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Eric James McCormack (born April 18, 1963) is a Canadian actor known for his roles as Will Truman in the NBC sitcom Will & Grace, Grant MacLaren in Netflix's Travelers and Dr. Daniel Pierce in the TNT crime drama Perception.

Born in Toronto, McCormack started acting by performing in high school plays. He left Ryerson University in 1985 to accept a position with the Stratford Shakespeare Festival, where he spent five years performing in numerous stage productions.

For much of the late 1990s, he lived in Los Angeles and had minor roles. He made his feature film debut in the 1992 science-fiction adventure film The Lost World. McCormack appeared in several television series, including Top Cops, Street Justice, Lonesome Dove: The Series, Townies, and Ally McBeal. McCormack later gained worldwide recognition for playing Will Truman in Will & Grace, which premiered in September 1998. His performance has earned him six Golden Globe nominations and four Emmy nominations, ultimately winning the Primetime Emmy Award for Outstanding Lead Actor in a Comedy Series in 2001.

Aside from appearing in television, he made his Broadway debut in the 2001 production of The Music Man and starred in the 2005 film The Sisters. Following the series conclusion of Will & Grace in 2006, McCormack starred as the leading role in the New York production of Some Girl(s). He starred in the television miniseries The Andromeda Strain (2008) and returned to television in 2009 in the TNT drama Trust Me, which was cancelled after one season. Also in 2009, McCormack was cast in the science-fiction movie Alien Trespass. In addition, he starred as Dr. Daniel Pierce for three seasons of the TNT crime drama Perception, and provided the voice of "Lucky" on The Hub's Pound Puppies. From 2009 to 2010 he starred as Dr. Max Kershaw, the psychiatrist turned boyfriend of Julia Louis-Dreyfus' title character in The New Adventures of Old Christine.

Early life
McCormack was born in Toronto, Ontario, Canada, the son of Doris (1932–2006), a homemaker, and James "Keith" McCormack, an oil company financial analyst who died from cancer in 2008. He is the eldest of three siblings. McCormack has Scottish ancestry. While he was growing up, he was shy and did not play sports but was involved in theatre from an early age: "I was a bit of an outsider, but I discovered theatre very early on, which got me through." McCormack later attended Sir John A. Macdonald Collegiate Institute in Scarborough, Ontario, where he was a classmate of David Furnish. There, he enrolled in theatre classes and performed in high school productions of Godspell and Pippin. McCormack recalls that after performing in Godspell, his feelings toward becoming an actor solidified and he decided to pursue a career in acting. "I remember after the first performance of that... I knew where to fit in. That was the beginning of my life as an actor. It changed me in that the concept of any other options disappeared. From that moment there was no question. I knew exactly what I was going to do. I'm lucky that way."

McCormack graduated from high school in 1982 and then enrolled at Ryerson University School of Theatre in Toronto to further improve his acting. He left Ryerson in 1985, several months before graduating, to accept a position with the Stratford Shakespeare Festival in Stratford, Ontario, where he spent five seasons performing. "It was all I wanted, to be a classical actor for the rest of my life, but during the last couple of years I was there, I started to realise that it wasn't for me. Perhaps I didn't have to give my Hamlet before I died, that the world might be an OK place without my Hamlet, in fact." McCormack appeared in productions of A Midsummer Night's Dream, Henry V, Murder in the Cathedral and Three Sisters. McCormack later performed with the Manitoba Theatre Centre in a production of Burn This, as well as with Toronto's Royal Alexandra Theatre in Biloxi Blues.

Career

Early work
McCormack made his Canadian television debut in the 1986 movie The Boys from Syracuse." McCormack moved to Los Angeles, California, and made his US television debut in a 1991 episode of the CBS crime series Top Cops. He appeared in the 1992 theatrical films The Lost World, based on Conan Doyle's novel of the same name and in its sequel, Return to the Lost World, also released in 1992. By 1993, he landed a recurring role as a detective in the crime drama Street Justice. Also in 1993, McCormack appeared in the television movie Double, Double, Toil and Trouble, playing Mary-Kate and Ashley Olsen's father.

He played the role of Colonel Francis Clay Mosby in 42 episodes of the Western television series Lonesome Dove: The Series (1994), which was later renamed Lonesome Dove: The Outlaw Years (1995). McCormack commented that it was a "fantastic role". In an interview with The Guardian in 2003, McCormack admitted to auditioning "two or three times" for the part of Ross Geller, which ultimately went to David Schwimmer, for the situation comedy Friends. In 1995, he appeared in the television film The Man Who Wouldn't Die. He was cast in the 1997 made-for-television movie Borrowed Hearts, where he portrayed a selfish businessman who learns to love, and in the HBO film Exception to the Rule, in which he played a cheating husband.

