarize the familiar or vice versa. The former present a thing in a way that suggests something else, as in Dunning's well-known pictures of anuslike fruits, or in a recent photograph called Hand Hole (all works 1994), a tight close-up of a cupped hand that takes on the appearance of some sort of sexual orifice; the latter clearly and unambiguously focus on an obviously manufactured bodily "deformity," as in The Extra Nipple, a photograph that could easily be your
Richard Meier
If Richard Meier's buildings and sculptures were before and after photographs, nothing less than a nuclear apocalypse would lie between them. While his clean, white, pristine buildings all stem from a rationalist, Modernist tradition, Meier's sculptures look more like architectural models for the end of the world. Useless platforms, passageways that end abruptly, precarious towers of obscure purpose, ruptured cubicles, tortured metal armatures, steel excrescences that look less like decorative motifs than unneeded prosthetics—it all gives the impression of a bomb dropped into a planned community.
In case you don't already know, the art world is as rife with gangs as any urban ghetto—they have unofficial and sometimes official names ("the Yale Mafia"), turfs, and protocols—and so you have to look past the fact that institutions like the Whitney Independent Study Program seem to act on Lyle Ashton Harris like a sort of Art superego, transforming idlike impulses of creativity into the SoHo equivalent of gang colors and secret handshakes. Harris' work may toe a certain party line (the interrogation of identity, the deconstruction of gender, class, and ethnicity, etc.), but it does so from
Rita Ackermann
Each painting in Rita Ackermann's first solo show was organized around a predominant theme (speed, vacation, drugs, doing nothing) and populated by svelte waifs, fashionable nymphs, and other girlish sprites combined and recombined in almost serial fashion, like Minimalist variations of a cube. In Now I'm Gonna Take a Vacation (all works 1994), Ackermann's figures—all drawn in black outlines and somewhat arbitrarily filled in with color, as in a coloring book—cop typical vacation poses. One girl dives into the water; another skinny-dips; one faces us with her camcorder; another lying on her
Paula Hayes
It is easy to see from Paula Hayes' work that she's an artist excited by nature; in fact, with her proliferating root systems, eroticized bees, ominous frosts, and suggestive phrases, it would even be easy to think that she's sexually excited by nature. In Wish Energy (all works 1994), a sinewy house is labelled both "nice" and "haha," and a big arrow pointing downward at some sort of root system says "2″ hard frost." Seemingly unconnected phrases line the individual roots: "Fucking everyone is fucking no one, take the queen jelly, oh it's necrophilia is it!?, you know the ego is in the blood."
In her recent installation Barbara Kruger used the royal "we" to subjugate, threaten, and harass "you." That "we" was given an audible Big Brother voice—male, of course—coolly meting out invective in a brilliantly mixed soundtrack punctuated with cheers, laughter, screams, church music, gagging noises, and an ominous sample from the song "We Are the World." "My people are better than your people," the voice intoned, "More intelligent, more graceful, more powerful, more beautiful, more chosen, more agile and cleaner. My people invented everything." While the gallery walls were papered with a
"Altered"
Everyone seems to know by now that Rudolf Schwarzkogler did not actually kill himself by cutting his penis off in slices during an Aktion, and yet you will read no text about the Austrian artist that does not relish in either reporting or debunking the castration myth. Perhaps this is because, while manifestly untrue (Schwarzkogler died in 1969 when he leapt or fell from a window), the myth nevertheless expresses in nuce certain truths about the products of his all-too-brief career. Not only does it condense the automutilative forces generally rampant in his work into a picture of the ultimate


Here 15 yards of hazel hedge was produced from four hazel stools. Although not clear from the initial picture there are extensive gaps between the separate stools of hazel. As well as creating a hedge along a boundary of this small garden hazel coppice, laying simplies future maintenance for the owner.
Some of the hazel in the coppice was also cut to supply sufficient stakes and binders for the hedge plus additional materials to be used elsewhere. In this garden setting, regular cutting of the hazel is necessary to allow the grass between the stools to continue to thrive.
The last two pictures show another length of hedge created in the same garden in 2004 along another boundary of this coppice by laying a row of hazel stools (see here to view the initial hedgelaying). In places, the laid stems have since rooted creating new plants as shown in the first of these pictures.


text:
Q: What is the difference between borderlands and borderlands GOTY edition? I want to buy a Borderlands game but what is the difference between the normal and GOTY editions?  I see the normal price for just the game is $20 and the GOTY edition is $30.

