text:
Scientists say seven billion year-old 'stardust' is oldest solid material found
An undated handout picture shows a scanning electron micrograph of a dated presolar silicon carbide grain, which is ~8 micrometers in its longest dimension. Photo: AFP
WASHINGTON: Researchers said Monday that new techniques have allowed them to identify the oldest solid material ever found on earth. The stardust, formed five to seven billion years ago, came from a meteorite that fell to Earth 50 years ago in Australia, they said in a paper published in the journal PNAS.
It came down in 1969 in Murchison, Victoria state, and scientists from Chicago's Field Museum have possessed a piece of it for five decades. Philipp Heck, curator of meteorites at the museum, examined pre-solar grains, which are bits of stardust that become trapped in meteorites, making them time capsules of the period before the sun was born.
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"They´re solid samples of stars, real stardust," Heck said in a statement. When the first stars died after two billion years of life they left behind the stardust, which formed into the block which fell to earth as the meteorite in Australia.
Although researchers first identified the grains in 1987 their age could not be determined. But Heck and other colleagues recently used a new method to date these grains, which are microscopic in size. They are from silicon carbide, the first mineral formed when a star cools.
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To separate the ancient grains from the relatively younger ones, scientists crushed fragments of the meteorite into a powder. Then they dissolved it in acid, which left only the pre-solar particles. "It´s like burning down the haystack to find the needle," says Heck.
When dust is in space it is exposed to cosmic rays which slowly change its composition. This allows researchers to date it. A decade ago, only 20 grains from the meteorite were dated by a different method. Now, researchers have been able to determine the age of 40 grains, most of which are between 4.6 billion and 4.9 billion years old.
Representative image. Photo: Twitter
Also read: China jails scientist who gene-edited babies
NASA discovers Earth-sized planet in 'Goldilocks zone'
A few other similar planets have been discovered before but this is the first discovered by TESS, which was launched in 2018
These ages correspond to the moment when the first stars began to break up, and since that type of star lived for two to 2.5 billion years, the stardust can be as old as seven billion years.
"These are the oldest solid materials ever found, and they tell us about how stars formed in our galaxy," Heck said. The new dating by this team confirms an astronomical theory which predicted a baby boom of stars before the formation of our sun, instead of a constant rhythm of star formation.
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"We basically came to the conclusion that there must have been a time in our galaxy when more stars formed than normal, and at the end of their lives they become dust producing," Heck told AFP.
The task now is to apply the same method on other meteorites. But according to Heck, there are fewer than five known to be in collections and big enough to give up such secrets.
More From Sci-Tech:


It's unclear if the Resident Evil-like game that is Them and Us is still slated for a 2018 release, but the developers over the once Steam Greenlight horror-survival title have come forth with new information regarding the game's development roadmap.
I bet folks following this game thought it was as dead as the zombies in it, right? Well, no. According to two summer updates published in early June 2016 and late July 2018 outline what fans of Them and Us can expect in the coming months.
"Hi, this message is from the team.
We want to let you know that we have a demo ready that we think you will enjoy very much. Unfortunately due to negotiation with potential publisher we have to delay releasing it. It will be delayed until the negotiation has been concluded, since it is the direct request from the publisher, we have to respect it in order to go forward with the negotiation. Hopefully this negotiation will lead to a better situation for the game as a whole. We will inform you as soon as we have a clear timeline on this situation. It wont take long.
We deeply apologized for this delay and hope for your understanding. We really appreciate your patience and support of our game.
The above letter was published on July 31st, 2018, and details that the game's demo is complete but they have to wait on their publisher before releasing it to gamers and fans alike.
Furthermore, the Unreal Engine 4 powered game will sport full on decapitation. From the sounds of it, there will be visible and graphic blood and other forms of gib in Them and Us, so if you're into that kind of stuff you should be elated to know it's in the game.
Finally, Them and Us was scheduled to release sometime in Q3 of this year. Hearing that the demo is complete and waiting for this mysterious publisher's approval, expect an update to drop sometime soon.


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To PIA, your online protection along with personal privacy is definitely considerably essential, as a result do not preserve fire wood of any of your info making you virtually untraceable. RFC 2989, Standards to get Examine AAA Protocols with regards to Network Access. Generally, these types of "networks" use for Coating 3 or more the network layer or perhaps higher in the OSI Blueprint Model, as well as the "infrastructure" on its own commonly comprises either a Framework Relay or perhaps Asynchronous Transfer Setting ATM network Figure 3. The tial big difference below among this kind of building of digital brake lines and that of committed brake lines is the fact right now there is now zero coordinated info time clock distributed by simply the fernsehanstalt and recipient, nor always is there a committed indication avenue that is allocated from the underlying common coordinator network.
The the greater part of site-to-site VPNs that connect online use IPsec. It would depend in your VPN company. VPN www.thembj.org or Virtual Personal Network is known as a computer software engineered generate your relationships on the internet safeguarded, individual protected. This technology is utilized to enable personal networks over the public network. Some service providers are actually beginning to target this lower end within the IP-VPN industry, browsing opportunities to concentrate on midsize businesses with networks of manageable size, which usually are but underserved. Contrary to other IP addresses, this is not available to anyone but is pretty a entrance through which usually VPN users might enter in, and after authentication and logging on, own access to the network.


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Al's Automotive & Truck Service Center has been operating in Seacoast, NH for more than 50 years. We have served the automotive repair and maintenance needs of customers in Exeter, as well as nearby New Hampshire seacoast communities and southern Maine. In 2012 we moved to 156 Epping Rd in Exeter to expand our offerings and provide a comfortable and convenient facility to our customers. We are an AC Delco Mastertech Service Center that uses auto parts with nationwide warranties. Our facility has an automotive shop, a truck and trailer shop, a towing and roadside service shop, and a heavy duty collision center. We are open Monday through Friday from 7:00 AM – 5:30 PM and Saturdays by appointment only.
Ever since we opened our doors at Al's Automotive & Truck Service Center, our goal has been to provide the highest quality auto, truck, and fleet services for our customers of Greater Exeter, New Hampshire and the Seacoast regions. At Al's, we value every customer and client who walks through our doors. We know that time is money and nothing is more important than keeping you on the road. We want your travels to be memorable for the right reasons and our staff will work to make it possible.


Camp C.O.P.E. provides military families with an unforgettable weekend at camp. Camp C.O.P.E. gives these children hope and patience and courage. Camp C.O.P.E lets them be just kids- again! Through therapeutic interventions, certified therapists teach children and their families how to cope with their changed world due to deployment, injury or loss of a family member as a result of their service in our country's military. Camp C.O.P.E. provides weekend camps across the country free of charge to children and families of military personnel. This is done through generous donations and grants from individuals and our corporate partners. Camp C.O.P.E was established in 2004 and is classified as a non-profit 501c (3) organization.


