text:
Strasburg wins MLB debut in lights-out fashion
By Drew SilvaJun 8, 2010, 9:48 PM EDT
We've been lucky enough to witness a multitude of impressive pitching performances this season. Ubaldo Jimenez fired a no-hitter in early April and currently sits 11-1 on the year with a 0.93 ERA and a 0.93 WHIP. Those are historically good numbers.
Dallas Braden threw a perfect game on May 9 against the Rays, who have owned the best record in baseball for over a month. He has a 1.09 WHIP.
Roy Halladay, long considered the cream of the crop in the American League, is 8-3 over his first 12 starts in a Phillies uniform with 77 strikeouts and only 13 walks. He threw his first career perfecto in late May against the Marlins.
It has been a spectacular year for fans of dominant pitching, and let's go ahead and add Stephen Strasburg's name to the list of guys who are making it all happen. The 21-year-old kid — that's right, kid — out of San Diego State University struck out 14 batters on Tuesday night in his major league debut and picked up his first career win. It should be the first of many.
Never has a pitcher struck out 14 batters without issuing a walk in a MLB debut. His 94th and final pitch was clocked at 98 MPH on the Nationals Park gun and he hit 99 MPH regularly throughout the night.
To say Strasburg was impressive would be an understatement. To say he's "the real deal" would be spot-on. His hybrid slider-curve looks like a different pitch every time he throws it. His fastball has a foot of tailing action, even at 99 MPH. His changeup, which is still in its infancy, looks like a potential long-term out pitch. He pairs that all with a devastating sinker and he has an incredible amount of touch and feel for his entire arsenal.
This guy's good. This guy is real good. The Nats may be years away from contending in the stacked-with-youngsters National League East, but that will change as Strasburg carves his way through opposing lineups, Ian Desmond grows into his role as the starting shortstop, and Drew Storen begins wrapping up games with confidence. Maybe Bryce Harper will even get on the fast track.
The Nationals arrived in the nation's capital in 2005 and finally moved into their new stadium in 2008. But not until the night of June 8, 2010 did baseball truly get its welcome back to The District.


On top of the trends this season, the iridescent effect amazes through its diversity and dynamism. This backpack combines a practical compartmentalization with a seducing design, being the perfect choice for a cool urban outfit. Be creative - match it with various combinations and enjoy all the compliments you get.
Electric colours will be the stars of this season.
Even if you choose the silver or the black model, you can't go wrong with this pair of shoes, Wear them at the office, meeting friends or even at a party; this model will successfully complete your outfits regardless of the event.
With a bold and creative design, this pair of sneakers will perfectly complement your outfits this season.


text:
Q: Debugging SAS error message "ERROR: Cannot retrieve metadata from SAS Metadata Repository." I get the above error when submitting code as follows:
337   data x;
338   set nz.aa;
ERROR: Cannot retrieve metadata from SAS Metadata Repository.
339   run;

The NZ library is on a Netezza server accessed via UNIX (libname engine), SAS 9.1.3.  Our signon script is automated and not easily visible.
What is the most likely cause of such a message, and/or how can further detail be obtained?

A: I'd first check to see that the user running the code has permissions in metadata to read the library.  That seems the most likely culprit to me.

redpajama_set_name: RedPajamaStackExchange


text:
Bei dem U-Bahn-Unfall von Moorgate fuhr am 28. Februar 1975 ein Zug des Highbury Branches der Northern Line, heute die Northern City Line, auf der damals von der London Underground betriebenen Strecke im Tunnel- und Kopfbahnhof Moorgate nahezu ungebremst gegen die Abschlusswand des Tunnelendes, an dem das Gleis endete. 43 Tote und 74 Verletzte waren die Folge. Dies war der schwerste Eisenbahnunfall in der Geschichte der London Underground.

Ausgangslage

Moorgate war damals der südliche Endbahnhof einer Linie der Northern Line. Dieser Streckenabschnitt hat das Lichtraumprofil der britischen Vollbahnen. Er wurde noch im Jahr des Unfalls von British Rail übernommen – was schon vor dem Unfall vereinbart war – und wurde als Eisenbahnstrecke weiter betrieben. Das Gleis 9 endet dort unterirdisch in einem Stumpftunnel. Dieser war durch ein über 20 Meter langes Auslaufgleis, einen Prellbock, eine Sandgrube und ein ständig "Halt" gebietendes rotes Signal gegen Überfahrten gesichert.

Der Zug, der in den Unfall verwickelt war, wurde aus zwei Einheiten der 1938er Tube Stock, die selbst jeweils aus drei Trieb- beziehungsweise Beiwagen bestanden, gebildet. Diese haben ein gegenüber Fahrzeugen der Vollbahn wesentlich geringeres Lichtraumprofil. Der Zug kam vom Bahnhof Drayton Park, wo er um 8 Uhr 39 abfuhr und war mit etwa 300 Fahrgästen besetzt.

Unfallgeschehen

Der Zug erreichte um 8:46 Uhr Gleis 9 des Bahnhofs Moorgate. Er bremste nicht, sondern beschleunigte noch etwas und fuhr mit einer Geschwindigkeit von 50 bis 65 km/h durch den Bahnhof und in den Stumpftunnel hinein. Bis zwei Sekunden vor dem Aufprall wurde noch Leistung auf den Antrieb des Zuges gegeben, wie nachträglich festgestellt werden konnte. Zeugen auf dem Bahnsteig berichteten, dass der Triebfahrzeugführer dabei aufrecht gesessen und nach vorne gesehen habe. Die Sandgrube und der Prellbock konnten die Wucht des Aufpralls nur unwesentlich mildern. Bei der Überfahrt über den Prellbock wurde das erste Fahrzeug nach oben geschleudert und traf die Abschlusswand des Tunnels nahe der Decke. Durch die kinetische Energie des nachdrückenden restlichen Zuges wurde das Fahrzeug, das eine Länge von 13 Metern aufwies, auf knapp sieben Meter zusammengedrückt. Aufgrund der schrägen, nach oben gerichteten Position des führenden Wagens und des im Verhältnis zum eingesetzten Fahrzeug recht großen Tunnelprofils schob sich der zweite Wagen über den ersten. Bei beiden Fahrzeugen zerknickte der tragende Rahmen. Das dritte Fahrzeug schob sich auf das Ende des zweiten und wurde im vorderen Bereich beschädigt. Die beiden letzten Wagen blieben unbeschädigt.

Folgen

Die Rettungsarbeiten waren sehr schwierig, da sich die meisten Opfer in den zusammengedrückten Wagen im Stumpftunnel befanden. Der letzte Überlebende konnte erst mehr als 13 Stunden nach dem Unfall geborgen werden, die Leiche des Triebfahrzeugführers erst nach mehr als vier Tagen. Seine Hand befand sich am Totmannhebel – nicht vor seinem Gesicht, um es zu schützen. Die Aufräumarbeiten dauerten bis zum 6. März, vier weitere Tage wurden benötigt, um den Verkehr wieder aufzunehmen.

Der Untersuchungsbericht wurde am 4. März 1976 veröffentlicht. Er stellte keine technischen Fehler am Fahrzeug oder der Eisenbahninfrastruktur fest. Die Obduktion des Triebfahrzeugführers ergab keinerlei Anhaltspunkte einer gesundheitlichen Einschränkung. Eine vorübergehende Lähmung durch Transitorische ischämische Attacke oder eine Akinese mit Mutismus wurden seitens der Pathologen für eine mögliche Erklärung gehalten, sind aber organisch nicht nachweisbar. Ein Suizid seitens des Triebfahrzeugführers konnte ausgeschlossen werden. So endete die offizielle Untersuchung mit der Aussage, dass ausreichende Beweise, die Unfallursache festzustellen, nicht vorlägen. Der Coroner kam deshalb zu dem Urteil "accidental death" (höhere Gewalt).

Als technische Konsequenz wurden im Bahnhof Moorgate und anderen vergleichbaren betrieblichen Situationen Einrichtungen eingebaut, die zu einer Zwangsbremsung führen, wenn ein Zug mit zu hoher Geschwindigkeit in ein Stumpfgleis einfährt ("Moorgate protection").