A: Basically, the GOTY edition includes all 4 DLC packs (which were around $10 each originally1).  It looks like there's currently a couple other bonuses with the Steam version2:

Includes All 4 Borderlands DLC

*

*Borderlands: The Zombie Island of Dr. Ned

*Borderlands: Mad Moxxi's Underdome Riot

*Borderlands: The Secret Armory of General Knoxx

*Borderlands: Claptrap's Robot Revolution

  Special Offer

*

*Purchase Borderlands GOTY and get Pandora pdf Map for free.

*Purchase Borderlands GOTY and join the Duke Nukem Forever: First Access Club

Edit: According to M. Travis Volker's comment, the physical version is exactly the same apart from being physical.

A: The early editions of 360 had slips, the later had a disc.
The PC version had slips.
The ps3 version had slips.

redpajama_set_name: RedPajamaStackExchange


Twenty years ago, in 1988, Public was launched by the Public Access Collective, a Toronto-based group comprising artists, writers, curators, and graduate students equally engaged in theory and politics. In conjunction with the publication of the journal, the collective began to curate exhibitions that utilized urban screens as a means to consider the potential of public art for both engendering insightful, collective experiences and for inciting debates and raising awareness in a city that was quickly privatizing every inch of shared space. Together, Public and its founding collective aimed to bring together theoretical and critical work with artistic practice and collaborations, a project embodied by the inaugural issue, which was devoted to pursuing the questions that emerged out of the urban screen exhibition, Some Uncertain Signs.
Since that time, Public has continued its mandate to investigate ideas, theories, and practices of art and culture within the urban context—publishing, in the process, many of the leading voices in the field, including Jacques Derrida, Michel Foucault, Arthur Kroker, Avital Ronell, Giorgio Agamben, and Rosalyn Deutsche. And yet, over the course of twenty years, the landscape underlying the problematic of the public has changed dramatically: the internet has emerged as an important space for consolidating and collaborating under the sign of the commons; spatial topographies have been transformed through new architectures of information and media; temporary autonomous zones have been employed as liminal performative spaces; non-places such as airports offer important sites of critical investigation for artists and activists; counter-publics and scenes have been created through events both spontaneous and community-based; and boundaries (national, urban, and personal) have been rendered at once more porous and more policed.
In pursuing this task, we sought texts that could be assembled into a snapshot of the various modes of inquiry relevant to a contemporary thinking-through of the public. We thus open the issue with an essay by the German philosopher Peter Sloterdijk on the Crystal Palace. Available here in English for the first time, Sloterdijk's tremendously original interpretation of capitalism, democracy, and space—emerging from his epic trilogy devoted to "spheres"—provides an important anchor to Public's ongoing exploration, rooted in a history of capitalist modes of production. We have also included several historically significant essays that engage with the idea of public in terms of the shared fabric of language, echoing the sense of the public contained in Hannah Arendt's work, as something that belongs to both no one and to everyone. Language as public, as action, contains the communicative process (namely, translation) that is perhaps the last horizon of what is held in common, while being able to express the singularities which therein arise. We find this spirit equally represented in the starkly beautiful poetry of Cuban writer Victor Fowler, in the stubborn human relationality of the short story by Fyodor Dostoyevsky, and in Dorothy Lee's reflections on forms of work as participatory and communal in the creation of relationships that cannot be reduced to either use or exchange value. Likewise, we find it in Alain Badiou's meditations on love as origin of action and the affective space of politics. Several of the essays collected here further engage with the notion of urban mediations, with public space considered in its mediation through film, television, and other technologies. A short text by Vilém Flusser on television in Romania considers the "communicological" aspects of the mediation between public and private as a framework for thinking through the materiality of the virtual in terms of a new networked intersubjectivity. Flusser, the cosmopolitan thinker par excellence (a native of Prague who spent most of his life in São Paulo), well understood the particularity of a politics that needs a public sphere to maintain the tension between society and state.
As in every issue of Public, we have included thematic artist projects and have here gravitated towards different articulations of the boundaries between appearance and identity performance. Our next issue, Public 38, will continue our year of celebration and will serve as a companion issue solely dedicated to artistic works. Public 37 aims to re-evaluate and reposition the idea of the public, placing it within the scope of contemporary contexts and concerns. We hope that this cross-section of texts will at once help us reflect upon the past but also look ahead, the product of both return and anticipation. We are grateful to the writers and artists not only for helping us create this special issue of Public, but also for challenging us to think, to make choices, and for forcing us to ask the question: what is public?