text:
An Exposition of the Apocalypse
By David Nevins Lord
First. The symbolic agents are such as were known to the prophet and those whom he addressed, and their actions and phenomena such as are natural. Thus the chief of them are the sun, the moon, meteors, the air, the earth, the sea, rivers and fountains, a city: and the phenomena ascribed to them such as are proper to those objects respectively, such as obscuration to the sun, dimness and bloodiness to the moon, a fall to meteors, lightnings, thunders, darkness to the atmosphere, earthquakes to the land, a fall to a city ;-appearances and events, which being real and common, a visionary exhibition was not requisite in order to a knowledge of their nature.
Next. They are accompanied by an express designation of the persons or communities which they are employed to represent, and always exhibit an indisputable mark that they are symbols, not metaphors, in their insusceptibility of conversion, like metaphors, into similes, or allegories, which differ from metaphors only as they exhibit the particulars of resemblance at large, and are accompanied by a notice of the persons or subjects which they are employed to illustrate. Whether a prediction, therefore, be simply metaphorical, or symbolic, in which, like the visionary emblems of the Apocalypse, the actors, actions, and effects are represented by agents and phenomena of a different species, may be determined by introducing the term of comparison. If the expression may be translated in that manner into a mere simile, without varying the sense, it is a metaphor. Thus the meaning of the metaphor, Judah is a lion's whelp, is the same as of the simile, Judah is like a lion's whelp. But the prediction of Isaiah, " All the host of heaven shall be dissolved, and the heaven shall be rolled together as a scroll, and all their hosts shall fall down as the leaf falleth off from the vine, and as a falling fig from the fig-tree," is as obviously symbolical, as no term of comparison can be inserted between the heavens and their hosts and the events predicted of them, and those events themselves are compared to a different class, of which a scroll, the leaves of the vine, and the fruit of the fig-tree are the subjects.
Similes and metaphors are founded on partial, not like symbols on general resemblances; and are used only for illustration, not as representatives. Types are founded on more general resemblances, and used according to the following laws :
1. No mere fictitious agents are made representatives of real agents in typical predictions. Nothing out of the circle of realities is used as an emblem, except symbols that are exhibited in vision, and endowed in that manner with a sensible existence. A mere non-existence cannot represent a real one.
2. No person is exhibited as a type of another, except in a relation or station which he has himself sustained. Had not David been a king, he could not have been used as a type of the Messiah as king. Had not Elijah been a prophet, he could not have been employed as a type of John the Baptist. Had not Abraham been a believer, he could not have served as a representative or exemplar of believers.
3. No action of a person except one that he has already exerted, is made a representative of an analogous act of another person or community, and for a similar reason. It were to make a nonentity the pattern or representative of a reality. A return of the Jews, for example, to their own land, cannot be made a type of any other analogous action, either of that or any other people, unless such a return from dispersion have actually taken place.
4. The Son of God in his exaltation, is never exhibited as a type or representative of any other being; nor any action of his, as a type of the action of any other being. And the reason is obvious. It were inconsistent with his deity to be made a representative of any dependent being. It were inconsistent with the peculiarity of his person, station, and agency, as the incarnate Word, to be made the representative of the Holy Spirit.
5. Were one of his acts to be made the symbol of another and different agency, to be exerted either by himself or the Spirit, still, agreeably to the third law, it could not be used as a iype, until he had exerted it. Before his coming in the clouds visibly to every eye, can be a type of any other agency, he must so come in the clouds, and exert all the acts, and fulfil all the conditions predicted of that appearance.
X. All the agents and phenomena exhibited in the visions of the Apocalypse are symbolic, except the interpreting angels and those bearing the trumpets and viols, whose office is merely to assist the revelation. Thus the silence of half an hour, after the opening of the seventh seal, the angel flying through midheaven saying, with a loud voice, "Woe, woe, woe, to the inhabitants of the earth," and the voices from heaven, are doubtless as representative as any of the other agents and phenomena presented to the senses of the prophet.
XI. The symbolic agents attending the throne of the Almighty, and serving in his presence, are to be distinguished from those that appear on the earth. The former, such as the living creatures, the elders, and the angels uniting in their worship, ministering at the altar, and fulfilling other offices in the divine presence, are to be regarded as representatives only of agents there, not on earth. The latter, such as the hosts of Michael and Satan warring in the atmosphere, the angels having power over the four winds, the majestic shape ascending from the east bearing the seal of God, the gigantic form robed in a cloud and crowned with iris splendors that descending set,
Upon the stormy ocean his right foot,..
On the green land his left, and others of the like nature fulfilling their offices on earth, are in like manner representatives only of agents here.
XII. In complex symbols, the representative person is to be distinguished from the symbolic accompaniments, which are merely designed to show his office, character, and relations. Thus, under the first seal, the rider of the horse is the symbolic agent, the bow but denotes his office, and his station and movement on the horse, that he is in the successful excercise of that office. In like manner in the cherubim of Ezekiel, it is doubtless the face of man that denotes the order of intelligences to which the cherub belongs, while the face of the lion, the eagle, and the ox, the wings and the innumerable eyes, are employed merely to denote the vast sublimation of their sensitive nature, expansion and refinement of faculties, and strength and perfection of character to which they are there exalted.
XIII. Symbolic agents that are representative of men, denote an order and succession of agents, acting in the same relations, and exerting a similar agency. That such is the office of the principal symbols is indisputable, as of the ten-horned wild beast, which denotes the united civil rulers of the western Roman empire after its division into ten kingdoms, through a period of many generations; of the image, which symbolizes a similar union of the numerous ecclesiastical rulers and teachers of the same empire through successive ages; the seven-headed dragon, the monster locusts and horsemen; as is manifest from the period through which their agency continues; the woman clothed with sunbeams, her son, the witnesses, the horsemen of the first four seals, the angels flying through the midst of heaven, the angel clothed in a cloud, and the angel bearing the seal of God. The offices they sustain, the agencies they exert, and such of their periods as are specified, require that construction. And thence this method of representation is requisite throughout, in order to a due proportion of the agents and their agency to each other. As a vast body and succession of men is denoted by a wild beast, whose term of life, according to analogy, must be short ; and as the period of its agency is for that reason represented by a proportionably short duration, so in order to concinnity and likelihood, other classes and successions of men are required to be represented by single agents, and long periods of agency by periods that are short.
XIV. Accordingly the periods ascribed to those representative agents, the wild beast, the witnesses, the star-crowned woman, are denoted by terms proportionably diminished, by the substitution of days for years, and months for a number of years equal to their number of days.
XV. In interpreting symbols like those drawn from the physical world, embracing many classes of objects, they are to be contemplated as a whole, and a counterpart sought sustaining towards them an analogy as a whole; not considered in detail, as the elements differ of which they consist, and as though each, notwithstanding its relations to the whole, retained its own peculiar meaning. Thus though mountains, trees, grass, are used in other Scriptures to metaphorize classes of men, or men in general, it does not follow that they bear a similar signification in a symbol of which they are a part; or that it is to their having such meanings as metaphors, that symbols in which they are united owe in any degree their significance. The assumption that they still retain their metaphorical meaning is preposterous, and has been a fruitful source of error in the exposition of the Apocalypse. As there is no counterpart to the physical, except the social world, symbols drawn from the one, embracing a variety of objects, like a landscape, a country, the earth, of course denote an analogous union of agents in the social world, either religious, or civil
, or military. When the whole, therefore, thus of necessity denotes men, it is preposterous to regard that representation as the office of only a part; or the signification of the whole as the consequence of the unsymbolic meaning of subordinate portions. It is the union of the whole in the symbol and thing symbolized, that constitutes the analogy ; not any separate adaptation of the particulars of the one, aside from that union, to represent the particulars of the other. More, perhaps, of the errors of expositors are traceable to the neglect of this obvious law than any other. The question is perpetually raised by them, What do mountains, trees, seas, hills, rivers, denote in other Scriptures, and on the assumption that their import when united in a symbol, is to be determined by their meaning when used separately as metaphors or similes.
XVI. The import ascribed to a symbol is to be limited to that which it naturally involves, irrespective of any peculiar or metaphorical use of its agents, actions, or terms, which other passages may present. Thus to harvest the grain crops of a season, is to cut them from the stalk, bind them in sheaves, and gather them together, in order to preservation and appropriation to use. It denotes nothing more. When used, therefore, to symbolize an agency on men, it is to be interpreted as simply representing them as gathered together from their scene of life, in order to some subsequent destiny. But whether good or evil, if determined, is to be determined from something else than the mere symbol. To infuse into it a higher meaning, because a harvest is thought to denote in other passages the gathering of men for destruction, is to create a sense for the symbol, not to interpret it; to superinduce a foreign meaning, not to unfold that with which it is itself fraught.
XVII. The station of the heavenly sanctuary is to be conceived as over Patmos, at a great elevation, whence the apocalyptic earth, from the Euphrates to the west and north of Europe, was visible; the throne as in the holy of holies, and the apostle as at first in the sanctuary whence the holy of holies, the inner sanctuary, the veil being withdrawn, might be seen; afterwards at the vestibule or court, from which the earth with all its great objects, seas, rivers, mountains, forests, and cities might be beheld, and often on the earth itself.