Siehe auch
 Liste von Eisenbahnunfällen im Vereinigten Königreich

Literatur

 Jackson D. Croome: Rails Through The Clay — A History Of London's Tube Railways. 2. Aufl. 1993. ISBN 1-85414-151-1.
 Sally Holloway: Moorgate: Anatomy of a Railway Disaster. 1988. ISBN 0-7153-8913-0.
 McNaughton: Railway Accident – Report on the Accident that occurred on the 28th February 1975 at Moorgate Station on the Northern Line – London Transport Railways (offizieller Untersuchungsbericht, enthält auch Fotos vom Unfall, von der Situation am Bahnsteig und im Stumpftunnel nach dem Unfall und eine Gleisplanskizze des Bahnhofs; PDF; 1,5 MB). Hrsg.: Department of the Environment. 1976.

Weblinks

BBC-Nachrichten zu dem Unfall
Foto des Unfalls (London Transport Museum)

Verkehr (City of London)
Moorgate
Moorgate
London-Moorgate
London-Moorgate
Moorgate
Geschichte Londons (20. Jahrhundert)
Tunnelunfall (Schienenverkehr)

redpajama_set_name: RedPajamaWikipedia


text:
This Is How Long Brad Pitt and Angelina Jolie Have Been Trying to Get Divorced
Sandie Grey
When Brad Pitt and Angelina Jolie met on the set of Mr. and Mrs. Smith in 2004, they became one of Hollywood's biggest power couples almost overnight.
The famous duo finally tied the knot in 2014, but the marriage only lasted until July 2016 when Jolie filed for divorce. It took three years for them to become single again — but the divorce is not finalized yet.
Here's what happened between then and now so you can see how long Brad Pitt and Angelina Jolie have been trying to get divorced:
Angelina Jolie and Brad Pitt | Jason LaVeris/FilmMagic
Jolie and Pitt's divorce timeline
According to The Cut, Jolie filed for divorce shortly after an incident on a private plane where an intoxicated Pitt had a physical altercation with 15-year-old son Maddox.
The incident was reported to the Los Angeles Department of Children and Family Services and the FBI as a case of potential child abuse, but both agencies eventually closed their cases with no charges filed. Jolie asked for physical custody for all six of the children, and requested that Pitt be granted visitation rights.
By early December, Pitt and Jolie reached a temporary custody agreement. In addition, Business Insider reports, Jolie's lawyers filed an important legal document which made very personal information about the children public.
Pitt's lawyers countered by filing a motion to keep the divorce proceedings private.
After an intense end to 2016, Pitt and Jolie agreed to keep the proceedings private. Jolie gave a Vanity Fair interview about life after the split as this NBC video reports, including suffering from Bell's palsy, reconciling with her father, and describing how she and her children were adjusting.
Likewise, Pitt gave an interview to GQ for its summer fashion cover story, talking openly about his drinking and his struggle to move on with his life.
Pitt and Jolie established a new custody agreement based upon recommendations made by the child custody evaluator, US Magazine reports.
Although the filing and the details of the agreement were kept confidential, it's known that the agreement granted joint physical and legal custody of the six children to both parents.
The court declared Jolie and Pitt single again. As of the time of this writing, however, they're still not divorced.
The judge granted a bifurcated judgment which made them both revert back to single status while the two sort out how to divide their property.
Why Jolie and Pitt haven't finalized their divorce
Dividing the money
The one thing keeping the former couple from finalizing their divorce is the matter of financial resources. During the 12-year relationship, Jolie and Pitt merged their wealth and made considerable investments together, so now they have to decide who gets what.
There's a lot to consider — after all, Pitt has a net worth of $300 million while Jolie's net worth is estimated to be around 100 million.
Maraval Castle
One of the main issues keeping the divorce from getting settled is the massive Maraval estate and its attached winery in Correns, France.
First leased by the couple in 2008, writes the IB Times, Jolie and Pitt purchased the estate together in 2012 for approximately $60 million and got married in the chapel there in 2014. IBT reports that the property is surrounded by 17th-century structures, an expansive landscape of hillsides, forests, and olive groves, and even a moat.
The medieval estate comes with a winery, which the couple also heavily invested in together, says IBT.
In short, a lot has happened in the three years since Jolie filed for divorce from Pitt, and each member of the former power duo is moving on.
After bitter disagreements, a child abuse investigation, and a lengthy child custody dispute, what's left now is all about the money.

redpajama_set_name: RedPajamaCommonCrawl


text:
Home » Research » Areas of Research » Medical Imaging
Research in CHEO's Department of Diagnostic Imaging focuses on the fusion of different modalities, such as MRI and ultrasound, with conventional and sophisticated new technology. The department is taking part in several exciting research studies, including the use of MR-Enterography in patients with Crohn's disease and ulcerative colitis; the STOPP study, a Canada-wide study of the impact of corticosteroid treatment on bone health of children; innovative studies using functional MRI, DTI, and perfusion; and ultrasound studies of the liver, brain, and skull. The research brings together the department, new technologies, and health professionals from within CHEO, the University of Ottawa, and other Centres of Excellence from around the world.
Canadian Association of Radiologists White Paper on De-Identification of Medical Imaging: Part 1, General Principles
The application of AI algorithms in radiology requires access to large data sets containing PHI. The CAR AI Ethical and Legal standing committee published Part 2 of this guide to provide a practical approach to de-identification in the context of the current Canadian health care landscape. This article discussed the practical application of protecting patient data in the reality of our current Canadian clinical landscape. The strengths and weaknesses of de-identification approaches were outlined, along with the complexities of protecting patients' medical imaging data, the possible de-identification software tools available, some common mistakes made by research and development teams, and perspectives on future directions.
Toward Developing a Semiquantitative Whole Body-MRI Scoring for Juvenile Idiopathic Arthritis: Critical Appraisal of the State of the Art, Challenges, and Opportunities.
Comparison of the diagnostic performance of the 2017 ACR TI-RADS guideline to the Kwak guideline in children with thyroid nodules
Both the Kwak-TI-RADS and ACR TI-RADS guidelines provide moderate malignancy risk stratification for thyroid nodules in the pediatric population, with better inter-rater agreement for the ACR TI-RADS guideline. Further work to adjust the recommendations for pediatric patients is necessary.
Outcomes and risk factors of massive and submassive pulmonary embolism in children: a retrospective cohort study
Massive or submassive pulmonary embolism led to higher rates of unfavourable outcomes than non-massive pulmonary embolism in children. Further adaptations of PESI and sPESI are required to improve their clinical usefulness in paediatric patients.
MRI features of the placenta in fetuses with and without CNS abnormalities
The presence of fetal CNS abnormalities is associated with reduced ADC values of the placenta. Moreover, placentas of fetuses with CNS abnormalities show a less rapid increase in fetal to placental volume ratio with GA. Therefore, ADC mapping, as well as different growth kinetics of the placenta relative to the fetus, may potentially serve as early markers of pathological neurodevelopment.
Apparent Diffusion Coefficient of the Placenta in Twin versus Singleton Pregnancies
The diffusion characteristics of twin placentas are similar to those of singleton placentas. ADC and rADC remain stable throughout pregnancy in twin and singleton placentas, reflecting stable extracellular water diffusion, despite changes associated with placental maturation.
Validation and refinement of a clinical decision rule for the use of computed tomography in children with minor head injury in the emergency department
We sought to prospectively validate the accuracy and potential for refinement of a previously derived decision rule, Canadian Assessment of Tomography for Childhood Head injury (CATCH), to guide CT use in children with minor head injury.
Does 3T Fetal MRI Improve Image Resolution of Normal Brain Structures between 20 and 24 Weeks' Gestational Age?
Both magnets depict cerebral and facial normal anatomic structures; however, our data indicates better anatomic detail on the 3T than on the 1.5T magnet.
Synovial osteochondromatosis in a 14-year-old boy with a history of Legg-Calve-Perthes disease.
Nadya Ben Fadel
Khaled El Emam
Senior Scientist, CHEO Research Institute Professor, Faculty of Medicine, University of Ottawa
Kerri Highmore
Andrée-Anne Ledoux
Scientist CHEO Research Institute
Elka Miller
Martin Osmond
Nagwa Wilson


