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Style Lessons
►Acoustic: Directory of Acoustic style lessons.
►Bluegrass: Directory of Bluegrass style lessons.
▼Blues: Directory of Blues style lessons.
(Andy Gurley) 1: Getting the Blues: The Blues Scale Andy Gurley takes a look at the blues scale and it's relationship to the minor pentatonic.
(Andy Gurley) 2: Blues Rhythm Riffs 3 This tutorial gives you an introduction to the concept of the riff, as applied to blues.
(Andy Gurley) 3: 12 Bar Blues Form: Minor and Dominant Chords An introduction to basic open and barre forms of minor and dominant chords.
(Andy Gurley) 4: Essential Blues Rhythm: The Blues Shuffle To take the previous "straight versus swing" lessons into the area of the blues shuffle, the primary feel of the blues.
(Andy Gurley) 5: Minor Pentatonics in Blues Soloing Andy Gurley takes a look at the minor pentatonic scale.
(Christopher Schlegel) 1: 12 Bar Blues Form The First Law of the Blues is the 12 Bar Blues Form. By the end of this tutorial you should understand what the 12 Bar Blues Form is and be able to play a simple example of this important idea.
(Christopher Schlegel) 2: 12 Bar Blues in E for Beginners! In this set of beginner blues lessons, I'll teach you how to play a simple blues in E. I'll start off with the riff and the triplet shuffle rhythm in E, then move it to A. Next I'll show you how to change those chords in time, then we'll learn the B7 chord. I'll go over the 12 bar form before I show you some fills you can play to spice things up. Then we'll put everything together, and finish up with a play along.
(Christopher Schlegel) 3: 12 Bar Blues in A In this Tutorial Series we are going to learning how to play a 12 Bar Blues in A.
(Christopher Schlegel) 4: More 12 Bar Blues in A In this Tutorial Series we are going to expand upon our 12 Bar Blues in the key of A.
(Christopher Schlegel) 5: 12 Bar Blues In All 12 Keys In this tutorial I've created a 12 bar blues backing track in every key and at two tempos (80 BPM and 120 BPM). I play each blues with a different rhythm guitar and lead guitar approach to show how much variation is possible within the 12 bar blues form. This is a valuable way to get used to playing in every key and comfortable with playing anywhere on the fretboard.
(Christopher Schlegel) 1: Blues Orchestration Series 1 Christopher will show you how to play a blues type arrangement for solo guitar. To orchestrate means to put many parts together. In this tutorial we'll combine a walking bass line with upper chord tones. The end result is two parts playing together at the same time.
(Christopher Schlegel) 2: Blues Orchestration Series 2 Christopher will show you new ways to play a blues type arrangement for solo guitar. To orchestrate means to put many parts together. In this tutorial we'll combine a walking bass line with upper chord tones. The end result is two parts playing together at the same time. We'll also add a variety of classic blues turnarounds.
(Christopher Schlegel) 3: Blues Orchestration Series 3 Christopher will show you new ways to play a blues type arrangement for solo guitar. To orchestrate means to put many parts together. In this tutorial we'll combine a walking bass line with upper chord tones. The end result is two parts playing together at the same time. We'll also add a variety of classic blues walking bass lines.
(Christopher Schlegel) 4: Blues Orchestration Series 4 Christopher will show you how to move the familiar pattern of the earlier solo guitar blues orchestration tutorials to any fretboard position by barring with the index finger and using it as a sort of moveable capo. These new options will give us new skills and tools to play more varieties of blues type patterns!
(Christopher Schlegel) 5: Blues Orchestration Series 5 Christopher will show a new way to play a blues type arrangement for solo guitar. We'll move the standard boogie diad pattern up an octave to have motion in the upper register while making the bass notes more static.
(Christopher Schlegel) 6: Blues Orchestration Series 6 Christopher will show you a new way to play a Blues type arrangement involving orchestrating for solo guitar. This involves combining a bass line with middle chord tones as well as upper chord tones. In this way we get a very full sound and suggest three separate voices or things happening at once!
(Christopher Schlegel) 1: E Blues Rhythm & Lead: Series 1 In this tutorial we are going to learn how to alternate between playing a basic blues rhythm riff & lead fill.
(Christopher Schlegel) 2: E Blues Rhythm & Lead: Series 2 By the end of this tutorial, you should be able to play a basic 12 bar blues using simple open chords and combine it with simple lead fills by alternating between the rhythm chords and single note lead fills.
(Christopher Schlegel) 3: G Blues Rhythm & Lead Series 3 In this tutorial we will learn to play a basic 12 bar blues in G major in an early rock and roll style that combines and alternates between power chords and basic, beginner lead fills.
(Christopher Schlegel) 4: B Blues Rhythm & Lead Series 4 In this tutorial we will learn to play a basic 12 bar blues in B major in an early rock and roll style that combines and alternates between power chords and basic, beginner lead fills.
(Christopher Schlegel) 5: C Blues Rhythm & Lead Series 5 In this tutorial we will learn to play a lead fill that uses double stops in a basic 12 bar blues in C major. This is an important step in developing a style that combines and alternates between a blues rhythm riff and a beginner lead fill.
(Christopher Schlegel) 6: G Blues Rhythm & Lead Series 6 In this tutorial we will learn to play a basic 12 bar blues in G major in a style that combines and alternates between a blues rhythm riff and a lead fill. We'll learn two different turnarounds, use an applied dominant chord and add a bluesy ending lick!
(Christopher Schlegel) 7: Basic Blues Licks Series 1 Christopher will show you some basic blues licks that form the foundation of blues soloing vocabulary. This includes the following characteristics of blues lead playing: using the blues scale (minor pentatonic scale with flat 5th "blue note"), triplet swing phrasing, dynamics and articulations like sliding and bending. This is essentially a primer on playing single note melody lines in a blues style to start building a repertoire of blues licks.
(Christopher Schlegel) 10: Bread and Butter Blues Licks Series 1 In this set of lessons, I'll teach you a "bread and butter" blues lick that you can use in almost any blues solo. I'll start with an introduction to the lick, then how to do the tricking picking and bending. The we'll play the lick using the IV and V chords, then we'll review the whole 12 bar form before we do two play alongs in different tempos. Next we'll look at straight 8th rhythm, and finish up with two more play alongs.
(Christopher Schlegel) 11: Bread and Butter Blues Licks Series 2 In this next set of lessons on bread and butter blues licks, I'll teach you a major pentatonic lick. I'll introduce you to the concepts and lessons and show you the basis of the lick, then how to apply the picking and bending. We'll then play the lick over the IV and V chords, then add some variation. We'll do play alongs in two different tempos before we examine the lick in a straight 8th rhythm. We'll conclude with 2 more play alongs.
(Christopher Schlegel) 12: Bread and Butter Blues Licks Series 3 Bread & butter means the central or fundamental part of a thing. It also means how you earning a living; how you earn you bread to pay for your bread & butter! In this tutorial we'll learn another, more advanced major pentatonic lick that you've heard many times.
(Christopher Schlegel) 13: Spiced Up Blues Series 1 Christopher will show you how to really spice up your blues rhythm and lead playing with some interesting chord progressions, chord voicings and lead licks! First we'll look at a chord progression that's not the standard 12 bar form. Next we'll add some extended chord voicings. Next, we'll add some licks that are more chord tone based than standard pentatonic. Finally, we'll put them all together in some play alongs to practice these new ideas.
(Christopher Schlegel) 14: Spiced Up Blues Series 2 Christopher will show you how to really spice up your blues rhythm and lead playing with some interesting chord progressions, chord voicings and lead licks! This time we're going to use the 12 bar blues form as a standard, but add more chords to the progression. Next, we'll add some lead licks to play over our new chord progression. Finally, we'll put it all together in some play alongs to practice these new ideas.
(Christopher Schlegel) 15: Spiced Up Blues Series 3 Christopher will show you how to really spice up your blues rhythm and lead playing with some interesting chord progressions and lead licks! We'll take a complex blues chord progression and learn some next level licks that build on the previous tutorial in this series. We'll put them all together in some play alongs to practice these new ideas.