Also in 1997, he had minor roles in the comedy shows Townies, Veronica's Closet, and Ally McBeal. Originally, McCormack was scheduled to appear as a series regular in the NBC sitcom Jenny, but was fired after the pilot due to the network cutting his character. In addition, McCormack had a recurring role in season five of the comedy series The New Adventures of Old Christine, in which he played a therapist and love interest for Julia Louis-Dreyfus's character, Christine.

Will & Grace
McCormack received his breakthrough role in 1998 when he was cast as gay lawyer Will Truman on the NBC sitcom Will & Grace. McCormack said that when the part came along, he was convinced he was right for the role. "At the end of the audition, Max Mutchnick, co-creator and executive producer of the show said 'That was perfect. Just to let you know, you never have to be more gay than that.'" He explained that when he first read the script, "what hit me immediately was that this was me. I mean, sexual orientation aside, Will was so much like me. He's a great host, he's relatively funny and he has great friends and he's a good friend to them ... the gay issue just wasn't really a big thing." The show debuted on September 21, 1998, and was watched by almost 8.6 million American viewers. Will & Grace quickly developed a loyal audience, with the show and McCormack receiving strong reviews. John Carman of the San Francisco Chronicle commented that McCormack and costar Debra Messing (who played Will's best friend Grace Adler) worked "nicely" together. Kay McFadden of The Seattle Times also praised McCormack, Messing, and the supporting cast as "very funny". For this performance, he earned four Emmy Award nominations (2000, 2001, 2003, 2005), one of which resulted in a win (2001), for Outstanding Lead Actor in a Comedy Series. In addition, he received five Golden Globe Award nominations.

Also in 1998, McCormack appeared in Stephen Herek's comedy film Holy Man. The film was critically and financially unsuccessful. The following year he starred in the comedy movie Free Enterprise (1999), a movie about two filmmakers (McCormack and Rafer Weigel) obsessed with actor William Shatner and Star Trek. Film critic Kevin Thomas of the Los Angeles Times wrote that McCormack and Weigel "both make a strong impression". In 2000, McCormack appeared in the ABC television movie The Audrey Hepburn Story, portraying actor Mel Ferrer.

During the 2001 Broadway season, McCormack briefly portrayed Professor Harold Hill (replacing Craig Bierko) in the Susan Stroman revival of The Music Man at the Neil Simon Theatre. In August 2002, as part of the Hollywood Bowl's summer concert series, he reprised the role of Harold Hill for a one-night only appearance in which he and other actors recreated the songs from the production. McCormack hosted the fourth episode of the 28th season of the sketch comedy show Saturday Night Live  on November 2, 2002. In 2004, he had a recurring role as Ray Summers on Showtime's comedy drama Dead Like Me. The following year, McCormack starred in the film The Sisters, based on Anton Chekhov's play Three Sisters. The film premiered at the 2005 Tribeca Film Festival.

Will & Grace's eighth and (at the time) final season ended with the series finale on May 18, 2006. The finale garnered 18 million American viewers, making it the most-watched entertainment telecast in six years.

In January 2017, NBC closed a deal for a new, 10-episode season of Will & Grace during the 2017–18 season. The new show has been branded as a "reboot", or "revival", taking place 11 years after the original series' finale episode, and McCormack has reprised his role of the beloved Will Truman. In April 2017, the episode order was increased to 12 episodes. In August 2017, it was extended again, to 16 episodes, and a second 13-episode season was ordered. In March 2018, NBC ordered five more episodes for the revival's second season, bringing the total to 18 episodes, and also renewed the show for an 18-episode third season. Eric McCormack continued his role of Will Truman for all of the announced seasons of the revival.

After Will & Grace

Following the end of Will & Grace, McCormack starred on the New York stage opposite Fran Drescher, Judy Reyes, Brooke Smith, and Maura Tierney, in Neil LaBute's off-Broadway play Some Girl(s) at the Lucille Lortel Theatre. He plays a writer who is ready to settle down and marry, but decides to visit four ex-girlfriends first. For his performance, McCormack received critical reviews. New York Times contributor Ben Brantley, in review of the production, wrote: "Playing a thoughtless, woman-despising heterosexual, Mr. McCormack isn't much different from when he was playing a thoughtful, woman-worshiping homosexual. As in Will & Grace, he italicizes every other line for maximum comic spin and punctuates his dialogue by earnestly furrowing his features". Brantley went on to say that McCormack's interpretation of the character is "certainly a more slickly sustained performance" than the one delivered by David Schwimmer in 2005. Melissa Rose Bernardo of Entertainment Weekly commented that McCormack and Maura Tierney "have incredible chemistry".