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high-end CAD on my home PC and OpenBSD doesn't support 64-bit Intel chips.
But does not mention or list any Intel chips. Not one.
using and developing for it.
hell are they doing so?
Intel 64 bit is amd64 compatible.
high-end CAD on my home PC and OpenBSD doesn't support 64-bit Intel chips.
> high-end CAD on my home PC and OpenBSD doesn't support 64-bit Intel chips.
> But does not mention or list any Intel chips. Not one.
> using and developing for it.
> hell are they doing so?
2.8GHz core two duo. So I don't understand what you mean.
Your i7-980X is an Athlon 64 clone.
>> high-end CAD on my home PC and OpenBSD doesn't support 64-bit Intel chips.
>> But does not mention or list any Intel chips. Not one.
>> using and developing for it.
>> hell are they doing so?
> 2.8GHz core two duo. So I don't understand what you mean.
At first I thought this was a wonderful troll. Guy's got a point though.
Look at the i386 page.
differ slightly from the support provided in the latest release version.
Everything that is a clone of the 486 or up should work fine.
> high-end CAD on my home PC and OpenBSD doesn't support 64-bit Intel chips.
> At first I thought this was a wonderful troll. Guy's got a point though.
> Look at the i386 page.
> differ slightly from the support provided in the latest release version.
> Everything that is a clone of the 486 or up should work fine.
someone out there might still have some 486SX systems laying around.
got the right bit of magic.
commercial CAD product) runs natively on OpenBSD?
> INTEL copied so support for AMD64 mean INTEL64 too!
No. If you're going to respond, at least get it right... IA64 *isn't* x86.
>> high-end CAD on my home PC and OpenBSD doesn't support 64-bit Intel chips.
>> Look at the i386 page.
>> differ slightly from the support provided in the latest release version.
> someone out there might still have some 486SX systems laying around.
> the right bit of magic.
I mean OBSD it does support 64 intel dude!
> > INTEL copied so support for AMD64 mean INTEL64 too!
> hardware floating point support should work.
processors a completely different architecture.
most OS, like openbsd, brand their support as amd64.
> processors a completely different architecture.
> most OS, like openbsd, brand their support as amd64.
God bless the people who employ you, they need the blessing.
> > processors a completely different architecture.
> > most OS, like openbsd, brand their support as amd64.
> God bless the people who employ you, they need the blessing.
> > But does not mention or list any Intel chips. Not one.
> > using and developing for it.
> > hell are they doing so?
from it and move on.
> twice a week you will see a very helpful tip.
beer, and time to waste.
> more mature. Incidentally, it makes it easier to read for yourself, too.


Looking forward to the two Bank holidays and especially the Royal wedding was something that kept me going; something positive to celebrate with close friends; a nation rejoicing in the union of love and sanctity of marriage. Whilst I was not feeling my best, I agreed to organise a luncheon party to celebrate the day in style. I was looking forward to the planning and build-up of the event as it was going to be a day in history which I wanted to remember, with Great Britain at its best, carrying out the pomp and ceremony like no other country can achieve. However, I didn't realise what lay ahead and how my world was about to be shattered and my heart broken.
On Saturday 23rd April, the day after Good Friday, I had an unexpected and unsettling spiritual experience that shocked me. I was so taken by surprise that I didn't question or try to decipher what the spirit world was trying to convey to me. Barry, my partner, and I went to bed as normal that evening but Barry was having trouble sleeping. He was going through a stage of suffering from insomnia. When he did eventually fall asleep, he snored! It was so loud that if snoring was an Olympic sport he would have been in line for the gold medal! I couldn't bear it any longer and so I crept off to the spare bedroom in hasty retreat. I didn't fall asleep there either; the room had a presence. I knew I wasn't alone. All of a sudden spirit totally overshadowed me and I felt as if my stomach was being pulled, from behind, into and through the bed towards the floor, not gently but in a violent fashion. It startled me so much that I jumped out of bed and ran like hell back into bed with Barry. I looked at the clock and the time was 3.15 am. I didn't appreciate what was trying to be conveyed to me at the time; I just wished that I'd paid more attention, relaxed and let spirit explain the relevance. However, my fear got the better of me and I ran away from an important lesson.
Zimba, my beautiful Rhodesian ridgeback, had been extremely lethargic for a few weeks and totally off his food. As a result, he was also losing weight. At the time the loss of weight did not concern me because we had put him on a diet. However, on the on the bank holiday Monday, 25th April, he became very shaky on his back legs so I decided to get him checked out.
The vet on call that day assessed Zimba and diagnosed a tumour in his spleen. He did some further investigative tests and decided to operate. On opening him up the vet established that the tumour was cancerous and had spread throughout the stomach and into the main organs. He described Zimba's inside as like "blackcurrant jam". There was no alternative but to put Zimba down. Only then did I realise the relevance of my experience, they were showing me the exact spot of Zimba's cancer.
As you can imagine, I was absolutely devastated. I couldn't believe what I was hearing. Zimba was just 5 years old and this just should not be happening. Barry was at a business meeting and I'd popped around for a cup of tea with my neighbour who is also a very good friend. I couldn't bear being on my own whilst Zimba was going into surgery the vet insisted that I kept my mobile phone on so he could contact me for consultation. When the call came I had to restrain myself but I found it impossible. I called Barry to inform him of the bad news; everything just seemed to go into a big blur. I was on auto pilot and nothing seemed real anymore. I couldn't bear the thought of going back to an empty home without my precious boy.
I somehow mustered courage to go back and face the reality of what had just happened. I felt considerably more anguish over the death of Zimba than I did over the loss of my mother. I suppose because it was so unexpected, such a shock, a bolt out of the blue. My dear mother had had a stroke and had been in a home for 3 years before her passing, so I'd prepared myself for her inevitable death. Sudden death was life's next lesson that I was now experiencing, a very painful one that turns your world upside down. One minute life is normal the next too painful to carry on.
When Barry came home from his business meeting we just embraced trying to console each other. He must have found it so hard continuing his meeting holding back his feelings. The next hardest thing we had to face was to go back to the vet to pick up Zimba. I couldn't stop crying. Barry had to be the strong one. He had to stop the car on the way home as I was hyper ventilating and wanted to be sick. I felt totally numb as we continued our short journey home.
We had to establish a suitable spot for his final resting place and I watched Barry dig a grave in a spot where Zimba used to sit. I just sat in the car with Zimba, stoking him and telling him how much we both loved him and how we would miss him but, at the same time, telling him off for deserting us, and leaving us both desolate. We wanted to give Zimba a wonderful resting place where we could go and talk to him and feel close to him. A couple of weeks later Barry bought a beautiful flowering tree and planted it nearby in memory of Zimba. I know it will grow with beauty and stature just like him.
I often used to say to Zimba "you're my precious gift from GOD", my heart was always full of emotion when I said those words. I didn't realise that loving anything could ever be this painful. My heart felt like it was bleeding, ripped apart and would never heal or feel the same again. Even being a medium didn't help knowing that he was in the spirit world, free from suffering and pain didn't make my suffering any easier.The only comforting thought was when it's finally my turn to "go home" to Spirit; I'd be reunited with Zimba. I trust that he'll be the one who comes and gets me as he'll know the way home.