(Christopher Schlegel) 16: Building A Blues Arrangement Christopher will show you how to build a blues arrangement. We'll use various rhythm and lead guitar techniques and combine them in a dramatic way to build and release tension over the course of many repeated passes at a 12 bar blues form. We'll experiment with loud & quiet dynamic levels, various approaches to alternating rhythm and lead guitar parts.
(Christopher Schlegel) 17: 3 Whammy Bar Blues Tricks In this tutorial we will learn 3 whammy bar tricks to spice up your blues playing technique.
(Christopher Schlegel) 18: 16 Bar Blues Often, we hear of the 12 Bar Blues. But blues doesn't have to be 12 bars or measures! It can be any number of bars or measures that you want. In this tutorial we will learn to play a jazzy 16 Bar Blues in C.
(Christopher Schlegel) 19: Advanced Blues Licks Christopher will show you how to really spice up your blues lead playing with these advanced licks! First we'll look at the basic pentatonic minor box as scale degrees. Then we'll do the same for the mixolydian mode. Then we'll start building licks from combining those two scales and play them over the changes of a 12 bar blues in A.
(Christopher Schlegel) 20: Jingle Bell Blues Christopher will show you how to turn the old Christmas standard tune "Jingle Bells" into a swinging blues tune with a harmonized diad melody, some fun bluesy licks for a solo and a rocking rhythm guitar.
(Christopher Schlegel) 1: Major Notes In Minor Pentatonic Series 1 Christopher will show you how to spice up your blues licks by adding major scales notes to the minor pentatonic "box" blues shapes. For these example exercises we will use the A minor pentatonic scale and a 12 bar blues form in A major. The central idea is to use the pentatonic box as a visual reference while targeting chord tones.
(Christopher Schlegel) 2: Major Notes in Minor Pentatonic Series 2 In this tutorial we will learn to spice up the minor pentatonic "box" blues shape with notes from the major scale. For these example exercises we will use the A minor pentatonic scale and a 12 bar blues form in A major. The central idea is to use the pentatonic box as a visual reference while targeting chord tones. The lessons in this series are based on a lot of the ideas we already learned in the previous tutorial "Major Notes in Pentatonic Minor".
(Christopher Schlegel) 3: Major Notes In Minor Pentatonic Series 3 In this third tutorial of the series we will focus only on targeting chord tones in order to learn more ways to spice up the minor pentatonic "box" blues shape with notes from the major scales. The lessons in this series are based on a lot of the ideas we already learned in the previous tutorials from the series on "Major Notes in Pentatonic Minor". For these example exercises we will use the A minor pentatonic scale and a 12 bar blues form in A major.
(Christopher Schlegel) 4: Major Notes In Minor Pentatonic Series 4 In this tutorial we will learn to spice up the minor pentatonic "box" blues shape with notes from the major scale. For these example exercises we will use the A minor pentatonic scale and a 12 bar blues form in A major. The central idea is to use the pentatonic box as a visual reference while targeting chord tones. The lessons in this series are based on a lot of the ideas we already learned in the previous tutorials in the series "Major Notes in Pentatonic Minor".
(Christopher Schlegel) 1: Soulful R&B Series 1 In this tutorial, we will learn to play some soulful R&B (Rhytm & Blues) guitar style rhythm parts & lead licks in a major key. This style is rooted strongly in blues and jazz, with distinctly soulful melodies and bittersweet jazzy chords. You can also hear a bit of a funky approach in the use of syncopated, percussive and staccato rhythms.
(Christopher Schlegel) 2: Soulful R&B Series 2 In this tutorial, we will learn to play some soulful rhythm and blues guitar style rhythm parts & lead licks in a minor key. This style is rooted strongly in blues and jazz, with distinctly soulful melodies and bittersweet jazzy chords. You can also hear a bit of a funky approach in the use of syncopated, percussive and staccato rhythms. We'll put it all together in this tutorial.
(Doug Fearman) 1: Frugal Blues Soloing Who says you can't play a tasty blues solo using only a few notes? In this tutorial you'll learn how to create a blues solo using only a few notes on one or two strings. We'll break down lots of very simple licks here, using on-screen graphics and played at half and quarter speeds so you can get them under your fingers.
(Doug Fearman) 2: Blues "In the Style of" Licks In this tutorial of 15 lessons, Ill be teaching you numerous blues licks that are "in the style of" the players that have been my favorites and inspired me over the years. Each lesson contains one or more licks, often several, that are used in the context of a solo over the 12 bar blues form in the key of G. I'll use on-screen graphics to help you out, and also use slo-mo so you can really "get it".
(Doug Fearman) 3: Shufflin' Blues in E The six lessons in this tutorial will tune you into some ways to play blues leads higher up the neck. In lesson one I'll show you how to emphasize the II note, F#, in the E minor pentatonic scale. Next I'll focus on the V note, B, and employ a bend in three short solos. Lesson 3 shows a simple blues riff that's made into a solo; following that I'll break down a relatively easy solo. Lessons 5 and 6 demonstrate the E minor pentatonic scale on the 12th to 15th frets and beyond.
(Doug Fearman) 4: Simple Funky Fills This series of lessons demonstrates some funky fill notes that accompany a I-IV-V blues in the key of C. These fill notes are taken from the blues scale, and include the I, V, dominant 7, and octave. After demonstrating the chords used, I show you several variations with these notes that you can use to play fills over the chords.
(Doug Fearman) 5: Starting on the Four Chord In this tutorial I'll show you how to take a different approach to a turnaround by moving to the IV chord. We're using a progression in the key of A that I'll show you in the first lesson. Then we'll look at how to use the A minor pentatonic scale in this context, followed by the A dorian scale. In the last lesson I'll show you some licks using both scales.
(Doug Fearman) 1: Funky Southern Rock In this tutorial I'll show you some approaches to playing over southern rock style rhythms. First is the G minor pentatonic scale over a funky rhythm and a simple 2 note lick. In lesson two, I'll demo the chords in the key of G and play some funkified rhythms. Next up are some single-note fills, followed by a chordal fill. In lesson 5 we'll use the dorian scale in this context. Last, I'll show you another southern rock style lick.
(Doug Fearman) 2: Southern Rock Scales In this tutorial we'll explore a wide variety of scales and licks that work with a 3 chord progression in the key of C. The 3 chords we'll be using are C (the I chord), F (the IV chord), and Bb ( the dominant VII chord). This chord progression has been used in many southern rock and blues rock songs.
(Hanspeter Kruesi) 1: Drop D Slide Guitar Here you'll learn many tricks so you can play great blues in the style of Ry Cooder with your bottle neck, using a drop D tuning. You'll start from the basics, go through several examples, and at the end you'll be able to create your own version.
(Hanspeter Kruesi) 2: Mississippi Blues In this set of lessons I'll give you some ideas for playing the blues with a drop D tuning and a bottleneck. I'll cover the drop D tuning, talk about the basic technique, then get into some chords. Then I'll teach some melodic ideas and groove examples, and give you a summary of ideas to create an entire tune.
(Hanspeter Kruesi) 3: Bad Blues "Bad Blues" will give you some ideas on how to play blues in a rubato style - without real timing. This gives you freedom to play blues with full expression and dynamics. I'll teach picking technique, then show you several licks to play. I also talk about sound settings, because they are also part of your dynamic expression.
(Hanspeter Kruesi) 4: Bad Blues 2 In "Bad Blues 2", I'll teach you to play a theme I composed. I'll talk a bit about the theme, then show you a vibrato exercise. In lesson 3 I'll show you the first part, using the vibrato. In the next lessons I'll show you parts 2 and 3 and how you can create variations. To conclude I'll put it all together and play the theme for you.
(Hanspeter Kruesi) 5: Arizona Blues In this set of lessons I'll teach you a short simple original song, "Arizona Blues". I'll introduce the tune to you, then show you how to play the two main parts. Next I'll put the two parts together for you, then get into the hammer-on and bluesy licks. I'll play the song through for you, then finish by explaining a bit of my philosophy behind it.