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Mrs. Antionette V. "Toni" Perrotto
Claremont, NH Antoinette V. Perrotto, 89 of Claremont, NH died Wednesday (October 6) at the Woodlawn Care Center in Newport, NH following a period of failing health. She was known to her friends as "Toni" and to her family as "Nanette". She was born in Claremont, NH on November 17, 1931 the daughter of Gilles and Lydia (George) Pinard and had been a lifetime Claremont resident. "Toni" had been employed by J.J. Newberry, Claremont General Hospital, and Hannaford, she also owned and operated Michael's Restaurant in Windsor, VT. She was an avid golfer. Members of her family include two daughters, Patricia Murphy and her husband, Michael, Newport, NH; Paula Dumont and her husband, Mark, Derby Line, VT; four grandchildren, Jordan Murphy and his fiancé, Sarah Blackman, Joshua Murphy and his girlfriend, Darby Wellman, Catherine Ward and her husband, Ryan, Matthew Dumont, one great grandchild, Brannen Ward, two brothers, Roger Pinard, Florida; Roland Pinard, Maine, three sisters, Loretta Granger, Marie Duranleau Arlene Formichelli all of Claremont, NH and many nieces and nephews. She was predeceased by a son, Peter Perrotto, a daughter, Pamela Slade, her former husband, Edward Perrotto, the love of her life, Walter "Michael" Merrigan, a brother, Robert Pinard, two sisters, Irene Davis, Janet Pinard and two nephews, Scott Pinard and Roger Pinard, Jr. There will be no visiting hours. A Celebration of Life will be held at a later date at the convenience of the family. The family suggests that in lieu of flowers memorial contributions may be made to Woodlawn Care Center, Patient Activity Fund, 84 Pine Street, Newport, NH 03773. You are invited to share a memory of "Toni" with the family or leave a message of condolence in the family guest book at www.royfuneralhome.com.
Claremont, NH Antoinette V. Perrotto, 89 of Claremont, NH died Wednesday (October 6) at the Woodlawn Care Center in Newport, NH following a period of failing health. She was known to her friends as "Toni" and to her family as "Nanette".... View Obituary & Service Information
The family of Mrs. Antionette V. "Toni" Perrotto created this Life Tributes page to make it easy to share your memories.
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We take every step to make sure your furniture is delivered in showroom condition.
Prior to placing an order, please measure the intended space needed to accommodate your selected product(s). If you require assistance please call Customer Service during store hours at 512-451-0213.
Furniture in the Raw orders are processed immediately. You have 24 hours to make changes to your order without incurring a fee.
If a change to the order is made after 24 hours then the order is subject to a 25% restocking fee.
We will deliver your furniture in the USA (Hawaii and Alaska excluded) by ground delivery (FedEx, UPS) or residential curbside freight delivery for larger items. A freight driver ( 1 person) will use a lift gate and a pallet jack to unload your product. The pallet will be placed close to the curb of the destination address as possible.
Once all pallets are unloaded off of the truck it is the responsibility of the customer to move the items inside the delivery address. This is not a garage or indoor delivery.
When your furniture is delivered you must thoroughly inspect your items before signing received. Once signed for we do not have any recourse against damage. Please sign "subject to inspection" should you have any questions regarding your product or do not have an opportunity to thoroughly inspect at that time.
The delivery appointments are made by the freight carrier. The freight carrier will be instructed to call you and schedule a delivery appointment when your order arrives to the delivery terminal. Furniture in the Raw is not responsible if deliveries are late or missed due to unforeseen circumstances.
All residential deliveries are made by LTL freight carriers using a 48 – 53 foot tractor-trailer (semi-truck). If you are unable to accommodate a delivery from a tractor-trailer of that length then please contact a Furniture in the Raw Customer Service representative at 512-451-0213.
Tractor-trailers will only go down a driveway if there is enough room for them to turn around. They are not required to back down a driveway. The drivers come equipped with a pallet jack to assist them in moving the pallets.
If a customer's driveway is unpaved or too steep, or just inaccessible, the driver at his or her's own discretion will move the pallet as far as he or she may go or just deliver the pallet to the curb of the address.
Please contact Furniture in the Raw for any special requests, such as "White Glove" delivery option. This option is truly turn key, delivery and installation , including taking away all packaging materials.
All business deliveries made by LTL freight carriers using a 48 – 53 foot tractor-trailer (semi-truck). If you are unable to accommodate a delivery from a tractor-trailer of that length then please contact a Furniture in the Raw Customer Service representative at 512-451-0213.
If a driveway is unpaved or too steep, or just inaccessible, the driver at his or her's own discretion will move the pallet as far as he or she may go or just deliver the pallet to the curb of the address.
When your furniture is delivered you must thoroughly inspect your items before signing received. Once signed for we do not have any recourse against damage. Please sign "subject to inspection" should you have any questions regarding your product.
We are open every day. Contact Customer Service 512-451-0213 if you have any questions or concerns. Our products are warrantied and should any item be received with damage, contact us immediately for resolution.
Returns will be accepted up to 15 days of the original receipt with the purchaser incurring the outbound and return shipping costs and a 25% restocking fee.
Returns must be in original packaging with all items secured in the same manner they were received.
Failure to repackage and secure items could cause damage during the shipping process.
A further deduction of fees may apply when customs and/or duty charges are applied by the return freight carrier.
All returns will be examined upon arrival to the company warehouse and subsequent charges may be added for damaged goods.
Clearance items are final and cannot be returned.
Most refunds or credits are based on the payment method used at the time of purchase. Please allow 7-10 days following receipt of the return items for any credit or refund to display on your credit card statement.