redpajama_set_name: RedPajamaCommonCrawl


Click here to discover all that is going on at UMC Foundation! For more information, call us at (915) 521-7229!
Regretfully, heart disease is still the #1 cause of death in the U.S. About 6% of all El Pasoans have heart disease. Our Cardiology team works to continually lower that percentage.
Recognized by the Society of Cardiovascular Patient Care (SCPC) as an accredited Chest Pain Center with Percutaneous Coronary Intervention (PCI), UMC is dedicated to ensuring rapid response and treatment to minimize damage to the heart muscle, resulting in a shorter recovery time, decreased length of stay, and minimized risk for complications.
The Cardiac Catheterization Laboratory, also known as the Cath Lab or Interventional Suite provides diagnostic heart catheterization, balloon angioplasty and stent replacement (including cardiac, carotid, peripheral stenting, permanent pacemaker and ICD implantation).
One of three interventional labs at UMC the Ilab gives doctors a three dimensional view inside the patient's body, allowing for the precise removal of clots as well as enhancing blood flow and circulation throughout the body. Advanced diagnostic and interventional cardiology, radiology and neurology procedures treat coronary artery disease, peripheral vascular disease, trauma, diagnostic heart catheterization, balloon angioplasty and stent placement including cardiac and peripheral stenting, permanent pacemaker and ICD implantation.
When medications and cardiac procedures cannot treat damage to the heart, a life-saving surgery may be required. UMC's dedicated Hybrid Operating Suite supports integrated surgical, vascular and cardiac catheterization procedures. The hybrid lab is equipped with sophisticated imaging technology to support the most advanced percutaneous cardiovascular interventions.
Annually, Cardiology provides 6,000 diagnostic and interventional cardiac procedures and 50 heart by-pass surgeries.
Donors make a difference in Cardiovascular Services.
Equipment and services below were made possible through the generosity of our donors.
The state-of-the-art high resolution imaging Probe is needed for patients where traditional imaging is not effective. It is also used to diagnose and treat conditions such as valvular disease, coronary artery disease, cardiomyopathy and to assess a patient's status after a valve replacement or heart damage due to trauma. Physicians also use this equipment for research on cardiac procedure and in providing patient outcome data.
Most patients who are diagnosed with severe heart valve disease are prepped for an open heart surgery. However some are not surgical candidates. They also have a poor prognosis so surgical intervention with a trans-catheter aortic valve replacement spares the risks they would face with open heart surgery.
650 patients every year would be impacted by the TEE. It determines the work of the heart and for valve replacement surgery. It is also used in Trauma Surgery to determine if the heart and or lungs are properly working after trauma. This TEE replaces the current device the size of a refrigerator to a large laptop.
Evidence based research now strongly recognizes art as an essential component to health, healing and well-being.
Entirely funded through University Medical Center's Foundation, the Healing Arts Program integrates dynamic, inspirational art from local and regional artists in every area of the hospital including Cardiology Services, improving the hospital experience for patients, families and caregivers.
Donors interested in making a gift or who need more information on Cardiology Services donor opportunities that impact our community can email donate@umcfoundationelpaso.org or click here to donate now.
Foundation volunteers provide amenities and special support to Cardiology patients and families. To learn how to become a volunteer, email volunteer@umcfoundationelpaso.org.


New York Spring/Summer 2014 Fashion Week is full of incredible outfits and superior shows. Another fabulous collection was presented by 3.1 Phillip Lim. What you spot in his line will definitely make you want every single piece. And it is not only about the perfect design or some unique style. The first thing I, personally, fell for was the color palette. The designer featured one of my most favorite shades. Are you curious about what it is? Read on to uncover my secret and get overwhelmed by gorgeous embroideries and striking silhouettes.
3.1 Phillip Lim was obviously inspired by earth and its elements. Just look at the colors he features in his Spring/Summer 2014 collection! Cool gray, olive, charcoal, mustard, amber, bronze, sepia and black. It is all about earth, isn't it? Something that is sort of out of the whole composition, but still looks very appealing is mint cream. A variation of Spring/Summer 2013 season's trend, this particular shade of green looks fresher and more delicate. I would opt for a light summer dress or an elegant blouse in such a color.
It was about trying to find some stable ground in the turmoil of our ecosystems.
Well, he is surely standing on the stable ground in terms of fashion. The American designer of Chinese origin somehow knows what it is that we desperately need. By the way, my favorite color is the olive one. This collection presented a saucy pair of pants, a peplum top and a moto jacket in this stylish shade. One reason I love olive is that it is pretty moderate and meantime quite bright.
What 3.1 Phillip Lim offers you to wear this spring is a great variety of clothing pieces. From a white dress with geode-inspired patterns embroidered on organza to baggy pants in cream mint, all the outfits look amazing. You will totally love the accessories, including the doctor's bags, which are also popular this fall.
3.1 Phillip Lim Spring/Summer 2014 collection has everything to make your spring day. Check out the gallery and choose your favorite look!


text:
package com.jkoolcloud.tnt4j.stream.jmx.impl;

import java.util.Map;

import javax.management.j2ee.statistics.Stats;

import com.ibm.websphere.pmi.stat.WSStats;
import com.ibm.ws.pmi.j2ee.StatsImpl;
import com.jkoolcloud.tnt4j.core.PropertySnapshot;
import com.jkoolcloud.tnt4j.stream.jmx.core.PropertyNameBuilder;

/**
 * This class provide a specific implementation of a {@link com.jkoolcloud.tnt4j.stream.jmx.impl.J2EESampleListener} to
 * handle WAS API {@link com.ibm.ws.pmi.j2ee.StatsImpl} and {@link com.ibm.websphere.pmi.stat.WSStats} type J2EE
 * statistics values.
 *
 * @version $Revision: 1 $
 */
public class WASSampleListener extends J2EESampleListener {

	/**
	 * Create an instance of {@code WASSampleListener} with a a given print stream and configuration properties.
	 *
	 * @param properties
	 *            listener configuration properties map
	 *
	 * @see com.jkoolcloud.tnt4j.stream.jmx.core.DefaultSampleListener.ListenerProperties
	 */
	public WASSampleListener(Map<String, ?> properties) {
		super(properties);
	}

	@Override
	protected String getStatsName(Stats stats) {
		if (stats instanceof StatsImpl) {
			StatsImpl wsStatsImpl = (StatsImpl) stats;
			WSStats wsStats = wsStatsImpl.getWSImpl();

			return wsStats.getName();
		}

		return super.getStatsName(stats);
	}

	@Override
	protected void processEmptyStats(Stats stats, PropertySnapshot snapshot, PropertyNameBuilder propName) {
		if (stats instanceof StatsImpl) {
			StatsImpl wsStatsImpl = (StatsImpl) stats;
			WSStats wsStats = wsStatsImpl.getWSImpl();

			snapshot.add(propName.append("name").propString(), wsStats.getName());
			snapshot.add(propName.append("type").propString(), wsStats.getStatsType());
			snapshot.add(propName.append("time").propString(), wsStats.getTime());
		} else {
			super.processEmptyStats(stats, snapshot, propName);
		}
	}
}