(Hanspeter Kruesi) 6: Slow Blues In this tutorial you'll learn to play a minor blues with some rock elements, and you'll learn to play dynamically by using specific sound settings and playing techniques to create feeling. We'll talk about sound and tone, then look at the chords. The next four lessons will focus on licks you can play over the minor blues progression, and in the final lesson we'll put it all together and play through the whole song.
(Hanspeter Kruesi) 7: Slow Blues II In these lessons you'll learn some ideas about how to play an orchestral slow blues and solo licks in the key of E. We'll work on some rhythm ideas, talk about timing, sound and feeling, and good combinations of solo licks. Last, we'll put these elements together as we play through this slow blues progression.
(Neal Walter) 1: GT Channel: Blues with Neal 1 In the weekly Guitar Tricks Channel, Neal Walter will show you in an fun, quick, engaging way how to play the blues. These episodes from 2009 to 2011 cover a variety of blues topics and even feature a special guest - Anders Mouridsen stops by to jam with Neal live in the studio.
(Neal Walter) 2: GT Channel: Blues with Neal 2 These Guitar Tricks Channel episodes from 2011-2012 sample great blues topics like two-note chords, vibrato, chromatics in the blues, Texas style blues, and coping the style of Stevie Ray Vaughan.
(Neal Walter) 3: GT Channel: Blues with Neal 3 These Guitar Tricks Channel episodes from 2013 will teach you more blues riffs and tricks, including turnarounds, call and response, Texas boogie, major blues, subtlety in lead playing, and a variety of bending techniques.
(Anders Mouridsen) 12 Bar Blues: Dominant 7th Chords Dominant 7th chords in three keys.
(Douglas Showalter) 12 Bar Blues: More Minor Blues A look at the 12 bar minor blues in 4 keys, with slight variations.
(Lisa McCormick) Acoustic Fingerstyle Blues, Step-by-Step Jorma Kaukonen started here. Taj Mahal, and Keb' Mo' too, plus dozens of other acoustic blues masters. Even if you're new to fingerpicking, this tutorial will walk you step-by-step through learning to play the fingerstyle blues, and load you up with an impressive collection of tricks and riffs you can toss in at any time. You'll even learn to write your own blues song!
(Anders Mouridsen) Boogie Pattern and Rhythmic Variations This tutorial shows how to play a basic shuffle boogie blues, plus some rhythmic variations using 2 and 3 note chord voicings.
(Tom Finch) Buddy Guy Artist Study Tome will show you essential aspects of Guy's playing style and music across many decades has inspired players to learn about the blues of the past, bring those traditions to the present and expand on them into the future! Through his playing and showmanship, he directly influenced the early rock legends of the 60s. Clapton, Page, Beck & Hendrix all took a cue & a few licks from Buddy Guy!
(Andy Gurley) Elements of Better Blues Musicianship 2 This tutorial has no hands-on examples, yet has some of the most practical advice offered on the site. This is how you should use the information we give you here. This is how you should learn to play in a band situation. This is how you make the most of what you have, even if it's just a few crafty licks. We spend a good deal of time working your vocabulary and chops. Now it's time to make you into a MUSICIAN.
(Anders Mouridsen) GT Channel: Anders Mouridsen 2013 Alright guitar players, now we're going to take a look at the 2013 Guitar Tricks channel tips and tricks! Host Anders Mouridsen gives you fun and instructive insights into guitar topics.
(Ry Kihn) Major and Minor Lead Within a Solo In this set of lessons, Ry Kihn will teaching you how to play major and minor pentatonic scales in a solo. Ry will introduce you to the tutorial, then examine major pentatonic licks. In the next lesson, we'll be learning how to switch between these scales; then Ry will take a look at the extended major scale with the flat third, making things bluesy. To conclude, we'll put it all together and play with a custom backing track.
(Doug Fearman) Modal Improvisation This tutorial will introduce you to six modes that will improve your improvisational skills. We'll examine the ionian, dorian, phrygian, lydian, mixolydian, and aeolian modes in G major, played over an A minor to D progression. I'll use on-screen graphics to give a visual aid.
(Andy Gurley) Sequences and Practice Techniques The use of sequences are a great way to better your technique and heighten your skill as a blues soloist. In this tutorial, we are going to show you a variety of different ways to approach the scales already used in blues to aid you in having better chops and technique. Make sure to develop these exercises even further as you move through this course; as all are great ways to warm up for your next lesson or gig. Let's get started.
(Ben Lindholm) Spiced up Blues Turnarounds In this tutorial, I will show you five ways of spicing up a standard blues turnaround. Learn them, adapt them and make them your own.
(Dave Celentano) Stevie Ray Vaughan Artist Study Dave breaks down Stevie Ray Vaughan's style into several key factors, showing you what makes it special, and then teaching you to play some licks in his style!
►Classical: Directory of Classical style lessons.
►Country: Directory of Country style lessons.
►Funk: Directory of Funk style lessons.
►Jazz: Directory of Jazz style lessons.
►Metal: Directory of Metal style lessons.
►Rock: Directory of Rock style lessons.
►Rockabilly: Directory of Rockabilly style lessons.
►Surf: Directory of Surf style lessons.
►World Music: Directory of World Music style lessons.
Song Lessons
►Acoustic: Directory of Acoustic song lessons.
►Bluegrass: Directory of Bluegrass song lessons.
►Blues: Directory of Blues song lessons.
►Classical: Directory of Classical song lessons.
►Country: Directory of Country song lessons.
►Funk: Directory of Funk song lessons.
►Jazz: Directory of Jazz song lessons.
►Metal: Directory of Metal song lessons.
►Rock: Directory of Rock song lessons.
►Rockabilly: Directory of Rockabilly song lessons.
►Surf: Directory of Surf song lessons.
►World Music: Directory of World Music song lessons.
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Ultimate Scale Finder: Learn guitar scales in multiple keys up and down the guitar neck.
Jam Station: Practice your lead playing by playing with backing tracks
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Anders Mouridsen Anders has been playing guitar since he was 11. A native from Denmark, he grew up studying and...
Andrew Szucs Andrew Szucs is a prog-metal player in the Los Angeles area with chops aplenty. His lessons show up...
Andy Gurley Andy learned his first chords from his grandmother at age seven. He got serious about playing at...
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Ben Helson Ben Helson is a young country and bluegrass guitarist out of Nashville. He's an in-demand touring...
Ben Lindholm Swedish musician Ben Lindholm began playing piano and guitar at the age of 10. Inspired by a...
Caren Armstrong Caren first laid hands on a guitar when she was 10 years old; and she started teaching just three...
Christopher Schlegel Christopher was born with music in his bones. At the wee age of 5 he built a makeshift podium so...
Dale Turner Dale Turner is an acoustic guitar specialist with a wealth of performing, recording and teaching...
Dave Celentano Dave Celentano is one of the industry's hottest and most sought-after guitar instructors, and has...
Don Madison Don Madison is a metal man through and through. He'll teach you tapping, shred licks, and an...
Doug Fearman Doug has been playing guitar for 45 years, having first picked up the instrument in 1965. He took...
Douglas Showalter Douglas Showalter is a professional guitarist/songwriter/producer based in Nashville. He took to...
Eric Barnett Eric Barnett brings a high level of skill to Guitar Tricks and he teaches some of the most...
Forrest Lee, Jr. Forrest Lee, Jr. is a country man through and through. He brings his particular brand of specialty...
Geoff Earley Based in the Los Angeles area, the talented Geoff Earley brings a unique and fun perspective on...
Henrik Linde Henrik caught onto the guitar at a young age, was inspired by the punk scene in his home country...
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Nick Kellie The highly-touted and talented Nick Kellie came to the US from the UK, where he won several...
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Be safe by being on top of the hottest legal issues in real estate. If you want to avoid becoming a statistic then you should know the most common ADRE violations. We will tell you what to expect and we will help you Get & Use important risk management concepts that will help you avoid a roller coaster ride in your business. It's not enough to make good money; you also have to know how to keep it.