text:
Written by Lilly Miller
In our late 20s or early 30s, our skin begins to decrease its natural collagen production, which leads to less volume and fullness in the face, more sagging of the skin, as well as the emergence of fine lines and wrinkles. Even though ageing is a natural and unavoidable aspect of life, most people want to slow this process down as much as they can, while maintaining a youthful and radiant appearance. That is why anti-ageing treatments are increasingly growing in popularity, with ultrasound procedures being the most common and most effective options. If you want to learn more about these treatments, as well as their processes and results, here are some of the most important factors of ultrasound skin lifts:
What is an ultrasound treatment?
An ultrasound skin-lifting treatment, also known as Ultherapy, is a nonsurgical and non-invasive alternative to a traditional facelift. The procedure uses ultrasound energy to achieve a dual effect, causing slight muscle contractions that naturally tighten the skin, while simultaneously encouraging the production of new collagen, which helps to renew and even out the skin texture from the inside out. Therefore, Ultherapy efficiently reduces common signs of ageing, such as wrinkles, fine lines and sagging skin, on the face, neck and décolletage, while leading to a firmer, more youthful and more radiant overall appearance.
When is the procedure carried out?
Ultrasound skin lift treatments are the best option for patients with light to moderate skin sagging issues who want to achieve a tighter and more youthful complexion. While it can also lift and firm the skin on the neck and under the chin to combat common issues such as wrinkles, fine lines and 'double chins', Ultherapy treatments might be particularly suitable for those patients who want to eliminate excess skin on the eyelids and lift the eyebrows, as this is the area at which the procedure truly excels.
Although ultrasound treatments aren't a replacement for surgical facelifts, they are the most efficient alternative for patients who want to minimise the signs of ageing in a nonsurgical way, or even prolong the effects of cosmetic procedures without drastically altering their appearance.
What does the procedure involve?
During a professional ultherapy procedure, a doctor or a licensed esthetician will place a smooth applicator on a patient's skin, while using an ultrasound viewer that will allow them to calibrate the device to the most appropriate settings. Low levels of focused ultrasound energy are then delivered to the deeper layers of the skin to stimulate the production of new collagen, while leaving the surface of the skin intact. The treatment can take anywhere from 30 to 90 minutes, depending on the area of the skin that is being treated, and patients might experience intermittent feelings of discomfort, tingling and heat during the procedure.
The preparation for an Ultherapy treatment is quite minimal, and only involves removing makeup and skin care products from the skin before the procedure, as well as taking certain anti-inflammatory or pain-reducing medication, in case the patient is particularly sensitive or reactive.
What can be expected after the treatment?
There is usually no recovery period or downtime needed after an Ultherapy procedure. Requiring no special precautions or sick leave, patients are free to resume with their normal daily routines following an ultrasound treatment, including socializing, working and even exercising.
Even though the first signs of tightness, firmness and youthfulness can be noticed immediately or a few days after the first Ultherapy treatment, the real results typically take two to three months to appear on the treated area of the skin. This is due to the body's natural regenerative processes, which take time to rebuild collagen and lead to new, more elastic skin. However, after this process is complete, the benefits can last up to a year, or even more, depending on the patient's skin care routine and natural ageing process.
What are the risks and side effects?
Although ultrasound skin-tightening treatments are generally considered to be quite safe, sensations of tingling or heat might occur during the procedure, but they commonly subside soon after. On some occasions, the areas of the skin that have been treated can become irritated and inflamed, with minor side effects, such as tenderness, swelling and tingling, occasionally occurring. In rare cases, some short-term side effects, including numbness and bruising, may occur, although these symptoms are usually mild, and generally tend to calm down and disappear within a couple of days following the procedure.
All in all, as a non-invasive treatment with minimal to no side effects, Ultherapy is one of the best and most efficient procedures currently available for improving the tone and the texture of the skin, while delivering real and clearly visible results.
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In our late 20s or early 30s, our skin begins to decrease its natural collagen production, which leads to less volume and fullness in the face, more...