redpajama_set_name: RedPajamaGithub


text:
Rediff.com » News » The Jewish Gandhi and Barack Obama
The Jewish Gandhi and Barack Obama
By T V R Shenoy
'Barack is a Muslim name!' my American interlocutor insisted.
'Oh no, it isn't,' I shot back, 'We had one in India long before the name was famous in the United States, and he was called the 'Jewish Gandhi'.'
The Jews who gave the 'Old Jew Town' in Kochi its name are a rapidly diminishing presence. By some accounts there may now be fewer than a hundred left in Kochi of a thriving community that once numbered in the thousands. But they were still a visible presence in the town up to the 1950s, and there is still an A B Salem Road in Kochi.
A B Salem is now all but forgotten, so much so that even the small road named in his honour after his death is occasionally called 'Abu Salem Road'. It is an easy enough mistake to make I suppose, but it is completely incorrect. The initials 'A B' stood for 'Abraham Barak,' and the man himself was still alive up to the mid-1960s.
As I said, being a fellow Kochi man is one of the reasons I knew about A B Salem. The second reason is that he was, like me, a product of Maharaja's College in Ernakulam. (In Kerala -- as in Maharashtra -- students leave school to join college for the equivalent of what would be classes XI and XII in Delhi, Chennai, and Kolkata.)
Salem left for Madras, which is where he earned both his BA and his law degrees, before returning to what was then the princely state of Cochin.
In the 1920s and 1930s he was involved in various trade union activities and in pursuing a nationalist agenda in the then-evolving legislatures. When the Indian States' Peoples Party was founded under the presidency of Jawaharlal Nehru, Salem was one of the first three secretaries. (The organisation served as a wing of the Congress in the princely states, which then covered almost a third of India.)
While Salem's talents as an orator and as an organiser were welcome in the days of the Raj, his influence rapidly waned when politics became a numbers game. Simply put, there weren't enough Jews to give Salem a solid electoral foundation.
In 1948, Israel was recreated as an independent nation after almost two thousand years, and issued a clarion call to the Jewish diaspora to return to their ancient homeland. The Jews of Kochi had preserved their traditions under the protection of conservative Hindu kings but feared being swamped by the secular India being crafted by Pandit Nehru and his successors.
Salem encouraged his fellow Jews to emigrate, while warning them that they would be forced to yield to 'Western' norms, but could never bring himself to leave his beloved Kerala.
The veteran did petition the Government of India to be appointed to the Indian mission in Israel, but Pandit Nehru -- reputedly under Maulana Azad's influence -- refused to have diplomatic relations with the Jewish State. There would be no Indian embassy in Israel until a quarter of a century after Salem's death, more than four decades of wasted diplomatic opportunity.
So what exactly is 'Barak,' which was Salem's middle name and Senator Obama's first name in a variant spelling? The original Hebrew root is 'Baruch,' which means 'blessed.' The Latin equivalent seems to be 'Benedict', which is the name chosen by the current Pope by the way.
So how did a Hebrew name reach Kenya, which was the homeland of Senator Obama's father? There are two theories: That it was brought there by Muslim traders sailing across from Arabia, or by the ancient Christian and Jewish communities to the north in Ethiopia. (The Jews of Ethiopia trace their arrival to the times of King Solomon; most of them were lifted to Israel in a rescue operation during the great famines that ravaged Ethiopia in the 1980s.)
As for A B Salem's surname, that too is of Hebrew origin, going back to the word 'Shalom' which means 'peace'. Yes, the Urdu greeting 'Salaam' goes back to the same root if you were wondering.
Senator Obama's middle name, Hussein, is undeniably Muslim. It says something of the climate in the United States today that merely bearing such a name is seen, in some quarters anyway, as a stigma. (It probably doesn't help that it was also borne by the former president of Iraq, Saddam Hussein!) But the man himself is a practising Christian by all accounts, and his famous first name is not Arabic -- or even Swahili -- but Hebrew.
If the amount of disinformation that spreads so rapidly in the United States is disturbing our own lack of appreciation of our rich heritage is almost as troubling. How many in the Kochi of today remember Abraham Barak Salem, or even take the trouble to find out for whom 'A B Salem Road' was named? Come to that, how many in Mumbai remember the David Sassoon whose family built Sassoon Docks?
The Jews of India were always a microscopic community -- and shrinking by the day -- but their contributions deserve to be honoured.
Tailpiece: Did you know there is a slight South Asian connection to the Obama campaign? One of Vice-Presidential nominee Joseph Biden's foreign policy team is Jonah Blank. I had known him only as the author of Arrow of the Blue-Skinned God, a travelogue of India that follows in the footsteps of Lord Rama, but never knew of his political connections until meeting him in Washington. Blank's wife is from Nepal, he did research at the Banaras Hindu University, and is conversant not just in Hindi but in Sanskrit too. Should the Obama-Biden ticket win, we may hear more of Jonah Blank.
T V R Shenoy
Morbi tragedy: Oreva MD in 7-day police custody
'It's time to change America': Obama
Obama is a symbol as was Rajiv Gandhi


text:
Q: Supercharge in $\mathcal{N}=1$ supersymmetric quantum mechanics and Noether's theorem Consider the $0+1$ dimensional Lagrangian
$$L=\frac{1}{2}\dot{X}^2(t)+i \psi(t) \dot{\psi}(t).\tag{1.24}$$
Essentially this the Lagrangian of a particle moving in one dimension, $X$, with an additional degree of freedom $\psi$. This can be thought of as a Lagrangian for a spinning particle moving in one dimension.
Define the supersymmetry transformations (and think of $\delta$ as a fermionic operator on the fields) as
$$\delta X=2i \epsilon \psi\tag{1.28a}$$
and
$$\delta \psi=- \epsilon \dot{X}.\tag{1.28b}$$
Noting that $\psi$ and $\delta$ anticommute, $X$ and $\delta$ commute, and also that $\delta$ is a linear operator, we can easily see that
$$\delta L = i \epsilon \frac{d}{dt}(\psi \dot{X}).\tag{1.29}$$
Thus, the action is invariant since the Lagrangian changes only by a total derivative, under the above transformation. The conserved 'current' (in fact in one dimension it is the conserved charge) gives, by Noether's theorem,
$$\epsilon Q=\frac{\partial L}{ \partial \dot{X}} \delta X+\frac{\partial L}{ \partial \dot{\psi}} \delta \psi-i \epsilon \psi \dot{X}=2i\epsilon \dot{X} \psi-i \epsilon \dot{X} \psi-i \epsilon \psi \dot{X}=0!\tag{1}$$
So the charge turns out to be trivial. However, in these notes, in equation (1.30) it is claimed that the supercharge is, in fact,
$$Q=\psi \dot{X}.\tag{1.30}$$
What am I missing?

A: The second term in OP's formula (1) for the Noether charge has a sign mistake. The second term should be
$$\delta\psi^{\mu} \frac{\partial_L L}{ \partial \dot{\psi}^{\mu}}
~=~(-\epsilon \dot{X}^{\mu})(-i\psi_{\mu})
~=~i \epsilon \dot{X}^{\mu} \psi_{\mu}
~=~(i\psi_{\mu})(-\epsilon \dot{X}^{\mu})
~=~\frac{\partial_R L}{ \partial \dot{\psi}^{\mu}}\delta\psi^{\mu} ,$$
depending on where we use a left (right) derivative, i.e. the derivative acts from left (right), respectively.
As a result the Noether charge becomes non-zero:
$$Q~=~2i\psi_{\mu} \dot{X}^{\mu}.\tag{1.30'}$$
The overall factor $2i$ has to do with a strange normalization.