In the same year, McCormack produced the Lifetime comedy Lovespring International, a show that revolves around six employees at Lovespring International, a dating agency located in California as an "elite Beverly Hills" company. The series debuted to ambivalent reviews, with Matthew Gilbert of The Boston Globe commenting that Lovespring International is "a lively little cable exercise in over-the-top characters, bad taste, satire, and political incorrectness." The show was cancelled that same year.

In 2008, McCormack co-starred in the A&E television miniseries The Andromeda Strain, a remake of the 1971 movie based on the novel by Michael Crichton. In the miniseries, he played Jack Nash, a television reporter who battles an addiction to cocaine. The Andromeda Strain received mixed reviews, and McCormack's performance was criticized. Joanna Weiss of the Boston Globe wrote, "The presence of Eric McCormack, as an intrepid TV reporter, is especially extraneous (no disrespect to intrepid reporters)." Robert Bianco of USA Today commented, "The central cast is completed by ... poor Eric McCormack as a crusading, coke-addicted journalist who spends the second half of the movie playing Rambo in the desert. Let's just say McCormack does the best he can with what he's given, and leave it at that." On September 5, 2008, McCormack made a guest appearance in the seventh season and 100th episode of the television series Monk, where he played an unctuous host of a television crime docudrama.

In January 2009, McCormack returned to television in the TNT drama Trust Me, co-starring Tom Cavanagh. The series, set around a fictional advertising firm, starred McCormack as Mason McGuire, the firm's newly promoted creative director, and deals with his best friend's (Cavanagh) unpredictable behavior. In an interview with USA Weekend, McCormack revealed he was not afraid of being typecast. McCormack's decision to do the show was due to "great writing". The show debuted on January 26, 2009, and was watched by almost 3.4 million viewers. Trust Me debuted to very positive reviews, with Tim Goodman of the San Francisco Chronicle writing, "...the series is surprisingly solid." Mary McNamara of the Los Angeles Times wrote that McCormack and Cavanagh "manage to keep their characters sharply defined but low-key. They are opposites but not in an ash-smudged, Windex-wielding Felix and Oscar way." The series, however, was cancelled after one season, due to poor ratings.

McCormack starred in the science-fiction film Alien Trespass (2009), in which he played Doctor Ted Lewis, who gets possessed by an alien marshal, Urp, after he crash-lands on Earth. When asked about his interpretation on the character, McCormack commented that his first instinct was to make Ted Lewis more alien, sounding like Spock. The film was critically and financially unsuccessful.

In May 2009, he portrayed "El Gallo" in Reprise Theatre Company's revival of the 1960s musical The Fantasticks at UCLA's Freud Playhouse. McCormack had a supporting role in Richard Loncraine's comedy My One and Only, which was released in August 2009.

On September 30, 2009, he guest-starred on the police procedural drama Law & Order: Special Victims Unit in the second episode of its 11th season playing an owner of a dating website.

McCormack portrayed con artist Clark Rockefeller in the Lifetime television movie Who Is Clark Rockefeller?, which premiered on March 13, 2010. To prepare for the role, he read everything on the case, including coverage of the case and Rockefeller's jailhouse interview. Who Is Clark Rockefeller? received mixed reaction, but McCormack's performance was favored by critics, with Variety's Brian Lowry concluding, "...the real kitsch factor resides in Eric McCormack's performance as the suave charmer, which adds an element of high camp to the proceedings."

In June 2010, McCormack received the NBC Universal Canada Award of Distinction at the Banff TV Festival. In October 2010, McCormack received a star on Canada's Walk of Fame. In 2018, McCormack received a star on the Hollywood Walk of Fame for his contributions to the television industry.

In October 2010, it was reported that McCormack would star in a new TNT television drama, Perception, playing a crime-solving neuroscientist named Dr. Daniel Pierce, who works with the federal government to solve cases using his knowledge and imaginative view of the world. Perception premiered on July 9, 2012. McCormack also serves as producer for the show. He also provides the voice of "Lucky" on The Hub's Pound Puppies series, which premiered October 10, 2010.

From March 6 through July 8, 2012, he played the role of Senator Joseph Cantwell in the Broadway revival of Gore Vidal's The Best Man.