This script allow you to randomise mapping of group of objects. Work perfectly with instance objects.
After that can be found in category "Hristo Dimitrov"
I think the interface is intuitive enough. But if you have any questions just write me.


A tour of mountain homes and historic building in the Idaho City area - a fundraiser for Mountain Kids Day Camp.
Join your friends and neighbors to help a good cause and enjoy a great outing visiting eight interesting unique private homes and two historic buildings, in the beautiful Idaho City area. Visit inside The Brogan House, built in 1902, and step back in time. Take a rare look in Trudy Jackson's (of World Famous Trudy's Kitchen) cozy cabin up on a hill overlooking Idaho City. An artist's studio with lots of sunny windows is a highlight, as is a beautiful view home built by the skilled craftsman homeowner himself - a real work of art! The historic buildings this year include the Boise Basin Museum, 1867, which was once a Post Office, and the Masonic Lodge #1, 1865, which is rarely open to the public, but so interesting to see. Moving at your own pace, enjoy this self-guided driving tour; the roads are easy, the locations well-marked.
This is a fundraiser for Mountain Kids Day Camp, a faith-based camp where all 77 kids attended camp at no charge.
The Idaho City Senior Center serves as Tour Headquarters; tickets will be exchanged for a brochure/map and a potato bar lunch will be served for only $5. Presale tickets available online for $10 and at the Idaho City Visitors Center. Tickets on the day of the event are $15, (cash and checks only) at the Senior Center.
The Senior Center will provide a potato bar lunch for $5, and dessert for $3.