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text:
РУ EN ЎЗ
Ombudsperson launches hotline on participation of citizens in elections
Tashkent, Uzbekistan (UzDaily.com) -- The Commissioner of the Oliy Majlis for Human Rights (Ombudsperson) launched a hotline on participation of citizens in elections as a part of preparations to the elections of the President of Uzbekistan, scheduled for 4 December 2016.
The hotline will provide legal consultations to citizens on election rights and their participation in elections, participation of citizens at the meetings with presidential candidates, order of voting, etc.
The hotline is operating at short number 1096. The hotline will work from 10:00 to 18:00. On 3-4 December 2016, the line will work for 24 hours.
At the United Nations Headquarters in New York the information about the results of the elections of the President of the Republic of Uzbekistan has been disseminated as an official document of the 71th session of the General Assembly in the six official UN languages.
On 9 December, Central Elections Commission of Uzbekistan (CEC) announced the results of elections of the President of Uzbekistan, which were held on 4 December 2016.
President-elect of Uzbekistan Shavkat Mirziyoyev stated on 5 December 2016 that the elections of President of Uzbekistan impose great responsibility to him.
President of Kazakhstan Nursultan Nazarbayev congratulated Shavkat Mirziyoyev with his election to the post of the President of Uzbekistan.
President of Tajikistan Emomali Rahmov congratulated President-elect Shavkat Mirziyoyev with his victory in the presidential elections.
Candidate to the post of the President of Uzbekistan from Democratic Party of Uzbekistan Milliy Tiklanish Sarvar Otamuratov acknowledged victory of Shavkat Mirziyoyev in the presidential elections in Uzbekistan.
Agency for Strategic Reforms, World Bank hold talks
07/02/2023Read more
Akramjon Nematov: Formation of new mechanisms of Uzbek-Kyrgyz cooperation has become a key factor in strengthening trust between states
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Ronaldo in Uzbekistan
Measures on Qoqand development
Uzbekistan in figures. 2009.
ADB's 43rd Annual Meeting
Uzbekistan in figures. 1H 2010.
Art Week Style.uz 2010
Uzbekistan in figures. January-September 2010.
Uzbekistan in figures. 1Q 2011.
Incheon-2014
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Registration Certificate of Uzbekistan Press
and Information Agency No. 0601 from 28
Founder: DAILY MEDIA
Chief Editor: Umarov Anvar Abrardjanovich
Address: Yunusabad 12-27-73, Tashkent,
100180, Uzbekistan
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text:
A New Light on Asia
by Arthur Lubow, published on 03/30/2010
In 1889, Emile Guimet, a Lyon industrialist, brought his collection of religious and ethnographic art to a new museum that he had just built in Paris, across the Seine from a more provocative edifice debuting the same year—the Eiffel Tower. Inside Guimet's decorous tan limestone building, which features a two-story rotunda capped by a cupola, an unsurpassed trove of Asian art would accumulate over the next century. But who knew? As the Eiffel Tower became an icon, the Musée Guimet grew more recherché. Only a handful of specialists came to this increasingly dark and disorganized labyrinth of rooms, less a museum than a repository in which treasures were stashed and then forgotten.
Five years ago, however, the museum was closed, the collection warehoused, and the interior gutted; only the former library, a government-classified monument that occupies the rotunda, was spared. When it reopened in January, the Musée Guimet looked much the same on the outside—except for the long lines of visitors waiting to gain admission. But when I stepped inside, I was struck forcefully by something brand-new: a dazzling abundance of light. It pours down through a large skylight into the central courtyard, which contains the museum's extraordinary groupings of Khmer sculpture, unequaled outside of Cambodia. It streams through the many large windows of the galleries. As I took hold of the sinuous steel banister and ascended the marble steps of the monumental double staircase, I felt illuminated—bathed in light, first of all, but also blissfully free of the familiar museum vertigo. The galleries opened off this large central space in so transparent a fashion that it would be literally impossible to stumble about, aimless and lost, in the typical museum shuffle.
A few days later I talked to the architect Henri Gaudin, who, with his son Bruno, redesigned the museum. Gaudin is best known for the Charléty sports stadium in Paris, which expresses his belief in "organic" architecture; its bold, curvilinear shape ripples in the same way as the new Guimet's stair rail and free-form landings. Now in his late sixties, Gaudin lives in a high-ceilinged, art-cluttered atelier in the scruffy tenth arrondissement. When I asked him about the light, he responded with enthusiasm. " 'La clarté' in French means not only light but also the intelligibility of things," he said. "Before, the museum was completely unintelligible." For years, the decrepit central skylight had been covered by mesh, dimming the daylight, and the space had been partitioned repeatedly, fragmenting the collection. Gaudin's mission was to display the sculptures and ceramics (which constitute the bulk of the museum's works on view) in a wash of natural light and to open the galleries to each other. "It was necessary to have many openings on the floors, between Tibet and Japan, between central Asia and China, to permit one to look at things at the same time, and for the things to meet," he said. "A museum is essentially an opening."
The museums that capture the public's attention today are modern cathedrals, bravura architectural achievements evoking awe. People flock to Frank Gehry's Guggenheim in Bilbao, Herzog and de Meuron's Tate Modern in London, and Steven Holl's Kiasma in Helsinki primarily to see the buildings—not their contents. Gaudin, on the other hand, wants you to see the art and not the architecture. "I have often found that Asian art museums resemble Chinese restaurants," he said acerbically. He rejects jumble, dissonance, froufrou: "It is necessary to be very calm and hospitable, and the architecture disappears. It has to be mute." Except for the staircase, which is the spine that organizes the building, the architecture of the renovated Guimet is recessive. Because most of the installations are permanent, the rooms were able to be designed specifically for the art, permitting the architecture to be as fitted and discreet as a bespoke suit. For instance, in the Central Asian gallery, a fragment of a late-sixth-century Afghan dome painted with Buddhist figures rests comfortably in a space scalloped out for it in the white ceiling.
The confusing layout of the old Guimet grew out of the museum's incoherent origins. As more new art came in, new space had to be found to store it. The museum originally reflected Guimet's interest in comparative religion, which led him to buy Egyptian and Greco-Roman sculpture, followed by Buddhist and other Asian pieces. In his biggest haul, in 1876, he shipped back 600 sculptures and 300 paintings from a tour of Japan. (Much is stored nearby in an annex to the museum, at 19 Avenue d'Iéna.) Guimet said he wanted the museum to be a "laboratory of ideas," but he wasn't averse to a little showmanship. He staged Buddhist ceremonies attracting such dignitaries as Degas, Pasteur, and Clemenceau; and in a bit of pure razzmatazz, he brought in a Dutch dancer (the future Mata Hari, incredibly enough) to perform Brahman dances in the museum's library.
During Emile Guimet's lifetime, the museum was already attracting important gifts from French archeological digs in Asia; these donations accelerated after Guimet died in 1918 and bequeathed his museum to the nation. The finds from Korea, Afghanistan, the Gandhara region (in today's Pakistan), and Tibet are all extraordinary. Most important, the Musée Guimet took possession in 1931 of the contents of the closing Museum of Indochinese Art, the finest collection outside Asia; and in 1945—upon becoming the national museum for Asian art—it surrendered its Greco-Roman and Egyptian works to the Louvre, receiving in return that museum's Chinese and Japanese collections, which included very fine ceramics. The Louvre bonanza in particular was a lot to take in. "The curators had to find space for it," says Jean-François Jarrige, the director of the Guimet. "The requirements were different—sometimes, as with Chinese furniture, you had to get rooms with high ceilings." If you can imagine arranging a library not by subject or category but strictly according to the size of the books and the height of the shelves, you get a sense of the disarray of the old Guimet. "The collection was scattered," Jarrige says. "Indian art was on the first floor, Cambodian and Indianized art on the ground floor. The Buddhist art of China was thrown in three different places—some with Buddhist art, some in the galleries of ceramic art, some with furniture. The Guimet had very nice pieces, but it was split so much that it did not seem a very rich collection."
Following the renovation, the Musée Guimet once again has a coherent story to tell—not of comparative religious iconography, as in its founder's day, but the story of how two great cultures, India and China, spread their influence across the continent of Asia. "When you walk through the galleries, you are almost traveling through civilizations," Jarrige says. The magnificent collection of Khmer sculptures is still in the central courtyard, as it had been before, but now the Indian sculptures reside in two galleries alongside it. There are no dividing walls: Within just a few steps you can see clearly how ancient Indian statuary influenced artists in Cambodia and Vietnam. Particularly impressive is an Indian standing statue of the Bodhisattva Maitreya, which was carved in mottled pink-and-gray sandstone from Mathura in the late first or early second century. An enigmatic smile plays on his lips, and the contours of his body are softly suggested beneath the delicate folds of his robe. The effect is monumental and impassive, yet at the same time compassionate and understanding. Close to the Bodhisattva is one of the prized Khmer pieces, a sculpture of a kneeling woman from the late 12th century. This is an idealized portrait of the beloved first wife of Jayavarman VII, the creator of many of the temple complexes at Angkor. Her eyes are closed in meditation and her broad lips hint at a ghost of a smile. Her thin skirt is stretched taut across her legs. The stylized features of her face clearly mark this statue as a Khmer masterpiece, with a gentle serenity unique to that culture. At the same time the meditative pose, the downward tilt of the head, and the otherworldly humility are directly descended from the Indian Buddhist tradition on display just steps away.
The curators and designers have gone to great effort to obliterate the boundaries that usually separate works of art. Instead of keeping, say, Chinese porcelain wares in one room and Chinese bronzes in another, they have juxtaposed works in different materials to illustrate similarities in form. From tenth-century China, a silver box, a stone pitcher, and a white ceramic pitcher occupy the same vitrine, because the source of inspiration in each case was the multilobed form of the lotus. "People could think that we are guided by aesthetics, but the display is actually much more scientific than it was before," Jarrige says. "We have tried to show that a ceramic work can be inspired by a bronze vessel—sometimes five hundred years later."
Science acknowledged, I know of no large museum in which art objects are more sensitively arranged. Some of the Chinese pottery of the great collector Ernest Grandidier is contained in one room. As you enter, you encounter a magnificent Yuan-period vase emblazoned with a white dragon, its tail and the tendrils of its legs curving around the field of dark blue. The vase was produced in the 14th century, soon after the Yuan people, of Mongol origins, had conquered the Southern Sung empire based in Hangzhou and established trade that brought in the cobalt required to achieve the intense blue. The piece is a hybrid: The lean dragon is characteristic of the Yuan, while the Meiping shape—a small opening with almost no neck gives way to a bulbous top that tapers to a slender base—is pure Sung. This vase that combines colors and cultures, one realizes, is singing an overture to what comes next: one wall with a long vitrine of blue-and-white porcelain dishes of the Ming and Qing dynasties, and another showcase of five white porcelain bowls, from the 15th to the 18th century, joined by two deep-blue examples from the 16th century. Could a connoisseur like Grandidier have exhibited these treasures any more attractively?
The architects were lavish in their expenditure of space. Above a low shelf holding delicate white Chinese bowls there is nothing but a white wall extending up to the lofty ceiling. "The bowls are so remarkable that one looks up to the sky," Gaudin says. "I wanted to give them a lot of air, like the air in the mountains." He consciously clustered the exhibits within airy galleries. "It is not good to have things scattered like houses in the suburbs," he says. "You need open spaces." Waxing ever more lyrical, he remarks on the use of white space in Asian painting. "In the middle of the canvas there will be white," he says. "For example, there will be a mountain, and in the center there will be a white cloud." The new Guimet uses voids to comparable effect. "There are clearings, as in the forest," Gaudin says. "Some areas are high, some are low. There are places of calm. There will be a vitrine and there will be a big empty space around it."
Although the renovation did not create more display space for the permanent collection (only 3,200 of the museum's 45,000 works are currently on exhibit, slightly fewer than before), it did tunnel out two underground levels, which are devoted to research collections, the photographic archive, and to a new and larger library. (The old library in the rotunda—a charmingly quirky space that boasts Doric columns on the lower level and bare-breasted caryatids above—has now been converted into a showroom for paintings, a part of the Guimet's inventory that was practically ignored before.) A small domed room on the fourth floor, open for the first time to the public, contains large Chinese screens and offers a fine view of Paris.
One of my favorite objects in the Guimet is also the most visible: a huge section of Causeway of the Giants, a monumental late-12th-century balustrade from the Preah Khan temple at Angkor. Brought to Paris in 1873 in 31 stone blocks, this sculpture was last exhibited in its entirety at the Universal Exposition of 1887. It is a memorable piece: A giant cobra with seven ferocious heads and a long, scaled body is cradled by two guardian figures that stare stoically with that bemused Khmer smile. (One of the figures, having five heads, has five smiles.) A team of conservators worked for five months to determine how to put the unmarked blocks back together, and their success understandably won the piece pride of place in the entryway of the courtyard. The sculpture belongs there—and not only because of its grandeur and beauty. It also serves as an emblem of the careful work that has brought the museum's mission back into focus, providing compelling unity to a disarray of gorgeous fragments.
Le Musée National des Arts Asiatiques-Guimet, 6 Place d'Iéna, 75116 Paris; www.museeguimet.fr. 33-1-56-52-53-00; fax 33-1-56-52-53-54.