In February 2015, he guest-starred on an episode of NBC's The Mysteries of Laura which stars Debra Messing, his former co-star on Will & Grace.

McCormack starred in Travelers, a science fiction drama which first aired in October 2016 and ran for three seasons.

In 2020, he narrated a portion of the 8th Canadian Screen Awards.

Other projects
McCormack has set up his own production company called Big Cattle Productions to develop ideas for television. The projects produced by the company include Lovespring International and Imperfect Union. In 2003, it was confirmed that he would write, direct, and star in the romantic comedy What You Wish For.

McCormack recorded a song, "The Greatest Discovery", which was written by Elton John and Bernie Taupin in 1970, for the 2006 album Unexpected Dreams – Songs From the Stars. He also wrote and sang a song called "Living with Grace" for the 2004 soundtrack to Will & Grace with piano music provided by Barry Manilow.

Personal life
McCormack has been married to Janet Leigh Holden, whom he met on the set of Lonesome Dove, since August 1997. They have a son. McCormack maintains residences in Los Angeles and Vancouver. He became a US citizen in 1999 and holds dual Canadian and US citizenship.

McCormack is involved in many Los Angeles and Canadian-based charitable organizations including Project Angel Food. The Wellness Community West Los Angeles Tribute to the Human Spirit Awards dinner presented an award to McCormack for his breast cancer awareness advocacy. He shared with the audience how his comedy helped his mother, Doris McCormack, endure her breast cancer treatments. Doris was honored at the Lifetime's Breast Cancer Heroes Luncheon in 2004. He serves as an honorary board member of the Multiple Myeloma Research Foundation (MMRF) and was given the MMRF Spirit of Hope Award in October 2006.

McCormack sang both the American and Canadian national anthems at the 2004 NHL All-Star game in Minnesota. McCormack is a supporter of same-sex marriage and attended a march in Fresno, California, on May 30, 2009, after the Supreme Court of California upheld a ban on same-sex marriage approved by voters in November by ballot Proposition 8.

McCormack is a Democrat.

Filmography

Film

Television

Awards and nominations

References

External links

1963 births
Living people
20th-century American male actors
21st-century American male actors
20th-century Canadian male actors
21st-century Canadian male actors
Male actors from Los Angeles
Male actors from Toronto
Male actors from Vancouver
American male film actors
American male musical theatre actors
American male television actors
California Democrats
Canadian emigrants to the United States
Canadian male film actors
Canadian male musical theatre actors
Canadian people of Scottish descent
Canadian socialists
Canadian male television actors
Canadian LGBT rights activists
American LGBT rights activists
Outstanding Performance by a Lead Actor in a Comedy Series Primetime Emmy Award winners
Toronto Metropolitan University alumni
Activists from California


What differentiates a great manager from an average one? That question comes up on our programs very often, and we have great discussions with managers who have tons of experience, as well as those just starting on their management career.
The key to excellence in management often relates to the results you achieve. And I'm not just talking about hitting your targets, financial or otherwise. I'm referring to how you get your people to achieve their results.
In the film 'Field of Dreams', Kevin Costner's character heard a whispering voice tell him that 'If you build it, he will come'. Not knowing the meaning of such an encounter, he sets about trying to discover his purpose. Having built what he feels is the right thing, the dream eventually comes true. The field he builds brings back his father, and the moving ending proves that he was right to follow the path he set out for himself.
Now, before I start blubbering again(!), it reminds me of what we always say on our programs about great managers: they create or build the environment for all their team members to be challenged, to develop, to grow and to be self-motivated.
If you want people to be applying to work in your department, to maintain loyalty from your current team members, to have a well-motivated, driving workforce, you need to build an atmosphere that attracts that kind of person.
So many people we talk to (who work for the managers we coach) tell us that the main cause of demotivation in the workplace is the management style adopted by their immediate manager. They are either too micro-managing, not supportive enough, don't delegate properly, have little idea on how to motivate, or don't trust their team members to get the job done.
This obviously creates a workforce that is not challenged, trusted or developed enough. No wonder people give up trying to grow their skills or bring creativity to work with them!
If you build it, that is, the atmosphere, environment, conditions for people to thrive, grow and develop, then they will come, they will bring their initiative and creativity, and with it, the results you are looking for. Build the environment for them to thrive; you will create the motivation and the drive for people to contribute. And you may create a motivational goal for your team as strong as Kevin Costner's!