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Is it Easier to Become a Lawyer than a Master of Wine?
by Lauren Mowery
Illustration by Rebecca Bradley
When I got in trouble as a teenager, my parents directed me to "take the stand" behind a formal, burled wood dining table. We never actually ate there. It was purely for family court. Slinking into a stiff chair, dread heavy in my stomach, I'd endure an interrogation akin to a witness on cross-examination.
My dad was a trial lawyer, and I became intimately familiar with the legal profession. In high school, I worked in his office answering phones and filing papers. But overhearing his clients' problems (wrongful termination, employment discrimination) and the strategy sessions on how to tackle them instilled a respect for the vital role of advocacy.
That was until I practiced law in New York.
Watching lawyers in bad suits fight over scraps before a judge, my illusions and idealism dissipated like smoke in the wind.
So I had a Fordham Law degree, but I loathed the profession. What to do? I always had a strong interest in writing, and I developed an equally strong affinity for wine. (What lawyer doesn't?) I challenged myself to taste and learn more, completing all of the Wine & Spirit Education Trust (WSET) courses, culminating with the three-year diploma.
It's easier to earn a license to represent a defendant facing a death sentence than be certified as a Master of Wine by The Institute of Masters of Wine in Britain.
During this time, I quit law to break into wine writing. As successes in my new field mounted, it became apparent that the details of my job—traveling, tasting, interviewing and reporting—were tailor-made for the Masters of Wine (MW) program. I applied and was accepted.
What also became apparent, however, was that achieving one of the most recognized pinnacles of vinous "mastery" could be harder and costlier in money, time, and emotional energy, than becoming a lawyer. That's not to mention arguably less financial return on the investment.
Let's compare numbers. On September 1, 88 new candidates were accepted into the MW program. That same month, only 13 (13!) new Masters of Wine were inducted for the entire year. Those 13 brought the worldwide total of MWs to 354 recipients across 28 countries. (The institute does not release exam pass rates.)
Earning the designation requires demonstrated mastery of every facet of the wine industry, from viticulture, winemaking and marketing, in addition to the wines poured blind into your glass.
By contrast, America has a glut of lawyers. In 2015, the American Bar Association (ABA) reported 1,300,705 licensed attorneys. Obviously, there's more work for attorneys than wine professionals, but that's still an enormous number. In July 2015, 70% of first-time candidates passed the New York State Bar exam.
Comparing costs, law school initially appears more expensive. Annual tuition ranges from $17,000 per year (public university) to $43,000 (a top private school).
"Tuition" for the MW program runs around $4,000 per year. That includes a weeklong seminar advising how to take the exam, but does not cover the content tested. That's because the MW program is self-taught.
"To be successful at either, you have to be motivated by a certain drive and curiosity beyond the norm. We do it, though, I think, because the challenges themselves, of becoming a lawyer or an MW, are enormously satisfying. Both are an exploration into incredibly deep spheres of knowledge." —Anna Lee Iijima, Wine Enthusiast Contributing Editor, MW candidate and former lawyer
That cost doesn't include airfare to get to the seminar (held in international cities like San Francisco) or hotels, which can contribute $2,000 to the bill. Add another $2,000 in testing fees, plus $2,000 more for travel and lodging near the examination site. That's $10,000 before you've spent a penny on actual education.
Multiply those costs over several years, and suddenly, the price of law school no longer dramatically eclipses the MW program.
The next cost is time. To earn a law license requires three years of full-time school (with exception for the rare law reader), three months of study prep and two days for the exam. John F. Kennedy Jr. famously failed the New York Bar Exam twice. I passed on my first try.
Much like law school, the MW program requires a minimum of three years, but it can demand seven or eight, assuming that the candidate finishes.
After the first year, candidates take a one-day assessment to pass into Stage Two, which earns the right to take the four-day exam. Many fail that assessment or get held back a year. And it requires nearly as much studying as taking the bar exam.
So, it's easier to earn a license to represent a defendant facing a death sentence than be certified as a Master of Wine by The Institute of Masters of Wine in Britain.
Compounding the torment, MW exams are offered just once a year, not twice like the bar. If MW candidates survive the notorious test, they can spend another year or longer to research and write a paper.
And then there's the mental cost. And relationship costs. The MW pursuit is a long and lonely path, akin to night school without a defined ending or assurance of success.