I was now left to pick up the pieces and make sense of the whole episode. Grief consumes you; it takes over your mind; it feels like a disease. You spend all your time in your thoughts, reflecting, blaming, feelings of anger and sheer loneliness. You don't want to talk to anyone just be on your own and cry in self-pity. Your past memories of joy bring a level of comfort; they're so powerful but it's the negative thoughts that haunt and bring you the most pain; they're the hardest to control, nipping them in the bud before they destroy you.
I couldn't believe my thought process; one minute I seemed normal and the next I had nothing but irrational thoughts. I wanted to see my Zimba again for one more time. I wanted to cuddle him and kiss and stroke his silky fur. I had a sudden urge to dig him up from his grave to see him just once more. I then had visions of what his physical body would look like – rotting carrion on which crows would feast. The very thought made me sick. I had uncontrollable feelings of pain which I couldn't share with or talk to anyone about. My guide, Simeon, drew very close and explained. Grief is a natural response to loss. These were all normal feelingsof bereavement and accepting them as part of the grieving process and allowing yourself to feel what you feel is necessary for healing to take place.
I had taken Zimba to see the vet on a number of occasions with the last two consultations being in January of this year. On each of those occasions I had said to the vet that there was something 'radically' wrong with him but the vet brushed my concerns to one side. I didn't realise the relevance and power of my words at that time, but he never took me seriously or tried to pacify me by taking blood tests or X-rays. Zimba had constant leg trembling, lethargy and weight gain which I was concerned about. The vet just kept on insisting that he needed to lose weight and even though I confirmed that he was on a strict diet he did nothing to establish the route cause of why he was not losing any weight. In fact, between the two consultations in January, Zimba actually put weight on. The vet's only reaction was to look at me with contempt. I believe if the vet had investigated the root cause of his condition at that time by taking blood tests and X-rays his life might have been saved.
Regretfully, animals can't tell you what is wrong with them, it is for us (me as an owner and, more importantly, the vet) to diagnose and investigate. As a loving owner I had a sense that something was wrong with Zimba and I expected the vet to take up my concerns and use his professional skills to make the necessary diagnosis.
Not only was I left devastated and empty with a feeling of guilt that I could have done more to insist that the vet should have done what was necessary, but I then received a £700 bill, without even the decency of a covering letter! I wrote to the vet and asked him to reflect on my distress and concerns and, when pet owners bring in their cherished animals to see him, do take the time to listen to them and take them seriously. It will not only create a good reflection on him but also just might save or extend the lives of animals.
Crying a whole ocean of tears did not ease my pain and I felt very let down by my spirit friends for not telling me or giving me any indication of Zimba's illness until it was too late. Zimba was my 'little shadow' and, for much of the time, we we're inseparable. Perhaps I loved him too much but was my canine soul mate.
My lesson from the spirit world is that I've now experienced sudden death and the pain and suffering that goes with it. I just hope that I can use this most painful of lessons to help those who have suffered in the same way.
I have never had children of my own and I suppose I treated Zimba as being of my own flesh and blood. Because of that I can liken my loss to that of someone losing a child and, as a Medium, the whole experience has been an invaluable lesson.
What can be difficult when grieving for your pet is the reaction from those people who have never had pets of their own and who can't relate to the raw emotion that you are experiencing. People often feel uncomfortable; most want to genuinely help but simply don't know how. The words they choose are often clumsy or too harsh or just down right insensitive. They are probably saying to themselves, "it's just a dog". They can make you feel quite uncomfortable by their lack of understanding and well meaning comments. It's beyond their comprehension what you are going through. They think it's just a question of "pulling yourself together as it's just a dog or cat that you have lost, not a human being!! However, losing a pet to many people is much like losing a member of their family or a close friend. For me, Zimba was like a child, the child I never had. The thought that I was never going to see him again in the physical sense was unbearable; spiritual contact would not be enough.
The pain never goes away; you just learn to live with it. It's like an emotional roller coaster; just when you think you're making good progress something triggers and brings it all back to the surface. They say time is a great healer. I know Zimba's spirit is very much alive. He's going through a transition himself, having to adjust to his new surroundings which may take a bit of time but I know he'll be back as soon as he's able to make his presence known.
Zimba was a wise old soul; I know that we'd been together in a past life and that's why it's difficult to come to terms with his passing; losing a true dear friend; one that I know where we've got a history together. I'd often look into his eyes and see that 'knowing'. The eyes are a window to the soul and our bond was a kindred spirit.
I often feel his presence in the garden, so I know he is trying to make contact. I send him my love and will keep sending him thoughts of encouragement and prayers to help him on his journey to continue his soul's growth. He's done and finished his work on earth, at least for the foreseeable future. I now look forward to receiving his help from the other side of life.
Dreams are so powerful but at times they are more than just a dream they're a reality; a way of communicating and conveying their message to us from the spirit world. When we're so full of grief we often create a sort of barrier that the spirit world finds difficult to penetrate; to bring the comfort that we desire and demand. We're also in such a fragile state, being down or depressed that there's just not the energy to make a full manifestation. The dream state is therefore a vehicle that can serve a route where we can't interfere by being in a state of total relaxation and our hearts at a level of peace.
Zimba came in a dream on Thursday 5th may. The dream was so clear. I was conscious that Zimba was dead and became aware that his spirit wanted to embrace mine again with a brief cuddle. When we embraced it seemed so real and the emotions of being together again were amazing. As you can imagine, I didn't want the experience to end but when it did I awoke with a start. The time was 3.15 am! The power and residue of that embrace remained with me and I felt comforted and distraught all at the same time. The experience stayed with me the whole of the next day with such intensity that I couldn't even talk about it. I knew it was the first real contact we'd had together and I just wanted the next time to happen quickly. In fact, I couldn't wait for the day to end so I could get to sleep and have another dream experience.
You may wonder why I make reference to the exact time of the dream experience being 3.15 am. Every 'physical' spiritual experience that I've ever had seems to be at 3.15 am. It must be the witching hour for me!!!!
My best advice to anyone who is seeking a vet with whom they can register their treasured pet, is to check with the vet medical board to see if there are any complaints lodged against the vet. I know there are good vets out there who do a brilliant job; regrettably, I feel that mine let me down.
I'm not ashamed to say that I've shed rivers of tears, as indeed Jesus did when his friend, Lazarus, died. I find immense comfort from the 4th spiritualist principle: "The continuous existence of the Human Soul". Spirit is part of the "Creative Force" and thus indestructible. After death the physical body is left behind whilst the soul continues to exist in a different dimension that we call the spirit world.
Pets are precious gifts from God, but we don't get to keep them nearly long enough!