text:
Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organization in Reykjavík. In his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music.

Biography
Guðmundur Steinn was born in Reykjavík, Iceland in 1982. He studied at the Iceland Academy of the Arts, graduating in 2005, and then at Mills College in Oakland, California, where he gained an M.A. degree with a thesis entitled "An Approach to Rhythm". His teachers have included Atli Ingólfsson, Úlfar Haraldsson, Hilmar ór Arson and Hilmar Jensson in Iceland, and Alvin Curran, Fred Frith and John Bischoff at Mills College. He also attended Karlheinz Stockhausen's courses in Kürten in 2004, went to the Darmstädter Ferienkurse in 2008 and has had masterclasses with Helmut Lachenmann, Tristan Murail, Pauline Oliveros and Clarence Barlow.

Music
Guðmundur Steinn's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse. This approach has led to the development of his animated notation, or '', instead of using traditional musical scores. During the performance, the musicians follow specific instructions that move across a computer screen. This rhythmic language and animated notation and the structural methods he uses in composition were the subject of his M.A. thesis in Mills College. As Guðmundur Steinn explains, "By intently focusing on small differences, both in rhythm and pitch, the ear gets tuned to a microscopic mode of listening. When things then open up, a new sense of variety is gained."

Works have been performed at events in both Scandinavia and the USA, including the Reno Interdisciplinary Arts Festival, Music for People and Thingamajigs, U.N.M. (Ung Nordisk Musik), Time of Music, Dark Music Days, Nordic Music Days (2009 and 2010), and Ung Nordisk Musik. Performers of his works have included Quartet San Francisco, The Zapolski Quartet Ensemble Adapter, Defun, Duo Harpverk, Shayna Dunkelmann, Tinna Þorsteinsdóttir, Quartet Opabinia, The Zapolski Quartet and Atón/Njútón. Guðmundur Steinn also participates in improvisatory performances, and has performed with Steve Hubback, Fred Frith, Andrew D'Angelo, Ad Peijnenburg, Hilmar Jensson and Skúli Sverrisson

Guðmundur Steinn is a founding member of the S.L.Á.T.U.R. ("samtök listrænt ágengra tónsmiða umhverfis Reykjavík" or "The Association of Artistically Obtrusive Composers around Reykjavík"), an experimental composers collective in Iceland, and he is co-curator of the festival Sláturtíð. He also a co-curates the concert series Jaðarber at the Reykjavík Art Museum.

Awards
2011 – 80th anniversary National Radio of Iceland Composition Prize
2005 – musical director of the film Hidebound (Þröng Sýn) which gained a special prize for music at the NUFF Nordic Youth Film Festival in Norway

Recordings
2011 – Horpma – an album released by Carrier Records
his music has also featured on albums available on the Bad Taste label in Reykjavík and Edgetone in San Francisco

Works
Guðmundur Steinn's works include:
 (2012) for flute, bass clarinet, bassoon, horn, trumpet, trombone, percussion, piano, 2 violins, viola, cello and double bass
 (2011) for flute choir with contrabass flute solo
 (2011) for orchestra, traditional notation
 (2011) for 4 voices, open instrumentation and 2 voices audience participation
 (2011) for accordion and piano
 (2011) for flute choir
2 Songs for Accordion (2011) for solo accordion
 (2011) for 4 recorders
Nine lullabies for Langspil (2011) for 4 langspil
 (2011) for somewhat variable quartet
 (2011) for 8 aluminum cans
 (2010) for violin and piano
 (2010) for somewhat variable quartet
 (2010) for somewhat variable quartet
 (2010) for somewhat variable quartet
 (2010) for flute, bass clarinet, cello and piano
 (2010) for harp and percussion
 (2010) for alto flute, bass clarinet, harp, piano and percussion
 (2010) for piano
 (2010) for somewhat variable quartet
 (2009) for variable instrumentation
 (2009) for somewhat variable quartet
 (2009) for harp and percussion
 (2009) for just-intoned single string piano
 (2009) for 5 langspil
 (2009) for somewhat variable quartet
 (2009) for flute, harp and percussion
 (2009) for alto flute and alto recorder
 (2009) for 2 French horns
 (2009) for 8 bassoons
 (2008) for 27 plucked strings
 (2007) for voice
 (2007) for 5 percussion
 (2007) for 2 percussion
 (2007) for string quartet and live electronics
 (2007) for flute and live electronics
 (2007) for 3 percussion, 2 alto saxophones, 1 tenor saxophone, 2 violins and 1 viola
 (2006) for 2 voices and electronics
 (2006) for percussion solo
 (2006) for 3 cellos

All use Guðmundur Steinn's "animated notation" except .