It tests the limits of a candidate's emotional stamina. How do you press on, studying year after year, in the face of failure? Do you spend your weekends with your tasting group and vacation days on study trips, or build sandcastles on the beach with your kids?
"There were times when I doubted everything. My sanity, my ability, my decision to embark on this program…I had certainly underestimated the cost, and there were times I felt my brain breaking from the strain." —Anne Krebiehl MW
And once you receive your shiny, new initials, then what? With a law school diploma comes the likely earning power to pay back expensive loans. For a Master of Wine, that path is less apparent.
"There are obvious parallels between the kind of people who pursue law and the Master of Wine," says Anna Lee Iijima, a contributing editor at Wine Enthusiast. She's a MW candidate and former lawyer. "To be successful at either, you have to be motivated by a certain drive and curiosity beyond the norm. We do it, though, I think, because the challenges themselves, of becoming a lawyer or an MW, are enormously satisfying. Both are an exploration into incredibly deep spheres of knowledge."
Wine Enthusiast Contributing Editor Anne Krebiehl is one of those 354 certified MWs.
"There were times when I doubted everything," Krebiehl said of her experience. "My sanity, my ability, my decision to embark on this program…I had certainly underestimated the cost, and there were times I felt my brain breaking from the strain. On the other hand, I am glad for the appreciation of the world of wine it has granted me. I worked vintage in three different countries, spent endless weekends and evenings at blind tastings or huddled in my bed surrounded by books, putting everything else on hold. However, I also met fascinating people on the course who are now dear friends. It was a huge challenge and I am glad I faced it."
For me, tackling the program is as much about the journey as the destination. The path to understand wine is never complete. The MW framework forces candidates beyond their expertise. It provides a broad, holistic perspective of the wine world's interconnectedness by viewing earth from space and a granular understanding when evaluating a vineyard block.
This process makes us better, more rigorous wine professionals, whether we earn the initials or not. While the Institute discourages candidates (dubbed "tourists") from joining to access benefits (trips, industry contacts, prestige of affiliation) without the intent to finish, for the sake of your sanity, the process must be viewed as a means of self-growth. Otherwise, repeated failures feel pointless and expensive. Law school, on the other hand, is a means to an end.
I see the Master of Wine as an amalgamation of a law degree and a Master of Fine Arts degree that bridges reason, practicality and business with art. I spend time with the architects of liquid beauty. They deliver a product that links people across divergent cultures and puts a little happiness back into the world.
I never met a person who wished they spent more time with their lawyer, but most regretted not having that second bottle of wine.
Topics: Wine Culture
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The augmented reality experience is being timed to coincide with Force Friday II, the global event taking place September 1-3, which will roll out new toys and merchandise in advance of Star Wars: Episode VIII - The Last Jedi.
What is it exactly? Starting on September 1, Force Friday, and running through September 3, you can use Find the Force to find Star Wars characters out in the world, not unlike Pokemon GO.
You can take photos or even short videos interacting with the characters, and even Admiral Ackbar is already discoverable. Further details on that particularly enticing Easter egg are yet to be revealed, but we imagine Disney has hidden some details on one of the sequel's new recruits - such as Laura Dern and/or Benicio Del Toro's characters - and stowed them away as part of this novel AR campaign. With The Last Jedi coming out this December, Force Friday II is happening this September.
If you can't wait till next week, you can see the augmented reality characters in action now by downloading the latest version of app now and unlocking those Penguin-like inhabitants of Ahch-To, Porgs.
It's not the first time Disney has dabbled in AR, as the original Star Wars app featured a Stormtrooper, BB-8 and other characters.
"We are excited that augmented reality will allow fans to experience the universe in a whole new way", Kathleen Kennedy, the president of the Disney-controlled Lucasfilm, which is responsible for the cinematic series that originated in 1977, said.
Mark your calendars, Star Wars fans.
Lest you think this is a minor PR stunt, Find the Force will be available in 20,000 stores in 30 different countries, including Best Buy, Apple, Kohl's and Petco (?).
If you damaged your eyes, you'll likely experience symptoms like altered vision today, but the odds are in your favor. In Northeast Ohio, sky watchers saw a partial solar eclipse , with about 80 percent of the sun obscured by the moon.
Chicago Bulls shooting guard Dwyane Wade may be the next star to leave his team from last season if recent rumors are true. Wade, who turns 36 in January, averaged 18.3 points, 4.5 rebounds and 3.8 assists last season while shooting 43.4 percent.