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HomeWorldProminent Quebec Cardinal Marc Ouellet denies second allegation of sexual misconduct
Prominent Quebec Cardinal Marc Ouellet denies second allegation of sexual misconduct
MONTREAL – Quebec Cardinal Marc Ouellet is denying allegations of sexual misconduct made against him by a woman in 2020.
On Friday, the Roman Catholic archdiocese of Quebec City confirmed that it had received a second complaint against Ouellet, the former archbishop in the provincial capital
A Vatican investigation was conducted in the wake of the second complaint against Ouellet, but Pope Francis decided "not to retain the accusation against the cardinal" who now serves as head of the Vatican's bishops' office
In a written statement sent to media today, Ouellet confirmed his participation in the investigation and says he has "nothing to hide," adding he acted with "complete transparency" during the entire process.
Ouellet denies having committed any "reprehensible behaviour" towards the woman and says no complaint has been filed against him in civil or criminal court.
Allegations concerning the cardinal first surfaced last summer in a class-action lawsuit against the archdiocese of Quebec, and last week one of the complainants revealed her identity and accused the Catholic Church of trying to silence her through "threats and intimidation."
Paméla Groleau, one of 140 complainants behind the suit, said she initially kept her identity secret to protect her family, her job and her mental health.
In the lawsuit, Groleau accused Ouellet of several incidents of sexual assault between 2008 — when she was 23 — and 2010, including sliding his hand down her back and touching her buttocks at an event in Quebec City.
The allegations have not been tested in court, and Ouellet last month countersued Groleau in Quebec Superior Court for defamation, denying the allegations and seeking $100,000 in damages
The second allegation was reported this week by the French Catholic weekly Golias Hebdo, which also published a letter with the woman's name redacted – dated June 23, 2021. In the letter, current Quebec City archbishop Gérald Cyprien Lacroix informed her that her complaint would not be pursued.
This report by The Canadian Press was first published Jan. 21, 2023.
CP_justice
CP_national
CP_religion
smg_canada
Taylor's 27 lead Marshall past Arkansas State 87-78 in OT
Three days of events planned for the coronation of King Charles
The world looks on as Erdogan jockeys for a third decade of power in Turkey | CNN

redpajama_set_name: RedPajamaCommonCrawl


Identification: This is a yellow to orange species with dusky patches on its notum. The lateral patches are larger and surrounded by light "halos."
Natural history: Rostanga lutescens is known from only two very small animals found in moderately exposed rocky habitats at depths of < 9 m (< 30 ft).
Distribution: Maui: widely distributed in the Indo-Pacific.
Taxonomic notes: First recorded in Hawaii from Maliko Bay, Maui by CP on Aug. 23, 1996. There's some chance that these may prove different from the Indo-Pacific R. lutescens.
Photo: PF: found by CP; Maliko Bay, Maui; Aug. 23, 1996.


Anyone else have a problem with this forum in Safari?
Ever since the switch to 10.4 and/or the last forum update, threads will load really funky. Posts emedded inside other posts, controls missing, posts missing, etc. Frequently have to reload the page, sometimes twice.
I've had that happen occasionally on this and other forums. Dunno why it happens. Reloading usually gets it to display right.
I see that here*a lot. Dunno why.
Curse you **************** asterisk Leopard bug!
Curse you ]]]]]]] bracket "an even bigger member of the cat family" bug!
Evil Apple put candy in the developer tools, too sweet for me to pass up.
the other thing i have noticed is that if there are some large pictures in threads you don't get a scroll bar at the bottom of the safari window so you can't always read what is on the thread very annoying. and reloading doesn't seem to work either though it might be a problem with the forum software itself.
I've never had a problem with Safari.
Could it be related to screen size or resolution, I get the above problems in 10.4.5 on occasion, but is it the 1900 x 1200 pixel size of my open Safari window being at odds with the templates for the web pages.
My monitor is set to 1600x1200, and I never full-screen Safari anyway.
On the contrary, I'd think it's a Safari problem, since other browsers (eg. Firefox) will show a scroll bar.
Doesn't seem like it - I've had the aforementioned problems with far smaller windows.
I have this problem a lot with my own vBulletin forum and Safari. It seems to happem more under heavy server load though, like it times out sending data to Sarafi clients.
No solution though. Seems to have happened after the vB 3.5 update, and seems to be better now that vB 3.6 is out.