Online banking helps the customers to look out for their financial enterprises from their bank website or through credit card associations. Online banking has gained a lot of popularity among the people because of it being less time consuming than conventional banking. People don't have to wait and stand in long lines to get their tribulations answered and pay their bills.
Online banking began in 1981 in America, however due to certain problems it was unable to flourish. In 1983, it was started again in the Bank of Scotland, England. From that time on, the procedure of online banking started to spread across the world and today everyone knows about it and uses it. Online banking was further advanced by the onset of internet, Wi-Fi and progress in the field of technology.
Wi-Fi is a device used for connecting electronic mechanisms wirelessly. If a device is connected with Wi-Fi, for example computer, deck, laptops, it can have access to an internet connection. And because of this one can have entrée to use anything. That is why now online banking is possible through Wi-Fi. But with every new invention there is an obstacle. The Wi-Fi system has certain security issues. So, one has to be careful about using Wi-Fi for online banking. However, this problem has somewhat been solved by Wi-Fi security cards. They can be installed in your Macs, personal computers and laptops to purge the viruses and other hacking attempts. Online banking works in two ways; PIN/TAN code or through signature which is digitally programmed. But in today's' world the PIN code or even the digitally encrypted signature can be hacked or phished and it takes, at the most, three minutes to do that. If the encoded signature is hacked, the user sometimes not even knows about it because the real amount appears on the monitor whereas fake transactions are being carried out in the background. The risk of WI-FI technology has augmented with the esteem of service. But then virus scanners and WI-FI security cards have somewhat took hold of the situation. The prime advantage of online banking through WI-FI is that it is portable. You can shift your computer anywhere, take your laptops anywhere and not worry about the wired internet connection. It has more rapidity as well. Even if you are in a market, mall or anywhere else for that matter, you can have that access. Moreover, this facility is also available on your cell phones which make online banking even more accessible. You can sell or purchase anything, payments can be made, loans can be taken and information regarding your accounts can be verified. Sometimes the WI-FI is also liable to ad-hoc network. In this, the WI-FI connection does not have any access points among them, the signals get mixed and information regarding others banking status and accounts can be read plus hacked. But then again this risk is being controlled by encryption methods and it is proving to be quite efficient as well.
Just like everything has its pros and cons, the WI-FI also has both. However, the positive side overpowers the negativities and the risks of online banking through WI-FI are also being controlled by introducing new methods.
Online Banking Via Wi-fi And Security. 4 of 5 based on 12 votes.