Ajise Vincent is a Nigerian Poet. His poem "Song of a Progeny" was a shortlisted poem at the Korea- Nigeria Poetry feast, 2015. His works have been published in London grip magazine, Kalahari Review, Sakonfa literary magazine, African Writer, I am not a silent poet, Poetry Pacific, The Commonline Journal, Black Boy Review and various anthologies. He is currently finishing up a major in Economics at a prestigious university in Nigeria.


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Street View Podcast
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Season 3, Episode 1: Streets, Shelters and Society
January 25, 2016 Street View Podcast Leave a comment
"I remember when I first became homeless, the little lady at the Stewpot told me the same thing. She said, 'Don't be on these streets.' She said, 'These streets, they'll trap you out here.' And she was right."
– Rashad reflecting on the need to get out of homelessness sooner than later
The crew is back for an all-new season of Street View. On the season premiere, Rashad, Antoinette, Ryan and Jasmine catch up and talk about a variety of topics, including how respect is learned, the library's new projects, being named Best Local Podcast by Dallas Observer, conformity, capitalism and the idea of self-sufficiency in an increasingly interdependent society.
Season 3, Episode 1:
http://streetview.podomatic.com/enclosure/2016-01-25T19_32_32-08_00.mp3
The Sessions
Street View RSS
Street View New Voices - Love on the Streets
Series Finale: All Good Things… July 27, 2016
Season 3, Episode 7: To Conform or Not to Conform? July 5, 2016
Season 3, Episode 6: Wonder Women May 20, 2016
Season 3, Episode 5: If It's Broken, Fix It April 26, 2016
Season 3, Episode 4: State of Homelessness April 4, 2016
Season 3, Episode 3: Compassion Fatigue March 16, 2016
Season 3, Episode 2: Time and Energy February 8, 2016
Season 3, Episode 1: Streets, Shelters and Society January 25, 2016
Season 2, Episode 10: The Vagabond June 25, 2015
Season 2, Episode 9: Working It June 24, 2015
Street View New Voices - Love on the Streets February 18, 2020
J. Erik Jonsson Central Library
1515 Young Street


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Sioux Falls Police: Multiple Charges For Two Burglary Suspects
Chuck Wood Published: October 6, 2020
It was a wild night for Sioux Falls police officers and a police service dog.
It started around 1:45 a.m Tuesday when Sioux Falls police officers were on a routine patrol near Kiwanis Avenue and 31st Street. The officers noticed a car parked on a driveaway of a home with its dome light on and two men going through cars parked in a garage.
Police spokesman Sam Clemens said one of the officers knew the homeowners, but he did not recognize the men in the garage.
Clemens said when officers stopped their car and identified themselves as police, the two men ran away. One suspect, 19-year-old Alex Maombi of Sioux Falls was quickly found and arrested.
Dakota News Now reports that a K9 officer was called in to help find the other suspect who was found hiding in a nearby shed. When the suspect fled from the shed a service dog gave chase. The suspect punched the service dog before climbing a six-foot fence. While police were grabbing the suspect's legs to pull him off the fence, the suspect kicked two of the officers.
Police were able to pull 22-year-old Isaac Darsaw, of Sioux Falls, off the fence and place him under arrest.
Darsaw is being charged with first-degree burglary, resisting arrest, fleeing police, two counts of simple assault on law enforcement, and a police service dog. Maombi is charged with burglary, resisting arrest, and fleeing police.
Clemens said additional charges are likely.
Sturgis Rally Through Getty Images
Filed Under: Crime, Sioux Falls
Categories: Articles, News, Newsletter KXRB


Edward P. Dolido is a litigator and officer of Storch Amini who represents clients in intellectual property disputes and complex commercial litigation. His IP practice has included patent infringement/declaratory judgment actions relating to both apparatus and method patents; trademark infringement litigation involving industrial and consumer goods and entertainment properties; and trade secret disputes involving technologies and design.
During his career, Ed has also handled myriad commercial disputes involving contracts, securities, consumer protection, product liability, real estate, employment and various other subjects. He has represented Fortune 50 companies, as well as small companies and individuals, in matters resolved in the federal and state trial and appellate courts, in mediation, and in domestic and international arbitration under the rules of various administrative bodies.
Ed joined Storch Amini in 2012, after 23 years at the international law firm of Fulbright & Jaworski LLP where he was a partner in the litigation, intellectual property and international arbitration departments. Since 2007, Ed has served as the Associate Village Justice for the Incorporated Village of Upper Brookville, NY.
Ed received his J.D. from Boston University and is licensed to practice law in New York.


Another variation on the house-makeover theme: Teenagers get to redo their bedrooms with the help of their friends and a team of professionals.
"Horatio's Drive: America's First Road Trip"
Back in 1903, Dr. Horatio Nelson Jackson became a celebrity as he led a drive from San Francisco to New York in his 20-horsepower Winton touring car. With no paved roads outside of major cities, it was a difficult journey, retold tonight by filmmaker Ken Burns.
Based on the experiences of FBI profiler Candice DeLong, this new movie tells the story of a woman torn between her dangerous job and her responsibilities as a single mother. Jean Smart stars as DeLong and A Martinez plays her FBI partner and lover.