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Previous (Cytoplasm)
Next (Cytoskeleton)
Chemical name 4-Aminopyrimidin-2(1H)-one
Chemical formula C4H5N3O
Molecular mass 111.102 g/mol
Melting point 320 - 325°C (decomp)
SMILES NC1=NC(NC=C1)=O
Cytosine is one of the five main nucleobases used in storing and transporting genetic information within a cell in the nucleic acids DNA and RNA. The other four nucleobases are adenine, guanine, thymine, and uracil. Cytosine, thymine, and uracil are pyrimidine derivatives, while guanine and adenine are purine derivatives. The nucleoside of cytosine is cytidine.
In DNA, cytosine (C) and thymine (T) form hydrogen bonds with their complementary purine derivatives, guanine (G) and adenine (A). In RNA, the complement of adenine is uracil (U)instead of thymine. Thus, cytosine, along with adenine and guanine, is present in both DNA and RNA, whereas thymine is usually seen only in DNA and uracil only in RNA.
In Watson-Crick base pairing, cytosine forms three hydrogen bonds with guanine. From the point of view of structure, it is remarkable that cytosine, with its three binding sites, only attaches to guanine in DNA, while adenine, with two sites for hydrogen binding, only attaches to thymine. The way these hydrogen bonds hold the strands of the nucleic acid together to form the double helix, yet allowing the strands to "unzip" for replication and transcription, is simply amazing from a design point of view.
2 History and uses
Cytosine can also be a part of a nucleotide other than related to DNA or RNA. As cytidine triphosphate (CTP), it can act as a co-factor to enzymes, and can transfer a phosphate to convert adenosine diphosphate (ADP) to adenosine triphosphate (ATP).
Cytosine is a pyrimidine derivative, with a heterocyclic, aromatic ring, and two substituents attached (an amine group at position four and a keto group at position two). Heterocyclic compounds are organic compounds (those containing carbon) that contain a ring structure containing atoms in addition to carbon—such as sulfur, oxygen, or nitrogen—as part of the ring. Aromaticity is a chemical property in which a conjugated ring of unsaturated bonds, lone pairs, or empty orbitals exhibit a stabilization stronger than would be expected by the stabilization of conjugation alone. In organic chemistry, a substituent is an atom or group of atoms substituted in place of a hydrogen atom on the parent chain of a hydrocarbon.
In DNA and RNA, cytosine is paired with guanine. However, it is inherently unstable, and can change into uracil (spontaneous deamination). This can lead to a point mutation if not repaired by the DNA repair enzymes, such as uracil glycosylase, which cleaves a uracil in DNA.
Cytosine can also be methylated into 5-methylcytosine by an enzyme called DNA methyltransferase.
History and uses
Cytosine was first discovered in 1894 when it was isolated from calf thymus tissues. A structure was proposed in 1903, and was synthesized (and thus confirmed) in the laboratory in the same year.
Cytosine recently found use in quantum computation. The first time any quantum mechanical properties were harnessed to process information took place on August 1st, 1998, when researchers at Oxford implemented David Deutsch's algorithm on a two cubit NMRQC (Nuclear Magnetic Resonance Quantum Computer) based on the cytosine molecule.
Bernardi, G., B. Olofsson, J. Filipski, M. Zerial, J. Salinas, et al. "The mosaic genome of warm-blooded vertebrates." Science 228: 953–958, 1985.
Smith, N. G., and A. Eyre-Walker. "Synonymous codon bias is not caused by mutation bias in G + C-rich genes in humans." Mol Biol Evol 18: 982–986, 2001.
Vinogradov, A. E. "DNA helix: The importance of being GC-rich." Nucleic Acids Res 31: 1838–1844, 2003.
All links retrieved Noveber 20, 2017.
Prebiotic cytosine synthesis: A critical analysis and implications for the origin of life
Nucleic acids edit
Nucleobases: Adenine - Thymine - Uracil - Guanine - Cytosine - Purine - Pyrimidine
Nucleosides: Adenosine - Uridine - Guanosine - Cytidine - Deoxyadenosine - Thymidine - Deoxyguanosine - Deoxycytidine
Nucleotides: AMP - UMP - GMP - CMP - ADP - UDP - GDP - CDP - ATP - UTP - GTP - CTP - cAMP - cGMP
Deoxynucleotides: dAMP - dTMP - dUMP - dGMP - dCMP - dADP - dTDP - dUDP - dGDP - dCDP - dATP - dTTP - dUTP - dGTP - dCTP
Nucleic acids: DNA - RNA - LNA - PNA - mRNA - ncRNA - miRNA - rRNA - siRNA - tRNA - mtDNA - Oligonucleotide
Cytosine history
Heterocyclic_compound history
Aromaticity history
Substituent history
History of "Cytosine"
Retrieved from https://www.newworldencyclopedia.org/p/index.php?title=Cytosine&oldid=1007825