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Carlos Ruiz Mejía (Ciudad de México, 28 de agosto de 1939-ibídem, 19 de marzo de 1995) fue un escritor, físico,  académico e investigador mexicano cuya obra fue reconocida en dos ocasiones con el  Premio Nacional de Novela José Rubén Romero.

Biografía
Ruiz Mejía nació en la Ciudad de México el 28 de agosto de 1939. Se doctoró en Física en la Facultad de Ciencias de la Universidad Nacional Autónoma de México y al terminar sus estudios impartió clases en las facultades de Ciencias e Ingeniería e ingresó como investigador al Instituto de Física IFUNAM.

Su obra literaria se compone únicamente de cuatro novelas, sin embargo su trabajo le mereció ser reconocido en dos ocasiones con el Premio Nacional de Novela José Rubén Romero, otorgado por el Gobierno del Estado de Michoacán y el Instituto Nacional de Bellas Artes.

Falleció de cáncer en la Ciudad de México el 19 de marzo de 1995.

Reconocimientos
 Premio Nacional de Novela José Rubén Romero por La otra cara de la muerte en 1981.
 Premio Nacional de Novela José Rubén Romero por Ciudad en suspenso en 1985.

Obra

Novela
 La otra cara de la muerte (1982)
 Ciudad en suspenso (1985)
 Falso retrato de Gerardo (1986)
 Inesperadamente el verano (1990)

Divulgación científica
 Trampas de luz (1987)

Referencias

Nacidos en Ciudad de México
Alumnado de la Facultad de Ciencias de la Universidad Nacional Autónoma de México
Escritores de la Ciudad de México
Físicos de México
Investigadores de México
Premio Nacional de Novela José Rubén Romero
Novelistas de México
Profesores de la Facultad de Ciencias de la Universidad Nacional Autónoma de México
Profesores de la Facultad de Ingeniería de la Universidad Nacional Autónoma de México
Investigadores del Instituto de Física de la Universidad Nacional Autónoma de México
Fallecidos en Ciudad de México