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Concentrated Photovoltaics (CPV) That Can Deliver $60/MWh?!
Ethical Markets November 27, 2012 Green Prosperity
This article has been reposted from Renew Economy (image added).
A new Australian solar start-up predicts that its concentrated solar photovoltaic technology (CPV) will undercut both conventional flat plate solar PV technologies and fossil fuel technologies.
The Melbourne-based RayGen Resources has raised $1.6 million in a funding round from private investors, including software entrepreneur Craig Winkler, which will allow it to match grants from the Victorian government and the Australian Solar Institute (totalling $2.75 million).
This money will be used to build a 2kW prototype and then a 200kW pilot plant – touted to be the first commercial design in the world to combine high efficiency solar cells with a low cost heliostat collector systems. It predicts that it can bring costs from CSP to $60 a megawatt hour and below.
Sun shining through clouds via Shutterstock
The ASI, which is contributing $1.75 million of the $3.6 million pilot project cost, said RayGen's C2PV technology opens up an "immediate opportunity" for a "step reduction" in the cost of large scale solar energy.
By deploying large arrays of relatively inexpensive mirrors, the ASI believes that Raygen can side-step some of the cost issues facing other solar technologies, including concentrated solar thermal (which focuses energy onto one spot so that steam can be generated to drive a turbine).
The attraction of CPV is that it can focus more energy onto highly efficient solar cells, which have an efficiency rating double that of conventional flat panel PV. It means that while cells are expensive, the small amount needed results in reduced systems costs and the long-run cost of energy (LCOE) could be around 30 per cent below that of flat panel PV by 2016, according to a report released by IMS Research last week.
The global CPV industry is said to be led by US companies Solar Junction and Amonix, and a 44MW CPV plant is about to be built in South Africa. But Australia has its own CPV technology companies which are competing for global leadership in the area, and has had numerous prototypes installed and operating in the remote areas in northern Australia. Surprisingly, CPV was not included in the recent assessment of 40 energy technologies conducted by the Bureau of Resource and Energy Economics.
Solar Systems, now owned by the listed Silex Systems, has a 600kW pilot plant operating in Victoria, has broken ground on a separate 2MW demonstration plant ? a forerunner to a 100MW plant in Mildura, and has also signed agreements to build 1MW demonstration plants in Saudi Arabia and California.
RayGen brings together two people who have played a leading role in CPV – co-founder John Lasich was also a founder of Solar Systems, while Bob Cart was the founder and former CEO and chairman of Californian CPV start-up GreenVolts.
The RayGen technology is based on a similar principle to that of Solar Systems, where the latter is using big dishes to focus the power of the sun on a receiver, RayGen proposes to use heliostats (or mirrors) to direct the sunlight. Cart says this delivers a 50 per cent reduction in the mass versus competing technologies and should give it a manufacturing cost of less than $1 a watt. He says this will translate into an LCOE of $50-$60/MWh.
"I am convinced that is the way to get cost down in solar," Cart told RenewEconomy in an interview. "Our focus is to develop a technology that will not need a subsidy. So the choice will be, do you want coal, gas or solar" Our driving message is that for solar to be successful and broadly adopted, it needs to be on the same bar as fossil fuel."
Cart says the company's first target markets will be in Australia's off-grid and mining sectors. "There is real opportunity for us to compete in regional areas and reduce the cost of diesel," he said, noting that Lasich already had experience with this through the series of pilot plants installed in northern Australia with Solar Systems.
The company has recently moved to a factory east of Melbourne where it is working on its system prototypes. Cart says there is an opportunity for Australian manufacturing capabilities – not in the large, relatively inexpensive materials that will make up the bulk of the plant, but in the high-value solar cell modules and the management and control systems.
Cart, who was involved in the Sunshot campaign by the US Department of Energy – which aims to bring solar down to the cost of fossil fuels by the ends of the decade, says the company was going to be based in the US, but Australia was now an attractive proposition. "The opportunity for innovation and solar, the best place in the world is Australia," he said.
The IMS report predicted that advances in CPV technology would drive down costs by 16 per cent annually, prompting an increase in installations from today's cumulative total of around 160MW to 3GW by 2016. The authors said that with efficiency records of 34.2 per cent for commercial modules, acceptance of CPV as a utility-scale generation method is predicted to accelerate, even though its up-front costs will be higher than conventional PV.
It predicted that CPV systems are capable of achieving up to 12% lower LCOE compared to PV, but that gap could grow to 30 per cent by 2016, IMS said.
Energy Storage Systems To Bring Baseload Renewable Energy, But Who Will Benefit? (+ New Energy Storage System From Australia)
This article was originally published on RenewEconomy. It has been reposted with full permission.
It has been widely thought that the arrival of cost-competitive rooftop solar PV systems would be the biggest game changer in the electricity market. But it may be that the emergence of affordable energy storage systems will have an even more profound impact.
There are predictions that the energy storage market is going to boom. One survey suggested that $30 billion will be spent on energy storage in the next decade in Australia alone. In the US, where $1 trillion is expected to be spent on electricity network infrastructure in the next 10 years, at least one fifth of that – or $200 billion – will be spent on energy storage.
The big question is who is going to benefit most from that investment – the customer, or the utility that delivers or sells the electricity. Or maybe even both. Most people are still trying to figure that out.
There is little doubt that there is huge interest, and likely huge demand, for the product. Given that the arrival of solar PV has enabled homeowners and small businesses to produce their own energy, it is only natural that they would want to store it.
An analysis by Energeia this year said that as a result of cost reductions in the technology, it predicted there would be 421,000 residential energy storage systems in Australian homes by 2021 – nearly half the number that currently have solar on their rooftops. The new pricing mechanisms that are being introduced into Australia – high rates for peak consumption and low rates for overnight – make it particularly attractive to have both solar, which can draw down cheap energy from the sun during the day, and energy storage – which can store excess energy and draw from the grid at low overnight rates. It effectively doubles the attraction.
Richard Turner, the CEO of Adelaide-based Zen Energy Systems, last month unveiled a new product called Freedom Powerbank, an energy storage system that will allow households to store enough electricity to cater for their average daily usage. An email sent out to 4,000 of Zen's solar PV customers generated an enormous response – one person a minute signing up for more details, according to Turner. The response from utilities and international customers has been equally effusive, he says.
Who will benefit from an energy storage system in the home? The home-owner, the utility, or both?
Turner describes his product as a "world first," because it uses proprietary software to capture the energy produced by solar, wind, or from the grid, and allows it to be used when the customer chooses. "We have created the most functional energy storage system at one end and at the other end broke through major cost barriers. What we developed is the first battery operating system for renewable energy systems."
Production of the Freedom Powerbank for households begins in Adelaide in January next year. Turner says the units will cost $29,500 – offering a payback of 7-8 years, but he says the cost will fall as manufacturing techniques improve and some of it is outsourced to cheaper facilities overseas. Larger units will be available for small businesses ? who will be able to use the systems to ensure they retain their power sources through any outages – and are being tested by utilities.
Turner says the storage system is a game changer because it is clear that solar PV will be the power supply of the future, and this enables households to store that energy and utilise what is effectively "baseload" renewables.
"We have got a massive problem around peak demand," Turner says. The proposed introduction of time-of-use pricing, along with smart meters, means that consumers will be paying as little as 7c/kWh at time, but up to 52c/kWh in peak periods. That is already occurring in Victoria.
"We saw this coming and that is what we designed this for. It will enable consumers to load shift inside their own home – they can source cheap energy from solar during the day, or draw down from the grid at night, and save it for use later."
Turner says focusing on the software component – with Zen's joint venture partner, the US-based Greensmith Energy Systems – was a cheaper and more effective method than trying to deliver a better battery – a pursuit that has been the ruin of several aspiring battery manufacturers as they found their technology undercut by the latest developments elsewhere.
"We went the other way, we've talked to the people operating the grid and looked at the functionality and created a battery operating systems with three layers of software," he tells RenewEconomy. This covers a utility control system that can address load shifting and frequency problems, and brings the individual units together to operate as one block if needed. The second layer has rich data analytics to optimise grid function, while the third layer is an "active balancing battery management system," that ensures optimal performance from the battery cells.
Turner says utilities are also very interested in his product ? even if they have yet to "get their head" around the issue, and how it fits in with their business models. Most accept, however, that the introduction of such systems is inevitable. "It will really challenge the retail business model," Turner says. "But it's going to be challenged anyway."
He suspects some utilities will use storage systems to manage their grids, and some are already testing units in the 100kWh to 1.5MWh scale. And they will also offer such systems to their customers, but possibly not at the 20kWh scale – they will want a margin from providing as much electricity as they can, so they may offer systems with storage limits of 5kWh or 10kWh to their customers.
"People will put these systems into their home – and will be put on a contract where there is a heavy penalty to draw on power at peak times. And the utilities will have the right to pull power back into the grid when needed. Ultimately though, it is the consumer who will control the energy over the house."
Turner says it does offer the opportunity to go off grid as well. This is particularly attractive to those dreaming of homes on rural blocks who want to look after their own energy systems. "We are going to see a trend toward modern off-grid living," he says. His company has received 200 inquiries already for off-grid housing developments. And mining camps are also interested.
And how will the system be integrated with electric cars, and the ability of those batteries to also provide storage? Turner sent us this emailed response:
Q. Do you empty the fuel from your car into your generator at home?
A. No. Then most likely you won't flatten your car to power your home.
He says the Zen Freedom PowerBank will be provisioned in the future for DC to DC fast charging to draw and store off-peak grid power or solar power to charge EVs quickly whenever it's required.
Here's a graphic display of what Turner sees as the problem for electricity grids, and the solution that energy storage systems offer.
Help Wanted: Desertec Looking For Pilot Wind & Solar Projects
Desertec, an organization founded in Germany three years ago in order to boost renewable energy supply through the power of Middle East and North African wind and sun energy supplies, needs to have some mini worldwide projects in order to prove the concept and increase the overall credibility of the plan, according to one key investor.
In a recent Reuters article, Director of Desertec, Thiemo Gropp suggested the organization have 5-10 small scale pilot projects at a cost of 10-20 billion ($12.8-25.6 billion).
Egypt Solar Panels via egd/Shutterstock
"You could move a lot if this would be realized, as concrete examples are the best means to convince," Gropp said.
The German-based project is ambitious in scope and scale. With the overall project is pegged at 400 billion ($500 billion) by 2050, Desertec plans to give Europe one fifth of its energy from wind and solar from the Mid-East and North Africa by the middle of the 21st century, enough for Germany twice over. More from Reuters:
"The project, based in Munich, aims to use mirrors to harness the sun's rays to produce steam and drive turbines to generate electricity in the Sahara region. It wants its plants to cover an area of 6,500 square miles and produce 1,064 terrawatt hours (TWh), almost enough energy to power Germany for two years."
However, investment money has been a challenge to attract. Recently, both Bosch and Siemens said they would leave Desertec, while criticism over costs and politics have not done any favors to attract new investors.
Despite recent concerns, Gropp thinks pressure from the public, along with supportive public policy, will give some underlying support in boosting Desertec's potential.
"We think things will move too slowly without any political support. More can be done," he said, adding that financial aid as well as government loans or feed-in tariffs could be used to achieve this.
China?s Clean Energy Output Advances 48% In One Year
China's clean energy output in October increased by 48% compared to October of 2011, according to Bloomberg, to 92.1 billion kilowatt-hours.
China Wind Turbines via Captain Yeo/Shutterstock
In the first 10 months of 2012, the country has seen 810.20 billion kilowatt-hours of "clean energy" produced (which also includes nuclear and hydro), advancing by 26%, noted the State Electricity and Regulatory Commission (SERC).
The 810.20 billion kilowatt-hours of clean energy produced accounted for 20.4% of China?s on-grid power this year, which is up 3.6% from one year earlier.
Meanwhile, so far in 2012, China has reached a total of 56 gigawatts (GW) of wind energy generation capacity, up 7.2 GW from 2011.
What is a telling tale from China's recent clean energy numbers comes from wind, given the emerging market country in 2008 had 12.2 GW of wind energy, and plans to install 100 GW by 2020, given previous 2009 estimates.
At the rate they are going, 100GW may come well before 2020.
efficiency solar cellsfossil fuelfuel technologieshigh efficiencymegawatt hourpilot projectprivate investorssolar technologies