References

External links

Gudmundur Steinn Gunnarsson
Gudmundur Steinn Gunnarsson
21st-century classical composers
Gudmundur Steinn Gunnarsson
Mills College alumni
1982 births
Living people
Male classical composers
21st-century male musicians

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text:
Sunspots (https://sunspots.cornellsun.com/2017/02/06/the-rise-of-cornell-wrestlings-two-time-ncaa-champion-gabe-dean/)
2016-17 Winter Sports Supplement
Wrestling the Right Way: The Rise of Cornell's Two-Time NCAA Champion Gabe Dean
By The Cornell Daily Sun | February 6, 2017
More on 2016-17 Winter Sports Supplement
Subscribe to 2016-17 Winter Sports Supplement
By Charles Cotton
"Recognize opportunity," reads the Latin inscription on Gabe Dean's necklace that he always keeps close by his side. The two-time NCAA national champion and three time all-American has used these two words as a guide throughout his journey to the top of the collegiate wrestling world. Now a senior applied economics and management major and the heavy favorite to win a third consecutive national title in March, Dean's road is far from over.
Midwestern Memories
Gabriel Curtis Dean was born in Eastern Michigan and spent the first few years of his life in a rural home as one of three children. As a young boy, he enjoyed running around outside, going fishing with his father and playing video games at home — just like any other kid.
"My mom actually tried to put me into tap dancing when I was little, but it lasted about a day," Dean said. "There was a part of this one dance where I didn't like what I had to do, so I just walked out right in the middle of the dance, and that was it."
Dancing may not have been a good fit, so Dean's father came up with a different plan for him. David Dean wrestled for Minnesota where he won two Big 10 championships and was a national runner-up, going on to coach at Michigan State for 13 years. At first, Gabe did not care much for his father's livelihood, but that soon changed when he got to experience it firsthand.
"He would bring me and my brother up to the wrestling room, and we would run around on the mats and play with the guys on the [MSU] team," he said. "They were our role models growing up."
Once he finally entered the sport at the age of nine, Gabe's wrestling career got off to a rough start at a small local tournament.
"I got head-locked and pinned by a girl," he said. "I acted like I was paralyzed on the mat because I was so distraught."
From that point on, wrestling was always one of his activities, but the passion he holds today took some time to arrive.
"My true passion was always football. Even when I was a kid I loved football," Dean said, who also played baseball and basketball. On multiple occasions, Dean almost walked out on wrestling like he did on tap dancing.
"I actually tried to quit wrestling several times as a kid, but [my parents] would always bribe me back into it with ice cream or stuff like that," he said.
Still, Dean's parents never forced wrestling on him — something he is very thankful for.
"One of the things I've really appreciated is my parents never pushed me to do anything," he said. "Sure, my dad was a little manipulative with wrestling like by bringing me to practices and all that, but they let me do what I wanted and enjoy my childhood, and they loved me unconditionally no matter what."
Next Stop: Lowell, Mich.
When Dean was going into the sixth grade, his family moved west to Lowell, a town of about 4,000. As Dean and his siblings grew up, their father left his job at Michigan State to spend more time with his family. At Lowell High School, he became head wrestling coach, where Gabe's uncle was already the head football coach.
Going into high school, Dean kept his focus on football. The then-freshman played quarterback on his junior varsity team and developed his natural ability throughout the season. As a sophomore, Dean was eager to earn a spot on the varsity team, but standing in the way was a senior quarterback who had taken the starting gig.
"They were working me at safety — trying to find me a position — and a week before the first game, we were having a scrimmage, and the QB broke his collarbone," Dean said. "I was the next in line."
While Dean was going to get that starting gig at the position he was most prepared for, the position came with pressure. In that small town of Lowell, around 8,000 to 9,000 people would come out for a Friday game, tailgating included.
"It was pretty terrifying. It's one of those Friday-night-lights towns," he said.
Dean took it all in stride though, winning seven out of his first eight games and ultimately leading his team all the way to a state championship. Dean led the team to two second place finishes in his junior and senior years.
At the same time, Dean was also wrestling for his father throughout his time in high school. Although he humbly remarked that he was "not as successful nor particularly dominant in wrestling," Dean still went on to win the state championships at his weight class during his junior year.
Still, it was his football career Gabe wanted to take to the next level, not his wrestling one.
The summer before his senior year, Dean attended what he thought was a football camp at Georgia Tech, but as it turned out, the camp was a scouting combine. This was Dean's big chance to show off his talent and win the attention of some Division I programs, but it did not go anything like he had imagined it would.
"I was there for maybe 20 minutes, and they told me that I was too small and that I could never be successful as a Division I quarterback," said the five-foot-10 Dean. "That's when I was said, you know, I don't like the way in which your destiny lies in the hands of a lot of other people in football, and in wrestling it's in your hands, you control your own destiny in the sport"
"I really had a bad taste in my mouth about that whole situation, they were pretty rude to me," he continued. "But you know what — one door closes and another one opens, and I decided to commit to wrestling."
Wrestling Takes Center Stage
Although he had been more passionate about football, Dean was actually receiving more attention from wrestling programs. He was recruited by Michigan, Michigan State and Minnesota — perhaps because of family ties — but was not on the list of the nation's top 100 high school wrestlers. A nationally renowned program like Cornell seemed out of reach.
But then, "out of nowhere Cornell comes knocking on my door, and I'm not going to lie to you I didn't even know where Cornell was," he said. Head coach Rob Koll and his associate Damion Hahn came to visit Dean and immediately hit it off with him and his family. Koll invited Dean back to Ithaca for a tour of the school and the wrestling center, and the high school senior was not going to take a pass on that.
"I was playing in a football game, and after it ended I literally walked into my car in my pads and we drove out there," Dean said.
Dean — who always valued academics — fell in love with the school's campus and was impressed by the wrestling team, so he knew Cornell was the place for him. He committed right on the spot during that visit.
"At Cornell, you get to wrestle at one of the best programs in the country, and you get to go to school at one of the best universities in the country, so that seemed like a clear win-win," he said. "Cornell definitely took a risk on me, but it worked out."
Dean later learned why Cornell came to be interested in him.
"The first time I saw Gabe was at a national tournament, and he was wrestling the No. 1 ranked guy in the country, who was being recruited very heavily by a lot of schools," Hahn said, who has developed a close relationship with Dean. "I remember watching this young scrappy kid get the first takedown on the No. 1 ranked guy, and my eyes lit up … Gabe ended up losing by a technical fall but he never stopped wrestling. I thought to myself, this kid is a fighter, and I knew he had serious potential."
After committing to Cornell, Dean deferred his admission for a year and took classes at a local community college, a relatively common practice for future Cornell wrestlers referred to as "grey shirting." During that year, Dean — who was not allowed to train at Cornell — spent much of his time honing his skills at an Olympic training center. He was also heavily aided by former Cornell wrestler and national champion Cam Simaz '12 who still lived in the area.
"Cam took me in, and he really taught me how to be successful at the Division I level," Dean said. "When you come into college, it doesn't matter how good you were in high school, you're going to get the crap kicked out of you, and Cam taught me how to deal with that."
Dean's grey shirt year got off to a rough start at an open tournament when he lost his first two matches and was eliminated. He called his father and told him he wanted to give up the sport, but he was told he had to finish out the year and see what happened.
"After that phone call, I figured if I have to finish this year, I'm gonna do the best that I can," Dean said. "I worked as hard as I possibly could from that point on."
Dean finished out the year with some limited success, but never won a tournament. His goal as a freshman was simply to gain a spot on the team's starting lineup.
Donning the Carnelian and White
Upon arrival at Cornell, Dean defeated the then-current starter at 184 in practice to win the spot, and during the course of that season, he compiled a series of major upsets which put his name in the conversation of top wrestlers in the nation.
He won the esteemed Cliff Keen Invitational in Las Vegas and took down the national No. 1 and defending NCAA champion Ed Ruth at a major tournament in Tennessee — who pinned him earlier in the year.
"Before I walked out there [to face Ed Ruth] I remember saying to myself I don't care how bad he beats me, I'm not getting pinned again," Dean said. "He was a much better athlete than me, but I was gonna make him earn it … I went out there, and I wrestled that way and won."
Dean went on to take third in the NCAA championships, losing to Ruth in another rematch, but he exceeded his goal of making the starting lineup many months prior.
Over the summer, Dean made the U.S. U-20 National team where he won a bronze medal in Croatia. After two seniors graduated, Dean came into his sophomore year as the national No. 1 at 184.
He suffered a setback at the same Las Vegas tournament he had won the year before by losing twice in the same day, but he overcame it and went on to finish the year 43-2, never losing again en route to his first NCAA championship. Dean won nearly every accolade you could that season, but remembers that year for its difficulties, rather than its bright spots.
"My whole sophomore year was tough for me," he said. "My values were in the wrong place … I valued winning way too much. It was probably the longest, most stressful year of my life."
However, he still remembers some of his better moments, particularly his first win.
"Winning the first one was awesome. It was truly a surreal moment," Dean said. "I mean when I was a kid my dad would say you're this close to being one of the best wrestlers in the country, and I just thought he was full of crap … After I won the first one I remember seeing my dad and hugging him and just saying, 'Hey, you were right.'"
Still, Dean's goal that summer was to change his ways: to learn to be just as successful while doing things the right way.
Junior Year: Wrestling the Right Way
"I came into my junior year, and I said I don't care if I win another national title or not, but I'm going to do it the right way," Dean said. "The right way for me meant realizing that it's not just about winning or losing. It's about your motivation and your effort and going out there and trying to be fun to watch for the fans."
Preparation became a central part of Dean's life. He took pride in eating right, training right, studying right and winning right. He received advice from Cornell Athletics' nutritionist Clint Wattenberg on how to eat the right way and now eats an extremely healthy diet.
"I eat a very strict diet — very clean, lots of vegetables and proteins and lots of carbs," Dean said. "But I always treat myself after a long weekend. I'll come home and go to Purity for a little ice cream."
Dean's routine for cutting weight — many wrestlers' biggest gripe — is consistent and effective. He has it down to an exact science and hardly even minds it.
"Cutting weight isn't really that bad if you know the right way to do it," he says.
Overall, his work ethic is one of the keys to his success, and he knows it.
"I will say that my work ethic and my drive have gone a long way in getting me to where I am. This sport is blue collar," he said. "And the best athletes don't always win, so you've got to work hard."
"The tireless work ethic he has was the deciding factor in most of his matches. He would outwork and out-wrestle anyone who stepped on the mat," coach Hahn said. "That has continued to grow while he has developed his style of wrestling."
Dean was unstoppable his junior season. He lost just one match the entire year — which he ultimately avenged — and won his second consecutive national title at 184. Dean also earned first team all-America honors for the third straight season.
"That second championship was the best one because I did it the right way," he said.
The Quest for One More
This season, Dean seems to have gotten even better. He is currently ranked No. 1, is 23-0 with 17 pins and is a leading candidate to win the Hodges Trophy, which recognizes the best overall wrestler in the country — regardless of weight class.
As an overall team, Cornell is not too shabby either, ranked in the top 10 and the favorite to win its conference — the EIWA — for the 11th straight year. Dean is well aware of the fact that he could not have done it on his own.
"To get where I am today I've needed overwhelming love and support from my family, my friends, my teammates and my coaching staff. As the saying goes, 'one man's trash is another man's treasure,'" he said. "At Georgia Tech I was nothing to them, but Cornell saw opportunity in me, and I'm very lucky they did."
Dean repeatedly stresses the importance of the support he received from his coaches and the way in which they believed in him. At Cornell, he has benefited from the whole staff, but especially from Hahn.
"I'm really really close with Damion — we spend a ton of time together," he said. "There are three men to whom I really credit who I am today: one's my father, one's my grandfather and the other is Damion Hahn. He's been a huge influence on my life."
Hahn also had extremely high praise for Dean, who has practically become another member of his family.
"Gabe and I have a very close relationship. We have a mutual respect and bond with one another that has grown during his time here at Cornell," Hahn said. "Gabe is very close with my family, and my children look up to him and act like he's their big brother … Gabe is a great kid, and I'm so thankful that I've had the opportunity to coach him and to have him as a part of our life."
Dean has tremendous respect for his head coach Rob Koll as well, although the two are not quite as close outside of the wrestling room.
"It's great to see someone like Gabe achieve such success because he does everything right," Koll said. "He is the perfect role model for our current and future wrestlers."
Throughout his wrestling career, Dean has accomplished nearly everything there is to accomplish. He has also earned Academic all-America honors for his commitment to his classwork. Despite all the rewards, he knows there is much more to his life than what is in his trophy case.
"If you put your values in all the accolades, you're not going to be the happiest guy," Dean said. "Someday we're gonna have to quit sports, and if all your value is wrapped up in how successful you were, then you're really not seeing the bigger picture in life."
"As proud as I am of winning national titles and becoming an all-American, I truly am more proud of the relationships I've built at Cornell and people I've gotten to know and the things that I've learned from my family," he continued. "Those things I will carry with me for the rest of my life."
Dean's goals from here on out include winning a team trophy —top four in the nation — for Cornell and to make the Olympics in four years. "After that, I'll just see where life takes me," he said.
While his future may not be certain, you can count on Gabe Dean for one thing — the same thing that got him past that one summer day on the Georgia Tech football field all the way to taking a chance on wrestling and becoming a national champion at Cornell: he'll always recognize opportunity.
Read more articles in the Winter Sports Supplement here.
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Big, book-nerdy things are happening in the Great White North. Margaret Atwood's behind-the-scenes pics of Alias Grace are everything you never knew you wanted. The Canadian author has a role in the Netflix-CBC miniseries adaptation of her 1996 novel, and she's got plenty of sneak peeks to share with her fans.
Alias Grace is Atwood's novelized account of a sensational 1843 trial, in which Grace Marks, a 16-year-old Irish immigrant, was found guilty of murdering her employer, Thomas Kinnear, and his housekeeper, Nancy Montgomery. Marks' supposed accomplice, a stable hand named James McDermott, was also convicted and hanged. Because she was a pretty, young woman, however, Marks soon found her sentence reduced to life in prison.
The Netflix-CBC miniseries stars 11.22.63's Sarah Gadon as Grace Marks. True Blood star Anna Paquin will portray Nancy Montgomery, opposite Paul Gross' Thomas Kinnear. Zachary Levi — A.K.A Flynn Rider — will also star, but his exact role has yet to be announced.
The Alias Grace miniseries isn't the only Atwood adaptation project in the works. Hulu is hard at work bringing The Handmaid's Tale to life, with Elisabeth Moss and Samira Wiley set to star as Offred and Moira.
Atwood scored the part of the Disapproving Woman, who, it seems, can stop you in your tracks with her withering stare. Check out Margaret Atwood's behind-the-scenes pics of the Alias Grace set below, and bask in that 19th century costuming glory.
Netflix and CBC's Alias Grace miniseries is expected to premiere in 2017.