redpajama_set_name: RedPajamaWikipedia


text:
Excerpt: 'The Traymore Rooms' by Norm Sibum
From Early Sunday Morning, Edward Hopper, 1930
From Book IV – A Proper Narrative:
Sometimes when the maples are green with leaf, the wind gentle and not bringing too much heat; and the sky is clear or its cumulus dissolves in the evening air, and the day's last sparrows go to roost; and the girls are meditative in both body and mind, the boys not too puerile, people of all ages out for a stroll; then well-being is palpable, owing to something other than one's net worth in any mercenary sense. And sometimes Moonface, her shoulders hunched, walks the crucible of the street, returning from a night spent with some young man or another. I note how lonely her aspect is, how unmet. How useless I am to her in her search for meaning.
Four glasses of wine, and Eggy was lit:
'Moonface is my first reserve. I've asked a girl at the bank to marry me.' Moonface tossed her head.
Eggy: 'Well, will you want to improve? Who can marry a woman who doesn't want to better herself? The rain in Spain—'
Eleanor R suppressed a giggle; now she had heard it all, Dubois grinning. I leaned back in my chair. At the moment, Andrew Jackson, President the seventh of the United States of America, or some such entity, interested me more than Eggy on his fool's errand. (That AJ had happily set about annihilating those pesky Red Stick insurgents there where the Tallapoosa bends sharply.) Still, Eggy seemed to know he was indulging himself and yet, he did not much care.
We were gathered in Eleanor's kitchen on the occasion of her first salon.
She, not the most fastidious of women (though she enjoyed mastery of her kitchen, it sometimes mastered her), had vacuumed and swept and wiped and dusted. A grumbling Dubois helped. Sweet Haven lovebirds they were not, if only because they maintained separate apartments. Eleanor, fingering the spit valve of her trombone, said:
'Well, Eggy, I suppose congratulations are in order.'
'Hear hear,' said Dubois.
Eggy beamed, Moonface disgusted.
Eleanor put the spit valve which she was always fingering – as if it were a mood rock – aside. She reached for a fancy cracker with its slice of cheese. She shovelled it into her mouth. She reached next for a pickle and crunched it in half between solid molars. She was pleased with herself, the kitchen warm, homey and roomy. It was perhaps the finest room of all the Traymore rooms, excepting those, perhaps, of Mrs Petrova's ground-floor suite.
She assured Dubois she would not bring up the Lamonts as a conversational gambit, Dubois having drawn a line in the sand. Even now he did not believe anything untoward had happened in respect to Marcel's demise. Too much gin, that's all. The man paid for it with his life. Eggy would have no opinion, Moonface's jury quiescent. It would seem Eleanor and I alone were thinking otherwise; certain dark arts had been employed to repatriate Marcel Lamont to the realm of the dead. Eggy, sparrow of a man, was saying:
'Oh, I don't believe the girl will marry me for my looks. Nor will she necessarily marry me for my money. I haven't that much.'
'Then for what?' Moonface, on the edge of some irritation, interjected. 'Why, for my charm and considerable intellect.'
Moonface could not have been in a good mood or she would have laughed down Eggy's love of self. The rest of us were, so to speak, rolling in the aisles.
'Anyone for coffee?' Eleanor inquired, rising from her chair with a majestic lift to her shoulders, tra-la-lah-ing to the stove to put the kettle on, she sporting a flattering blouse and new pompadours. Perhaps later, Dubois would get lucky.
I had written about Moonface. Worse, I committed the mistake of informing her I had done as much. She was suspicious.
'I suppose you describe me as immature.'
'A point of view,' I countered, somewhat testily, 'to be arrived at through the arcana of physics, suggests we all had a hand to play in the death of Marcel Lamont. We're each of us fickle and inconstant creatures, mouth- ing our pieties one moment and silently stewing in darkness the next. Or like so many Andrew Jacksons drunk on frontier liberties, we breed horses between campaigns. In any case, I dolled you up as a sex object of lethal dimensions. Those tiny ears of yours. Chew on that.'
And she seemed to be chewing it as I spoke the words, her eyes rolling up and sideways. We had been talking over and around the conversationalists in the room, Eleanor registering the fact, storing away this intelligence in her commodious mind. No doubt, the good woman thought us lovers, Moonface and I, and we were not. We were, however, competitive partners in a game whose rules and whose object were most unclear. But had not Constantine the emperor translated Virgil's fourth eclogue into Greek hexameters, and peace would come to the trembling cosmos? iam redit et uirgo, redeunt Saturnia regna. Latin words that speak to new beginnings. If it is nature, and nature only that works the great sea-changes in the life of humankind, Moonface was just a girl, and probably no great shakes in bed, at that. At least, she was not hanging around Mexico City, privy to the Second Coming of Diego and Frida, parasitically living off the reputations of those two artists. No, she was steeping herself in the malignant light of Virgil's moon, he who, so as to defend Rome's reasoned rule of the known world, would snatch from Homer's defeated and dead their lawful property: to wit, the poetry they had earned.
Later, in my own digs, supine on my couch, I reviewed the salon. I had not, in truth, enjoyed it as much as I would have liked. For all that, I was conscious of the fact that, over the months, I had served as a catalyst to Traymoreans for a certain kind of conversation. A claque of sorts, if one comprised of stubborn individualists, we would turn this way and that in our quarrels like a single flock of birds. Dubois, shifting from a position of indifference in regards to the war, now fired off letters to the editor castigating the President for his callow utterances and feckless helmsmanship. Even Eggy could be heard to say from time to time, as if it explained something, 'Apostles of evil. Well, it's true.' Moonface had no opinion. Eleanor's last political loves were Kennedy and Pierre Elliot Trudeau, and Kennedy was long since departed, his brains splattered still against the interior of the presidential limousine, and that was the end of it. Even so, politics as such, or so I figured, had little to do with our seeming comity. More so it had to do with each our standing-apart from the effluvium of war and profit-taking, from every theatrical display of moral gamesmanship. A wary outlook seemed to brand our foreheads with an identifying mark, one that said:
'I'm here for you if you wish. I don't expect to win. I don't suppose you expect to win. Please don't expect me to even try. I like my pleasures.'
If the materialism to which Dubois subscribed as a philosophy of life was entirely conventional, he, at least, recognized the power of certain intangibles to riddle life with mysteries. He tisk-tisked mention of God, but poetry was something, at any rate. Eleanor, more the logician than any of us, amateur trombonist, consummate in her kitchen and comfortable in her bed, nonetheless enjoyed her spells of solitude and respected her intuitions. She knew she could not prove Lucille Lamont a murderess, but no matter, she just knew. Moonface? Erotic fancies, no doubt, compromised my view of her; and yet, from what I could see, she was as likely to settle down, marry, have children as do anything only a mystic might comprehend. Eggy was, perhaps, the jewel of the Traymore crown; translucent, acerbic, kind, selfish, thoughtful, as silly as a goose; in short, he was all human possibility enjoying a last burst of brilliance. Dying star. Or rather, he was just effing decrepit but that he had lived a little.
The Lamonts never fit in. Marcel was welcomed, was considered 'sympatico', but he had kept his distance, Lucille always tugging on his strings. It was clear she could not entertain herself unless she were in the driver's seat and scheming this and scheming that. She was not well-liked, if at all. Mrs Petrova was necessary. She was a woman admired throughout the neighbourhood for her vitality and fearlessness and the tight ship she ran without hectoring her lodgers in the process. I lay on my couch, dyspeptic chrysalis. Virgil was a thief in the night. Old Hickory, or Andrew Jackson, split open the backs of his slaves with God's grand purposes. A new symphony shattered the universe with lyrical and dissonant passages. The music seemed to skirt the perimeters of full-blown madness, Bacchic frenzies, Dionysus hooting in a mountain wood; and I with my superstitious awe of grotto and grove, was an urban creature. I could not comprehend the American mind.
A knock at the door, and it was Moonface somewhat distraught.
'I love you, too,' she said, heatedly.
It was as if she resented saying as much; as if the saying it was costing her more energy than she wished to expend.
'But,' she advised, 'I won't sleep with you.'
'Of course not,' I replied, astonished.
Excerpt, Fiction, Norm Sibum, Traymore Rooms
'The Bow-Wow Shop' by Norm Sibum
'Create Dangerously: The Immigrant Artist at Work' by Edwidge Danticat
Little Wolf

redpajama_set_name: RedPajamaCommonCrawl


The following sermons were delivered at Bet Shalom v'Emet in Fresno, CA.
It may take a minute or so to load the audio files depending on your connection speed. Some of the audio quality on a few messages is low due to having been recorded in a large auditorium. I have tried to improve the quality as much as possible.


We had a great response to the challenge with a number of solutions being submitted on our platform, exploring various science and technology.
Back in July we announced we would be supporting Techniquest with social impact challenge as part of Wales Festival of Innovation. The innovation challenge ran for the whole month, during which we encouraged innovators from across Wales to submit ideas for keeping young people engaged in STEM subjects.
While there were many great ideas - ultimately only one could be chosen as the overall winner, and we'd like to say a huge thank you to everyone who took part, and congratulations to Chiara Moriconi, a Research Student at Cardiff University who submitted the winning idea. Her idea explored the use of a virtual reality exhibition with a focus on saving our planet, and it aligned perfectly with Techniquest's vision of providing more exhibitions which have a focus on environmental subjects.
We're looking forward to seeing the project progress and new exhibits being installed at Techniquest in the new year.


text:
"use strict"

const express = require('express');
const uuid = require('uuid');
const os = require('os');

let app = express();

let hostname = os.hostname();

app.get("/guid", (req, res) => {
    res.json({ "guid": uuid.v4(), "container": hostname });
});

app.listen(9000, () => {
    console.log("listening on port 9000");
});

redpajama_set_name: RedPajamaGithub


For full, step-by-step instructions on how to run a meetup, click here.
Better Referendum takes you step by step through the core facts on the EU vote – then lets you pick the issues you want to discuss in your group.
First up, you set the ground rules for your discussion – making sure you all agree to keep it civil!
Then you vote in your group to pick as many or as few issues as you want or have time to go over – each issue takes about 50 minutes to go through. Bear this in mind when you are deciding how many issues you want to discuss.
For each of the issues, there are videos by the experts explaining the key arguments, followed by videos from the Leave and Remain campaigns so you know how each side stands on your chosen topic.
After the videos, there is a chance to debate the issues and even vote on them.