Compare SipFly vs Essenz. Find out whether SipFly or Essenz is better for your VoIP business or home needs. The experts at VoipReview have analyzed the strengths and weaknesses of SipFly and Essenz and detailed analysis of the comparison can be found below.


I loved that you were honest about the controversy surrounding Unity.
To his credit Jason really stepped up, took it in the spirit it was intended and gave good answers.
Thank you for your feedback. We tried hard to be fair with this interview, but also tried hard not to dogpile Jason. I do think that Unity will be awesome in a few releases, and I look forward to using it.
Thanks again for letting us know, and for listening!
Lococast Episode 16: Interview with Greg Grossmeier on Locos, Copyright, and Open Data » « Lococast: Submit your Unity questions here!


Henrik Carøe Bylling has started as a PhD student at the Insurance and Economics Section from 1st of September 2015. Henrik is a part of the Operations Research group with Salvador Pineda as supervisor.
Henrik has just finished his master's degree in Mathematics-Economics from this department; also with Salvador as supervisor on the final thesis. The BSc in Mathematics is from Aarhus University.
He will especially work with bi-level optimizations problems and equilibrium models. These are applied to model optimization problems in energy networks including renewable energy.


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Spotlight Essay: Hermonax
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Hermonax, Nolan Amphora, 475–465 BC
Spotlight Essay: Hermonax, Nolan Amphora, 475–465 BC
Grizelda McClelland
PhD candidate, Department of Classics and Department of Art History & Archaeology, Washington University in St. Louis
A chase unfolds across the lustrous black frieze of the Mildred Lane Kemper Art Museum's Nolan amphora, painted by Hermonax.1 Striding from the left, an older bearded man stretches his right arm toward a fleeing youth. The boy turns his head back as he runs, drawing his right arm up in alarm at the pursuer's proximity. His himation (cloak) has slipped from his shoulders and flares out behind his body. Its folds form neat diagonals, accentuating the spectacle of his nude athletic body. This cloak, framing the youth's nakedness, underscores his twofold objectification: he endures at once the erotic gaze of his pursuer and that of the viewer outside the scene, whose eyes are drawn to the boy by the calculating line work of the composition. The runners' nimble feet sprint and skim above a slim pattern painted in Greek key pairs and punctuated by interposing crosses. The pattern encircles the vase, continuously echoing the motion of pursuit and encouraging the viewer to turn the vessel. On the opposite side, the figure of a single youth quotes the galloping stance of the boy being pursued. His arms are thrown open as he turns his head back and his legs fly, right before left, above the ground line. This boy holds a lyre in his hand. Its strap swings in the air, intimating some near escape.2
Such scenes of pederastic pursuit were well-known to banqueting elites about the Mediterranean who made use of Athenian pottery in the late 6th and early 5th centuries BC, and a close reading of the Nolan amphora's iconography reveals much about the culture that produced it.3 Indeed, the purpose of this essay is to explore aspects of classical Athenian society through the lens of a single vase. Among ancient Greek viewers, the extended right arm of an older male, as on the Nolan vessel, was visual shorthand for an erotic chase. In the intimate setting of the Greek symposion—a highly-choreographed, all-male drinking party where amphoras, embellished by sensual imagery, were routinely used to replenish the wine4—this "legibility" implicated the viewer in the scene. It likely titillated and likewise inquired of the guest what his prospects for the evening might be. Such visual provocation probed the viewer's role: would he, spurred by the spectacle of the Nolan scene, ally himself with Zeus and pursue his Ganymede?5 Would he exercise restraint, or give himself over to excess? As drinking cups (kylikes and kantharoi) were raised and wine was poured (from oinochoai), painted figures shifted before the eyes of the drinker.6 Bodies arched with the contours of the vase, flipping head over heel or sidelong with the movements of the vessel. These vibrant images—accompanied by young dancers, the music of flutes, and courtesans (hetairai)—pressed the question.
Such liveliness was augmented by the flourishing of red-figure vase painting in the last quarter of the 6th century BC, a decorative technique exemplified by the Hermonax painter's Nolan amphora. The revolutionary aspect of red-figure painting was its ability to convey three- dimensionality, fashioning bodies from the reserved clay and fleshing out their forms with intricate line work. Black-figure vase painting, the precursor to this method, was adopted from Corinthian artisans of the 7th century BC. Although ideal for pattern work and geometric detail, the earlier method required the painter to render human figures in glaze while the background was reserved in clay. Consequently, all details were incised and anatomy was flattened. In contrast, red-figure vase painting, by embodying ideal physical beauty through dimension, heightened a sense of intimacy between the viewer and the scene.7 Still, while the modern observer may admire the idealized naturalism of the painted scene, this Nolan vase perhaps conveys far more of ideology than reality.8
As with many states both ancient and modern, gender was a principal organizing factor of Athenian society. Political citizenship was confined to adult males alone, and, thus, those outside of this qualification—women, children, and slaves—existed merely as subjects in the community. Male citizens of democratic Athens were self-conceived equals and sexually dominant. This political segregation extended in its most conspicuous social form to the symposium—the consummate activity of Athenian male society. The artists who decorated the pottery used to serve, mix, and adulterate the wine of these gatherings purposefully affirmed the social asymmetry in their designs. In addition to the common theme of homoerotic pursuit, the scenes on their symposiast vases, among other distinctly Dionysiac depictions, frequently represented the sexual submission of women, slaves, and boys on the cusp of maturity. As Andrew Stewart has written, painted scenes of pederasty reaffirmed the solidarity of adult men in their complete dominance; even male minors were subject to the citizens' desires.9
Boys were, of course, citizens in the making, however, and such relations were formalized socially as a type of mentoring, a liminal training period in the development of moral excellence, or arete. Consequently, participation in pederastic courtship was itself a feature of the Athenian ideology of masculinity. On one hand, it was the mode by which a young Athenian man gained access into political society and ultimately attained adulthood. On the other hand, it gave the mature man an opportunity to compete for and gain the favors of a young, admiring lover. Indeed, the imagery of the hunt seeps into representations of pederastic courtship and entwines the two pursuits as emblems of exalted status.10 The reclining Athenian, admiring the scene upon the Nolan amphora, surely would have reveled in his rank.
Still, interpretation of this imagery was opened up to distant audiences by a burgeoning trade economy that carried such vessels all about the Mediterranean. Most ancient Athenian pottery was manufactured for export, and it is difficult to know with any certainty how such imagery was received in distinctly non-Greek, or, more narrowly, non-Athenian cities. In Etruria, for instance, a major trade destination for pottery from Athens, Etruscan women were known to enjoy an evening symposium, ensconced on couches and drinking alongside their spouses. Nola was an Etruscan city, either in its origins or by seizure, and the singular masculinity of this amphora's imagery would likely have been at odds with prevailing social and cultural mores. Indeed, we come to this vase much like the ancient Nolans with eyes unattuned to Athenian ideology. We admire the scene's celebration of the human form—the diminished distance between gods and men—and can comprehend its appeal despite our remove. It is surely such cosmopolitan appeal that fueled the success of the Athenian ceramics industry. In this, then, the Nolan vase offers us a twofold glimpse into Athenian society, documenting at once a vibrant example of its economy and the distinctive mores of the ancient city that produced it.
[1] An amphora is a ceramic vessel with two handles for carrying on either side. The name derives from the Greek amphi, meaning "on both sides," and phorein, meaning "to carry." Large amphoras with pointed bases were used throughout the Mediterranean as shipping containers for oil and wine, while smaller, painted vessels with flat bases fulfilled a variety of ceremonial and social functions. The two main types of amphoras are the neck amphora, where the neck and body conjoin at a sharp angle, and the one-piece amphora, where the neck and body merge in a continuous curve. The Nolan amphora is a distinctive, smaller type of neck amphora, typically no more than 30 cm in height, that features an elongated and narrower neck. The name of these amphoras derives from the town of Nola in southern Italy, where many such vessels, including this one, have been uncovered. For a general overview of Greek amphora shapes, see R. M. Cook, Greek Painted Pottery (New York: Routledge, 1997), 209–12. The painter of this vase, Hermonax, was a mid-5th-century BC artisan of solid (if slightly prosaic) skill. Several painters of this period drew stylistic inspiration from archaic precedent; this group is known as the Mannerists. Still others, galvanized by the Greek defeat of the Persians, began to express a new spirit that exemplifies Early Classical style. Hermonax straddled both styles, but his finest works are in the Early Classical mode, expressing at once anticipation of and reflection upon a crisis. For more on this, see Mary B. Moore, "Attic Red-Figure and White-Ground Pottery," in The Athenian Agora, vol. 30 (Athens: American School of Classical Studies at Athens, 1997), 103–4.
[2] Thank you to Theresa Huntsman, PhD candidate in the Department of Art History & Archaeology at Washington University in St. Louis, who very kindly shared her recent research on this Nolan amphora.
[3] For more about the imagery of pursuit in ancient Greek society, see Judith M. Barringer, The Hunt in Ancient Greece (Baltimore: Johns Hopkins University Press, 2001), 73.
[4] Amphoras were used to bring wine to large mixing bowls known as kraters, where the wine was mixed with water. The ancient Greeks did not drink their wine neat; the drinking of undiluted wine was, rather, the mark of a Barbaros, or non-Greek foreigner.
[5] In Greek mythology, Ganymede was a Trojan youth of great beauty whom Zeus abducted to serve as his cupbearer and lover. According to various tellings of the myth, Zeus either assumed the form of an eagle himself or sent an eagle to steal the boy from the high pastures of Mount Ida, where he was tending sheep. The myth is related or referred in the following sources, among others: Homer, Iliad 5.265ff; 20.215–35; Homeric Hymn to Aphrodite 202ff.; Sophocles, The Colchian Women; Euripides, Iphigenia in Aulis; Apollodorus, Library and Epitome iii.12.2; Diodorus Siculus, Histories 4.75.3; Virgil, Aeneid 5.252–60; Ovid, Metamorphoses 10.155ff.; and Lucian, Dialogues of the Gods.
[6] Kylikes and kantharoi are common Greek terms for two-handled ceramic cups (a kylix is a shallow cup, often with a stem and foot; a kantharos is a cup typically stemmed and with distinctive high handles); oinochoe is a jug designed for serving wine, often with a trefoil mouth and looped handle (its name derives from the Greek oinos, meaning wine). For a good overview of Greek oinochoe shapes, see Cook, Greek Painted Pottery, 214–16.
[7] On the essential differences between black-figure and red-figure techniques, see Robin Osborne, Archaic and Classical Greek Art (Oxford: Oxford University Press, 1998), 136–37.
[8] For more on reading scenes such as depicted on this Nolan vase, see Andrew Stewart, Art, Desire, and the Body in Ancient Greece (Cambridge: Cambridge University Press, 1997), 8.
[9] Ibid., 10.
[10] See Barringer, The Hunt, 71.
Hermonax, Nolan Amphora, 475–465 BC. Gift of Robert Brookings and Charles Parsons, 1904. WU 3271.


What to do? You have more Thanksgiving leftovers than you know what to do with, and holiday visits from family and "friends" you only see once a year has De Leon-blocked you for days. Solution: make a leftover turkey torta. Granted, this might not be what one would call authentic, but it's a quick, easy, and tasty snack, and a bit different from your standard leftover fare.
This is as simple as it gets: Set a pan over low-medium heat, and toss some thinly sliced turkey in it (amount depending on how many sandwiches, etc.) with a bit of salsa. Toss it around until it starts heating up, and the mixture take on a chunky consistency. Meanwhile, warm up the beans.
Smear beans on bread (which you can toast beforehand or heat in the pan after assembly), and layer the parsley, turkey mixture, and cheese on top of it. Spread some sour cream on a second slice, and bump the two pieces of bread together. Voila. Instant American/Mexican/French/Italian/whatever style leftover sandwich!
Of course, all the ingredients can be substituted, seeing that this is all, y'know… Leftovers.
Do you recommend Leftover turkey torta? Make your voice heard!


Got it from a stranger who was moving out of his office. He called it a rubber tree. It's about 3.5 feet tall in a 1.5 foot-wide pot along with another plant. Its leaves are a yellow-green variegation and they're about 6 inches long and one inch wide.
Thank you in advance, I'd love to know what it is so I can figure out how to take care of this guy to nurse it back to health.
I think it's a Croton, one of the Codiaeum variegata types, of which there are many in various colour ranges with narrow or broader leaves. It could even be the variety 'Goldfinger', despite its having less brightly variegated leaves, that could be a result of insufficient sun/bright daylight. It requires bright light, preferably with some sun, and it prefers humid air - mist two or three times a week to prevent spider mite, to which they are prone when grown as houseplants. More info here: Growing Croton Plants Indoors.
It looks relatively healthy, although that bare stem either means it was a standard originally, or its lost all its lower leaves. It's probably time to separate the plants in the pot to give the Croton more root room though.
Note: Rubber tree usually refers to Ficus elastica, although many common names are used for more than one plant.
What is this houseplant with variegated leaves that thrives growing in water?
What is this large houseplant with long oval leaves?
What is this thick-stemmed houseplant with variegated leaves?
What is this plant with long narrow leaflets?
What kind of houseplant is this?
What is this houseplant with narrow, pointed, waxy leaves?
What is this houseplant with glossy leaves?
What is this houseplant with glossy, elongated and variegated leaves?