We are honored to have received an Addy award from the American Advertising Federation Nashville for our work on the iPhone app, LocalSpin. A big thanks to our awesome team, for designing such a killer app. We will receive the award on March 2nd, 2013 at the Nashville Addy Awards ceremony and display it prominently over our mantle :).
Want your project to win next year?


After the alleged attack, Tusing fled the home, the report said, but was arrested on a misdemeanor domestic battery charge upon his return around 10:30 p.m. He was released Monday after posting $500 bond; his court date is March 6.
A quick background check reveals Tusing has had brushes with the law before — the 39-year-old was arrested on DUI charges in 2001 and again in 2014.


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Q: PHP Identify HTML tags and square bracker placeholders found in Wordpress blog posts I am migrating a site from Wordpress to a bespoke platform (already created by a previous developer). The existing wordpress blog appears to have allowed the admin to paste in HTML code so I've spotted from a quick glance some iframes, images etc.
I need to update the new blog to support the existing HTML content where it's been used.
There are also some Wordpress square bracket placeholders - e.g.
[caption id="attachment_1281" align="aligncenter" width="350"]

There are hundreds of posts so looking through them manually is not really sensible...
I need to loop through all the posts in the wp_posts table and identify any other HTML elements used. I know RegEx is generally frowned upon for working with HTML - but not sure what the best approach here is.
I've got to a stage of pulling all the "published" posts out of WP into a database, but how would you suggest parsing the 'content' field and identifying all html tags and these square bracket tags?

A: I think you're right about the regex here. For the brackets I see no other choice. HTML we can use a loop hole for it.
The problem is going to be "rogue" brackets. So you need to come up with an function to check if the bracket is actually part of a tag structure or just somewhere in the page.
This function should get you on the road:
function findSquareBracketsAndHTML()
{
    //this beautiful regex matches [...] 99% of all cases, for 100% isn't viable is guess.
    $bracketElements = preg_match('/\[/?\w+((\s+\w+(\s*=\s*(?:\".*?\"|\'.*?\'|[^\'\">\s]+))?)+\s*|\s*)/?\]/', $contentField, $matches);
    //$matches contains all [] elements.

    $doc = new DOMDocument();
    $doc->loadHTML($contentField) //you might need to wrap this in a container element.

    $xpath = new DOMXPath($doc);
    $nodes = $xpath->query('//*');

     foreach($nodes as $node) {
           //do whatever you want with html nodes here
     }

}