text:
import os

from fabric.api import run, sudo, env
from fabric.tasks import Task

from fab_deploy.base import setup
from fab_deploy import functions

class Control(setup.Control):

    def get_name(self):
        task = functions.get_task_instance('gunicorn.setup')
        return task.gunicorn_name

class GunicornInstall(Task):
    """
    Install gunicorn and set it up with svcadm.
    """

    name = 'setup'
    user = 'www'
    group = 'www'

    log_dir = '/var/log/gunicorn'

    gunicorn_name = 'gunicorn'
    log_name = 'django.log'

    def _setup_service(self, env_value=None):
        raise NotImplementedError()

    def _setup_logs(self):
        path = os.path.join(self.log_dir, self.log_name)
        sudo('mkdir -p %s' % self.log_dir)
        sudo('touch %s' % path)
        sudo('chown -R %s:%s %s' % (self.user, self.group, self.log_dir))
        sudo('chmod 666 %s' % path)
        return path

    def _setup_rotate(self, path):
        raise NotImplementedError()

    def run(self, env_value=None):
        """
        """
        self._setup_service(env_value)
        path = self._setup_logs()
        self._setup_rotate(path)


text:
Akron in Summit County, Ohio — The American Midwest (Great Lakes)
The Cascade Valley / The Mustill Site
By J. J. Prats, August 23, 2019
1. The Cascade Valley side of Marker
The Cascade Valley, also, The Mustill Site. . The Ohio & Erie Canal was completed from Cleveland to Akron in 1827. From the Mustill Site, the canal rose 15 locks to the summit in Akron. The "Cascade Mill Race," built by Dr. Eliakim Crosby in 1832, paralleled the canal, creating a large manufacturing center of mills that derived water power from the Little Cuyahoga River. The canal carried products north to Lake Erie or south to the Ohio River reaching worldwide ports. In March 1913 flood ended canal operations in this area. . . The Mustill house and store are survivors of Akron's canal era and date to the 1840s. Joseph and Sarah Mustill moved their family from England to Akron in 1833 and owned the store and Greek Revival house at Lock 15 on the Ohio & Erie Canal. Three generations of Mustills lived and worked the grocery business at Lock 15. first Joseph and Sarah, then son Fred with his wife Emma, and their children Maria, Frederick, Edwin and Franklin. A popular place to buy or barter goods, the store served canallers, farmers, craftsmen, and neighbors for many years. . This historical marker was erected in 2002 by the Ohio Bicentennial Commission, the Longaberger Company, Cascade Locks Park Association, and The Ohio Historical Society. It is in Akron in Summit County Ohio
The Ohio & Erie Canal was completed from Cleveland to Akron in 1827. From the Mustill Site, the canal rose 15 locks to the summit in Akron. The "Cascade Mill Race," built by Dr. Eliakim Crosby in 1832, paralleled the canal, creating a large manufacturing center of mills that derived water power from the Little Cuyahoga River. The canal carried products north to Lake Erie or south to the Ohio River reaching worldwide ports. In March 1913 flood ended canal operations in this area.
The Mustill house and store are survivors of Akron's canal era and date to the 1840s. Joseph and Sarah Mustill moved their family from England to Akron in 1833 and owned the store and Greek Revival house at Lock 15 on the Ohio & Erie Canal. Three generations of Mustills lived and worked the grocery business at Lock 15. first Joseph and Sarah, then son Fred with his wife Emma, and their children Maria, Frederick, Edwin and Franklin. A popular place to buy or barter goods, the store served canallers, farmers, craftsmen, and neighbors for many years.
Erected 2002 by the Ohio Bicentennial
2. The Mustill Site side of marker
Commission, the Longaberger Company, Cascade Locks Park Association, and The Ohio Historical Society. (Marker Number 22-77.)
Marker series. This marker is included in the Ohio Historical Society / The Ohio History Connection marker series.
Location. 41° 5.485′ N, 81° 31.078′ W. Marker is in Akron, Ohio, in Summit County. Marker is at the intersection of West North Street and Ohio & Erie Canal Towpath Trail, on the right when traveling west on West North Street. It is in the parking lot for the Cascade Locks Park Association Mustill Store Museum. Touch for map. Marker is at or near this postal address: 89 W North St, Akron OH 44304, United States of America. Touch for directions.
Other nearby markers. At least 8 other markers are within walking distance of this marker. Howard Street District (approx. 0.3 miles away); United Rubber Workers International Union (approx. 0.4 miles away); Site of Sojourner Truth's Speech on Women's Rights (approx. 0.4 miles away); Creating Crossroads of Commerce (approx. 0.4 miles away); Glendale Steps (approx. half a mile away); Wesley Temple African Methodist Episcopal Zion Church (approx. 0.6 miles away); 1936 Akron Rubber Strike (approx. 0.6 miles away); Akron Community Service Center and Urban League (approx. 0.8 miles away). Touch for a list and map of all markers in Akron.
Also see . . . Mustill Store. This page
3. The Cascade Valley / The Mustill Site Marker
contains photographs of the Mustill store. Excerpt:
The restored Mustill Store and butcher shop, now a museum as well as visitors center for Cascade Locks Park, is one of the oldest structures in Akron, dating from about 1847. Located next to the store is the restored Mustill House where the family lived. Canal boats often tied up in the wide basin just north of Lock 15, to shop or trade at this market. The Mustill Store also catered to Akron residents, who frequently ran into "canalers" in the store. Three generations of Mustills serviced canal users until the late 1880s. The Mustill Store Museum is free to the general public, handicap accessible, and perfect for all ages.
(Submitted on November 21, 2019.)
Categories. • Industry & Commerce • Waterways & Vessels •
4. The Mustill House
5. Ohio & Erie Canal Lock 15 at the Mustill Site
More. Search the internet for The Cascade Valley / The Mustill Site.
Credits. This page was last revised on November 21, 2019. This page originally submitted on November 21, 2019, by J. J. Prats of Powell, Ohio. This page has been viewed 47 times since then and 5 times this year. Photos: 1, 2, 3, 4, 5. submitted on November 21, 2019, by J. J. Prats of Powell, Ohio.
Editor's want-list for this marker. Photo of the Mustill Store • Can you help?


text:
Volduchy – gmina w Czechach, w powiecie Rokycany, w kraju pilzneńskim. Według danych z dnia 1 stycznia 2013 liczyła 1 013 mieszkańców.

Przypisy

Gminy w powiecie Rokycany


Anyonone know where I could find one? Perform a Windows System Restore to continue troubleshooting. Please try again shortly. Apple teaches an old design new tricks. Icone cle de compte?
On a side note: Fallout 76 is live: After you restore the internal sound systems with all external devices disconnected, you can try reconnecting each device and pavi,ion the sound to isolate the problem. For example, if the speaker is turned on, but the application is muted, you will not hear any sound.
Double-click the sound icon in the task bar, and then select Mixer. If it seems to be in the motherboard then it is!
It is important to know what type of speakers is compatible with your computer. Holiday gifts for the gamer who has everything These unique holiday gift ideas are apvilion the hard-to-shop-for PC gamer in your life. On the Welcome to hardware driver re-installer window, click Next. Taz Mar 21, Click Starttype Sound into the search field, and then select Sound from the list.
Pavi,ion the Speakers sound device is not listed, right-click anywhere on the Playback tab of the Sound window, and then select both the Show Disabled Devices and the Paviluon Disconnected Devices options. The best deals on laptops, tablets, PCs, gaming and much more! Verify that the sound device is enabled in Device Manager If there is no sound from the speakers or from the headset, follow the steps below to determine the state of the sound hardware within the Device Manager.
Skip to main content. Learn More — opens in a new window or tab International shipping and import charges paid to Pitney Bowes Inc. Track this discussion hp pavilion w email me when there are updates. Series Sign in to comment Be respectful, keep it civil and stay on topic.
Make sure you check out the Readme file. August 13th, If the Speakers sound device is still not working properly, go to Step 5: All of the active sound applications display. Right-click the name of the optical drive, select Properties to open the Device Properties window, and then click the Driver tab. Any software application or utility that is installed after the restore point is created will not work and must be reinstalled.
A brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. Resetting the optical drive is similar to clearing the cache on the computer by restarting it. Non-powered speakers must be connected to an amplified sound connector on the computer usually a blue or orange speaker-out connector. The sound card is the one that has the speaker out jacks that's plugged into the motherboard. They can connect into a line-out connector on the computer.
Restart the computer for the settings to take effect. Computers have built in sound and video cards. Report item — opens in a new window or tab. QuinStreet does not include all companies or all types of products available in the marketplace.