Raadi Airfield (Tartu Air Base) (ICAO: EETR) is a former air base in Estonia located 4 km (2.5 mi) northeast of Tartu. The land once belonged to Raadi Manor and is now designated as the new site of the Estonian National Museum.
In 1940 100 hectares (250 acres) were requisitioned from the Raadi Manor estates to create a Russian airport. The airfield was fought over during the Second World War and the manor house was burnt during the Tartu Offensive.
The airport became a major Soviet bomber base for fifty years. The secrecy of the airfield meant that foreigners were not allowed to visit the city. Few dozens of bombers were based here making it the largest Baltic airfield. This meant that the museum's collection had to be stored in places like the city's churches. The airfield is still seen as a reminder that Estonia was occupied by Soviet forces.
It was a fairly extensive base with 24 large revetments and over 30 small ones. This airfield was rated in 1956 by USA to 13. position in USSR airfield priority list which means it was the only nuclear target in Baltics at this time. It was a Soviet base, home to 132 TBAP (132nd Heavy Bomber Aviation Regiment) which flew Tupolev Tu-16 and Tupolev Tu-22M aircraft. It was also a transport base with the 192 and/or 196 VTAP (Military Transport Aviation Regiment) flying Ilyushin Il-76M cargo jets until 1990. These jets were relocated to Tver.
On 15 January 1991, a Soviet Air Force Tupolev Tu-16K Badger crashed near Tartu Air Base, on landing when the undercarriage failed to extend. The pilot and co-pilot ejected, but the four crew members were killed.
In 2020, estimated 200,000 solar panels will be built on Raadi Airfield, making it the biggest Solar Farm in Estonia.
^ "37 Vozdushnaya Armiya VGK". Brinkster.com.
^ "The Estonian National Museum's New building".
^ "1 prize entitled Memory Field".
This page was last edited on 2 April 2019, at 10:39 (UTC).


Matthew W. Green Jr. is an associate professor of law at the Cleveland-Marshall College of Law. Professor Green has taught courses in employment discrimination, employment Law, disability law and a seminar on sexual orientation and gender identity discrimination. His scholarship focuses on employment discrimination, sexual orientation and the law and workplace retaliation. He earned his J.D. from the University of Baltimore School of Law and LL.M. from Columbia University, where he was a Harlan Fiske Stone Scholar.