text:
Various Positions : New Members, January 7-31, 2017
COOP Gallery is proud to present Various Positions, an exhibition of multidisciplinary work by three of COOP'S newest members. Each year COOP invites local and newly transplanted artists to join its ranks in recognition of the seriousness of their work and their commitment to fostering Nashville's artist community. This latest installment attests to the vitality of that commitment and the dynamism of our local arts community
Michael Dickins' series of etchings, Conflicted, are influenced by Francisco de Goya's Disasters of War series and currently includes 13 plates. Created with laser-etched Plexiglas plates, the prints features imagery derived from video stills of current Middle Eastern conflicts from videos uploaded via social media outlets.
Mary Addison Hackett's video, THE PROPHET, was filmed as part of another piece last spring, but in response to the 2016 election outcome, Hackett began working on a series of hand-painted name tags identifying various states of helplessness and empowerment. In placing the video alongside the installation of name tags, she offers a reading of our current political climate.
KJ Schumacher presents a selection from an ongoing body of work created using studio remnants juxtaposed on a clear vertical or horizontal substrate. These works elaborate on the studio process and build upon a belief that the physical mark holds an intrinsic importance in human experience.
More about the artists:
Michael Dickins is an interdisciplinary artist whose work is created with a variety of media including photography, printmaking, drawing, installation, sound and video. His balance of both digital and material processes allows him to create pieces that are both expressive and engaging, currently creating work that engages political and social concerns. Dickins holds an MFAIA from Goddard College and a BFA from Georgia Southern University. As interdisciplinary artist, Dickins has exhibited around the Southeast as well as Augusta, ME; Philadelphia, PA; Pittsburgh, PA; Denver, CO; Houston, TX; San Diego, CA; Portland, OR; Berlin, Germany and Istanbul, Turkey. He has twice been a featured artist at {Re}Happening at Black Mountain College, and has received commissions from the Pittsburgh Playhouse and the Houston Metropolitan Dance Company for original sound score and projection design. His most recent curated exhibition, SOUND, just concluded at the Crisp Ellert Museum at Flagler College in St. Augustine, FL. Dickins currently lives in Clarksville, Tennessee and is the Director of Galleries for the Department of Art and Design at Austin Peay State University. www.michaeldickins.com
Mary Addison Hackett approaches day-to-day life as a means of ongoing investigation. Her autobiographical practice includes painting, video, experimental and documentary filmmaking, and often combines performancebased work with wry humor, philosophical inquiry, and feminist overtones. Her work has been exhibited in and screened widely in Los Angeles, Chicago, New York, Houston, Atlanta, and internationally in Berlin, Prague, and Rotterdam. She is a 2016 Hambidge fellow and has been awarded project grants by the Tennessee Arts Commission, Chicago Department of Cultural Affairs, and P.O.V. Television & The American Documentary Inc. Her work has been critically reviewed in the Los Angeles Times, the Atlanta Journal-Constitution, and numerous other publications. Hackett earned her MFA in Studio Art/Video from The University of Illinois at Chicago and her BFA in Painting from the University of Tennessee Knoxville. She is represented by Marcia Wood Gallery. www.maryaddisonhackett.com
KJ Schumacher is a multidisciplinary artist working in Nashville, TN. He received a B.A. in Fine Art from the George Washington University in Washington, D.C. and studied as an undergraduate at Parsons School of Design in Paris. He received a MFA from the Transart Institute (New York and Berlin) and Plymouth University (UK) in 2016. His praxis consists of making and collecting marks and objects, and re-presenting them in made and found situations – inside and outside the studio. Schumacher collects source material from studio remnants and by way of a generative methodology of chance-based selections. Gallery affiliations include David Lusk Gallery in Tennessee and Aran Cravey Gallery, Los Angeles. www.kjschumacher.com


text:
15 things you'll remember if you grew up in Scarborough in the 1980s
Here are 15 things you'll remember if you grew up in Scarborough in the 1980s.
By Corinne Macdonald
Tuesday, 21st January 2020, 4:43 pm
Updated Tuesday, 21st January 2020, 4:54 pm
15 things youll remember if you grew up in Scarborough in the 1980s.
Last week we shared memories of the 1970s, and this week we've flashed forward a decade. In the 80s Marvels, Waterscene, Kinderland and World of Holograms arrived in town. Some proved more elusive than others, and we struggled to find pictures - if you have any photos you'd like to add to our archive, contact us at [email protected].
You might know that at one point camels raced on South Bay during the Scarborough carnival.You might even know why.
You celebrated when Scarborough FC got promoted to the Football League Fourth Division in 1987.
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The Queens sister opened Saint Catherines in 1985.
You remember when the old Zoo and Marineland became Mr Marvels in 1984. The animals left, but the rides and dinosaurs arrived.
You remember when giant capsized ship Navena was towed into Scarborough.
You remember this attraction which has all but faded from existence, no photos seem to exist of it. It was situated next to The Princess Cafe in part of what is now the Penny Arcade.
You remember when Scarborough FC saw victory over Chelsea with a 32 win in the League Cup after achieving a 11 draw during the first leg at Stamford Bridge.
In the 80s acts didnt come for an evening they came for the summer! Like Keith and Orville at the Opera House in 1982.
Found upstairs in Jimmy Corrigans arcade, this attraction arrived the same year as Kinderland - 1985. It boasted a collection of optical illusions live performances also took place there.
Another tricky one to find photos of, this was one of the places to go out in the 80s, located in the Balmoral Centre, pictured. Even under 18s could get in on the action at the 14-18 teen disco night on Fridays.
This didnt close until the end of the decade in 1989 so there was plenty of days spent diving into the pool looking out over the South Bay.
You were here to witness the opening of one of Scarboroughs most-loved childrens attractions - Kinderland in 1985. Birthday parties, school trips, days out with brownies and scouts, many were spent here.
You might have watched some shows, or Its a Knockout at the theatre in the early part of the 80s but you remember it closing in 1986.
If you were old enough for a night on the tiles, maybe Scene 1 + 2 took your fancy, or was it Tunnel Club or Lemon Tree?
The North Bay Bathing Pool was transformed into Waterscene in 1984 and you were there to take a trip down, at the time, the longest water slide in the WORLD. In 1987 the name changed to Watersplash but the fun remained.
Keep up with the latest news and views from The Scarborough News
IN PICTURES: See the Scarborough people who made the news in January 2007
WHITBY RETRO: See the pictures that made the news in January 2009
27 photos that will take you back to great nights out in Scholars and Ink Bar in Scarborough
Scarborough's 'King of the Keyboards' Howard Beaumont reveals all in his autobiography
Former Old Town resident George Sheader publishes a series of essays exploring life in Scarborough in his first book Me Old Mam and the Sea - how to get your copy
Space NK Black Friday sales 2021 UK: best discounts on Drunk Elephant, Charlotte Tilbury, Nars, Olaplex
More from The Scarborough News
Bridlington Free Press
Whitby Gazette


text:
I Can See Right Through You, by Kelly Link
McSweeney's Quarterly 48
http://www.mcsweeneys.net/pages/i-can-see-right-through-you
A 2015 World Fantasy Award nominee for short fiction.
This is the story of a Demon Lover, or an aging actor still playing af ageless vampire he first played twenty years ago.
It's the story of his relationship with his co-star, Meggie, who is the one enduring relationship in his life even as they both flit from lover to lover, occasionally getting married.
It's the story of a nudist colony where years ago the nudists mysteriously disappeared. Now, Meggie's latest tv series, Who's There?, is filming an episode there, looking for supernatural or otherwise mysterious forces. The Demon Lover turns up, fresh off the break-up of his latest marriage, convinced Meggie is the one he should have been with all along. Meggie has her latest lover, Ray, with her, and he's--twenty years younger, looking remarkably like the Demon Lover at the start of his career.
And nothing goes right during the few days there. They find no malign forces, no hint of the supernatural, and only one person disappears. Or perhaps two. Or three. It's not necessarily 100% clear.
The initial sections are sufficiently nonlinear and oblique that I had difficulty getting an initial handle on the story. The techniques used were, for me, off-putting and distancing. And in the end I didn't really care what happened to the Demon Lover. He's just another aging, self-absorbed actor not aware of much beyond the end of his own nose.
Obviously this is not a reaction universally shared, or it wouldn't be a World Fantasy Award nominee, but for myself, I can't come to any other conclusion than--
Not recommended.
Posted by Lis Carey at 8:35 PM
Labels: 2015 World Fantasy Award nominees, fantasy, fiction, short story
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