One of the most important European events for serious cigar aficionados with yearly gathering in Metallica, Italy. This jar has been produced for the 11th Anniversary with only 80 jars made filled with 25 Montecristo Petit No. 2 cigars.


Happy Easter everyone! To celebrate Easter and the arrival of spring I chose to feature this Easter Decorating Inspiration at Fleur De-licious that inspired me to use So Saffron, Kraft, Whisper White, Garden Green & Tempting Turquoise.
2. Post it on your blog or other public gallery (Splitcoaststampers, Paper Craft Planet, Stampin' Addicts, etc.) using the keywords Curtain Calland make sure to include a link back here to the challenge.
Please note the new deadline will be Friday night: You have until Friday, April 9th before midnight (CST) to enter your Curtain Call Color Challenge: Act 24 project.
Join us for the Curtain Call Color Challenge: Act 24 and you could be one of the next Show Stoppers! We have two new awards up for grabs! Those chosen as "The Lead" and "Top 5" will receive an award to post on their blog(s) and share the exciting news!
I put my stamp-a-majig to good use with this Sale-a-bration set called Good Neighbors. My in-laws live next door and I couldn't help but think of them when I started playing around with this adorable two-step stamping set.
...then play along with us and post your Curtain Call Color Challenge: Act 24 creation using Mr. Linky back here at Stacey's Stamping Stage.
Wow! Love love love this....but my stampamajig scares me! LOL I can never get it to work out this good!
WOW! Creat card and fabulous prize. I have never used any Stampin Up products before. Aren't they similare to PTI...just rubber?
Great color pick again. Love to use my bird punch the first time.
Wow! Great card...you're making me really regret not getting this set! I'm anticipating many, many participants this week!
I love how you paired this set with the Top Note! What a great design. TFS.
THis is my first time playing the Curtain Call Colour Challenge. So glad I came across your blog.....beautiful colour choices...thanks!
Fab card Stacey! I love the way you've used part of the Top Note die to frame your image, and the ribbon and buttons finish everything off so perfectly!
My first entry - hope you like it!
My first time to join and I truly enjoyed it! Thanks for the inspiration. Stacey, your card is lovely.
your cards are so great. Thank you vor the fabulous prize.
I love your card and especially love the colour scheme this week!
Thank you for your friendly comment on my blog. Sorry, that i had forgotten to make the link to your blog!
I have done it now.
holy cow what a challenge... I very rarely do these things but this one had me thinking :) Thanks!
This card is so cute Stacey! I just love those sweet little houses! Love the fun colors this week!
Thanks for a great color challenge! This is the first I've actually done!
Love the color inspiration photo! This was definitely outside my comfort zone, but fun to work with. Thanks for the challenge!
Wow, the candy looks great, I'd love to be lucky ;-) Thanks for the inspriation!
Wow Stacey! What a generous prize too. We didn't get that DSP over here, or Bermuda Bay :( But we do have Rich Razzleberry, Melon Mambo and Soft Suede now - yay!!
Thanks for all your inspiration, and good luck with the Artisan Awards!


text:
The Voices We Carry
Overcoming the Voices That Harm You and Finding Your True Voice
Bio | About
HomeBio | About
J.S. Park is a hospital chaplain and an advocate for self-care and mental health. He has worked at the hospital for four years and has served over a thousand patients and their families.
J.S. is a chaplain at a hospital in Tampa, FL, where he completed his one year residency, as well as a chaplain at one of the largest nonprofit homeless charities on the east coast.
The duties of a chaplain include grief counseling, end-of-life support, attending every death and Code Blue, next-of-kin notification, assisting with Advance Directives, and advocating for patients' wishes.
J.S. is also a sixth degree black belt, suicide survivor, ex-atheist, Korean-American, and intense introvert. He completed his BA in Psychology at the University of South Florida and his Master's of Divinity at SEBTS in North Carolina.
J.S.'s typewriter art can be found at #typewritertherapy
– Main Blog
– Tumblr
J.S. Park
Follow to Stay Updated!
Enter your email to stay updated!


text:
package com.ibasco.agql.protocols.valve.steam.webapi.interfaces.econitems;

import com.ibasco.agql.protocols.valve.steam.webapi.SteamApiConstants;
import com.ibasco.agql.protocols.valve.steam.webapi.requests.SteamEconItemsRequest;

/**
 *
GetSchema class.

 *
 * @author Rafael Luis Ibasco
 */
public class GetSchema extends SteamEconItemsRequest {

    /**
     *
Constructor for GetSchema.

     *
     * @param appId
     *         a int
     * @param apiVersion
     *         a int
     */
    public GetSchema(int appId, int apiVersion) {
        super(appId, SteamApiConstants.STEAM_METHOD_ECONITEMS_GETSCHEMA, apiVersion);
    }
}


text:
Home » Research » Extramural Research
Taste and Smell Program
The NIDCD supports studies of the chemical senses—taste, smell, and chemethesis (chemically provoked irritation)—to enhance our understanding of how individuals communicate with their environment and how human chemosensory disorders can be diagnosed and treated.
Smell and taste receptor cells are continually replaced throughout life and are replaced rapidly in response to injury such as exposure to pollutants and airborne toxins. These are the only known mammalian sensory cells with this native regenerative capability. Further studies are needed to advance our knowledge of the process of receptor cell regeneration, including those focused on stem cell differentiation and maintenance.
The regenerative capability of the olfactory system declines with age, with important consequences for our increasingly aged population. Although estimates of the prevalence of olfactory impairment vary, researchers estimate that more than one-third of adults over age 70 have olfactory deficits. Since both taste and smell contribute to flavor, olfactory deficits affect the flavor of foods and consequently food intake, diet and overall nutrition, and health status. The NIDCD encourages further studies of this age-related decline in olfactory sensitivity, including the development of better diagnostic tests and animal models for use in studying why this decline occurs and how to prevent it.
Great advances have been made in understanding how receptors cells detect chemical cues and how this information is transmitted to the brain. The NIDCD encourages further molecular and cellular studies of the peripheral mechanisms underlying chemosensation, including studies aimed at characterizing vertebrate and invertebrate chemoreceptors with respect to their structure, function, signaling pathways, patterns of gene expression, and regulation.
The NIDCD supports studies of the central processing of chemosensory information including the underlying neural circuitry of central olfactory and gustatory brain regions and how these circuits fail in pathology. NIDCD investigators have been at the forefront of developing and applying state-of-the-art recording, imaging, computational, and behavioral approaches to examine neural circuit function in awake, behaving animals.
The NIDCD's interest in central chemosensory processing remains broad. Further studies are encouraged to examine the development and plasticity of neural circuits, the functions and connectivity of cortical structures that interpret chemical senses information, the complex multisensory aspects of flavor perception and eating behavior, and the top-down modulation of sensory input and ways in which this is shaped by motivational or cognitive factors. The NIDCD also supports the continued development of tools for the analysis of chemosensory neurons, circuits, and behaviors.
The NIDCD encourages clinical chemosensory research for improved diagnosis, prevention, and treatment of chemosensory disorders. Further research is needed to develop validated hedonic and other measures and methods for assessing and diagnosing chemosensory deficits in adult, pediatric, and disordered populations for both research purposes and in-the-field clinical assessments. Additional clinical and epidemiological studies will allow researchers to better understand the effects of factors such as diet, early dietary experiences, individual genetic variation, aging, infection, and disease on chemosensory sensitivities and to link chemosensory deficits to other clinical disorders. The NIDCD also supports research on the development of bitter-taste blockers in an effort to identify compounds that can mask the bitter taste of essential medications, especially for young children.
2017-2021 Strategic Plan - Taste and Smell
NIDCD Strategic Plan 2017-2021
Taste and Smell Program Contacts
Susan Sullivan, Ph.D.
Clinical Chemosensory Research: Needs, Future Directions, and Priorities (2014)


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Rome: The Picture-Perfect Set
by Lee Marshall, published on 08/18/2014
One spring day several years back, I walked into the Giardino degli Aranci, a small public park on the Aventine Hill with views to the dome of St. Peter's Basilica. The first thing I saw was a Franciscan friar talking on his cell phone in a colorful, expletive-laden Roman dialect. The second was a woman up a ladder in an orange tree, busy attaching the fruit to the branches with wire. It took a few seconds for the penny to drop: They were making a movie. The four-letter-spewing friar was an actor between takes, and the orange doctoring was because the seasons do not always stick to the script.
You get used to this here. The capital of the Italian film industry, home to the historic Cinecittà film studios, and the location for The Bicycle Thief, Roman Holiday, La Dolce Vita, The Talented Mr. Ripley and a slew of others, Rome is a place where it's hard to cross town without running into a line of movie service trucks. But it's also a city where, even without such film props, you often feel as if you've stumbled into a movie, or perhaps an opera. Has there ever been an architectural style as theatrical as the Baroque? Or a crowd scene as precisely choreographed as a busy Trastevere trattoria at peak time? Even the garbage collectors ride their trucks as if they're chariots out of Ben-Hur.
Last year's Oscar for Best Foreign Language Film went to Italian director Paolo Sorrentino's opulent, sardonic, melancholic fresco of Roman life, La Grande Bellezza. Sorrentino, a Neapolitan who's lived in Rome for years, understands the city's bluff and swagger as only an outsider can. Told as a series of vignettes linked by the figure of Jep Gambardella, a jaded onetime novelist, it's about a city both beautiful and vampiric, one that, in the writer-director's view, drains the souls, the consciences, the libidos of its people and yet is so seductive, it's impossible to leave. The cash-strapped aristocrats, louche nightclub owners and vitriolic socialites that Jep encounters are all reduced to playing a role, just as he is himself. Rome becomes a magnificently built, sunset-lit set for them to strut and pose in.
But although the city is a backdrop for films real and imagined, certain locations seem to distill Rome's ability to exist as one long dolly shot. The following four have all earned a spot in cinema history. The first three are on any city tourist map, and the last one is some way off it, but all are places of striking visual power and atmosphere.
The Baths of Caracalla
The vast buttresses and ruined arches of the third-century thermal baths fascinated Federico Fellini, who used the remains of the emperor Caracalla's bombastic gift to his fellow Romans in two films.
In Nights of Cabiria (1957), the touchingly sad fable of lost innocence, it is where ever-hopeful prostitute Cabiria (played by the director's wife, Giulietta Masina) plies her trade; in La Dolce Vita (1960), it's the location of the ancient-Rome-themed nightclub where Sylvia (Anita Ekberg) and Marcello (Marcello Mastroianni) smooch to the strains of "Arrivederci Roma."
Sorrentino also used it in La Grande Bellezza.Here, as often in Italian cinema, the ruins are a metaphor for decadence, admonishing the inadequate present with memories of past grandeur. At Viale delle Terme di Caracalla.
Via Margutta
William Wyler's Roman Holiday (1953) is a celebration of the city's power to persuade even a well-brought-up princess to let her hair down—and then getit cut into a stylish bob.
Back in 1953, Via Margutta was Rome's go-to bohemian location; so it was the obvious address for the bachelor apartment where the "escaped" princess, played by Audrey Hepburn, spends a chaste night with Joe, Gregory Peck's hard-nosed but eventually soft-hearted newsman. In the Campo Marzio neighborhood, near the Spanish Steps.
The Trevi Fountain
Fellini understood something that is missed in most photographic reproductions of one of Rome's most famous sights: It's a matter of scale. The theatrical Baroque set piece in water and marble would be far less impressive if it were at the center of a huge piazza. But here, hemmed in by a tight network of medieval backstreets, it's magical—especially if seen without the camera-happy tourists. That's why in La Dolce Vita's iconic scene, the director has Marcello and Sylvia stumble upon the fountain in the middle of a cold night: the vision of papal pomp and munificence is there in all its cascading glory. At Piazza di Trevi.
Garbatella
"I like to ride my Vespa through the quartieri of Rome," says Nanni Moretti in his whimsical film diary, Caro Diario (1993), "and of all the quartieri, the one I like best is Garbatella."
Few guidebooks send visitors to the 1920s working-class district in Ostiense, because there's nothing to "see"—except the sheer charm of its rustic, garden-suburb housing and communal courtyards. After a stroll around, head to the nearby branch of Italian foodie emporium Eataly. In Ostiense, a 15-minute drive south of city center.
La Grande Bellezza, by Location
When in Rome, explore sites of the film's famous scenes.
1. Tempietto di Bramante, in the courtyard of San Pietro in Montorio on the Gianicolo hill.
2. Palazzo Barberini (houses the Galleria Nazionale d'Arte Antica), at Via delle Quattro Fontane.
3. The Acquedotto Claudio, near the Caelian and the Palatine Hills.
4. Palazzo Brancaccio, at Viale del Monte Oppio.
5. Villa del Priorato dei Cavalieri di Malta, at Piazza dei Cavalieri di Malta, on the Aventine Hill.
See the DEPARTURES Guide to Rome »


One of the areas of law that KP Law practices is workers' compensation. When you have suffered a work accident, it's important to us that you receive the medical and wage loss benefits to which you are entitled to. From filing a claim, to working through the process of applying for benefits, to fighting on your behalf on appeals hearings, to interceding with doctors and insurance companies to ensure proper medical treatment, customary and ordinary medical bills, and vocational rehabilitation training, to getting life-time benefits. We do it all for you. We also go beyond strict legal assistance to help you get your life back. We take great pride in that we have zealously protected our clients' rights and benefits and have maximized their settlements.
By state law, your employer is responsible for paying when you are injured. There are three major benefits one is entitled to when one gets hurt.
You should receive all medical treatment necessary for you to make a full recovery or reach Maximum Medical Improvement (MMI). This also includes all appropriate physical, mental, or vocational rehabilitation.
Everyone is entitled to receive weekly payments, if they lose time from work, until they are able to return to work that is within their capabilities. The amount of the payment is two-thirds (66 2/3%) of your average weekly earnings, from all jobs that one has when they were injured, subject to certain limits.
One is sometimes entitled to additional benefits when they have sustained an injury or disease which results in permanent disability, scarring or other disfigurement. If the injury or disease results in death, certain members of that worker's family may be entitled to benefits.


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