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John B. Alward
John B. Alward ("JB") was born in Sioux Falls, South Dakota in 1944, the son of a physician and a nurse. Reared in Indiana, JB became a Captain in the United States Air Force where he piloted a B-52 during the Vietnam War. After his courageous service to our country, JB attended law school at the University of Arizona in Tucson, where he met and fell in love with his lovely, future wife. After graduation from law school, JB obtained a prestigious LL.M. degree in Estate Planning from the University of Miami. JB ably practiced estate, probate, trusts and wills law in Prescott, Arizona and in Sun City, Arizona until his death in 1989.
JB's life was tragically ended, very prematurely, on his way home from work (and to meet a friend) on the night of 25 September 1989. A detour was created on Lincoln Boulevard for the interchange with the Piestawa (formerly, Squaw Peak) Parkway (Hwy. 51), which was then under construction. An errant driver failed to negotiate a curve in the roadway, crossed the center-line, killing both JB and himself.
JB was a best friend with an unparalleled sense of humor, a calm demeanor and an even disposition demonstrated throughout his life. He loved life and enjoyed it thoroughly. A few months before JB's tragic death, his only child was born. JB's calm demeanor and even disposition were ably and amply demonstrated during the Vietnam War.
JB flew a B-52 for the U. S. Air Force in Vietnam. JB received an Aviator's Valor Award for his life-saving conduct during the Vietnam War. Just before reaching the target, JB's aircraft was mortally damaged by enemy scrapnel. JB stayed on course, dropped his payload, and returned the dying B-52 for an emergency night-time landing at an unfamiliar landing field surrounded by landmines. JB aborted the first landing attempt when it became clear the ill-fated aircraft could not land on the airstrip, flew around, and then safely landed the damaged B-52, saving the lives of his crew. JB said that after he landed the B-52, the plane never flew again, and that he spent the next three days inebriated. He also said that if he had known how badly the aircraft was damaged, he would have ordered the crew to bail out and he would have done so himself, never attempting a landing. JB demonstrated the highest degree of professionalism under stress. This was an innate quality that JB held. Here is an image of JB's Aviator's Valor Award:
JB's funeral was attended by masses of people, so many in fact that people had to stand outside the funeral home. JB touched the lives of many people: all who knew him loved him. JB's final resting place is located in the St. Francis cemetery in Phoenix, Arizona. R.I.P JB.
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Bridgeport, Chinatown & McKinley Park
Velika Gospa Festival is Homecoming for Chicago Croatians
By Casey Cora | August 7, 2013 7:41am
@bycaseycora
Velika Gospa Festival
ARMOUR SQUARE — Velika Gospa is many things to many people: a big Croatian reunion, a parade, a dance, a holy ceremony, an old-school Chicago street fest and a chance to order spit-roasted lamb by the pound.
"If you want to see and be seen by Croatians in the Midwest, this is the place to be," said the Rev. Ivica Majstorovic, pastor at St. Jerome Croatian Catholic Church of Chicago, 2823 S. Princeton Ave. in Armour Square.
Above all, it's a joyous celebration dating back more than a century at St. Jerome — and long before that.
Velika Gospa is the Feast of the Assumption of the Virgin Mary. It's rooted in a story in which the townspeople from the small Croatian town of Sinj prayed to a painting of the Virgin Mary in a local church to help fend off approaching Turkish soldiers one summer night in 1715.
The next morning on Aug. 15, the story goes, the Virgin Mary appeared, the incoming soldiers got sick, retreated and never returned to the area. To pay homage to the miracle the town had witnessed, people from all over the country have made the pilgrimage to Sinj, bringing with them requests for help and hope each year.
The tradition carried over with the waves of Croatian immigrants into Chicago, many of whom settled in and around Bridgeport and helped erect St. Jerome, where parishioners started their own Aug. 15 procession and festival.
Today, the parish is the spiritual home for upward of 800 families. Many of the parishioners and students in adjacent St. Jerome Catholic School are Croatian families with deep roots that stretch back generations in the neighborhood.
Technically, the festival began Tuesday with the first in a series of nine daily Novena masses, where priests from across the city will lead evening worship services designed around a spiritual topic. (Schedule here)
But Aug. 15's block party is the main draw, luring Croatian-Americans from all across the Midwest for a reunion and giant street fest, famous for its procession of a replica painting of the original "Our Lady of Sinj" carried through the neighborhood and led by colorful floats along the way.
The procession kicks off at 10 a.m. Aug. 15 at 28th Street and Princeton Avenue, then makes its way to 26th Street, south on Wells Street to 33rd Street and back up Princeton.
Then, of course, there's the food.
The church has ordered 65 lambs that will be roasted the night before the celebration and sold for $12 per pound. It goes quick.
Some 120 cases of beer are on their way. Ten hogs will be roasted and 100 pounds of mostaccioli will be dished out to the estimated 4,000 people who'll descend on Princeton Avenue.
Countless pounds of cabbage leaves will be used to make sarma snacks, and countless pounds of mixed meats will be rolled into Ćevapi, a mildly spiced meat dish that looks like a sausage but has the consistency of a meatball.
The Rev. Alberto Rojas, auxiliary bishop in the Archdiocese of Chicago, will be on hand throughout the day.
Fueling the celebration will be marching bands, performances of traditional tamburica music and Kolos dancing, bingo sessions and kids games. There's even an Elvis impersonator, fireworks and a raffle with a $20,000 grand prize.
For Majstorovic, 38, who hails from the southern Croatian village of Drinovci, the 107th installment of Velika Gospa is the first time he'll be in charge of presiding over the festivities.
He'd been a deacon at St. Jerome prior to serving as a priest in Canada, New York and the North Side before returning to the parish last year.
He'll be aided by about 100 people who will help prepare for the procession and block party, perhaps the city's largest and longest-standing ethnic celebration.
"Without their help, all of this would be impossible," he said.
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Mohanna Durra in Retrospect
|By Felix Goodman
Mohanna Durra (b. 1938) is widely regarded as the pioneer of the Jordanian art scene, introducing the European principles of abstraction, expressionism and cubism to Jordanian artists. On November 27th (and running until the 31st of March 2019) the Jordanian National Gallery of Fine Arts opened its retrospective exhibition on Durra's career, featuring works from 1948 to the present day. artmejo was present on the opening night to be the first to experience the new retrospective and was given exclusive access to the artist himself, interviewing him at his home.
Paintings decorate the insides of the Durra residence (images by artmejo team)
Walking down Durra's unassuming street, it is immediately apparent whose house belongs to the artist. In a mass of green trees, the bright red fencing surrounding his garden makes it clear that this is someone who values colour and vibrancy. Inside, we were greeted by a whiff of oil paint coming from recent works gracing the walls, ones yet to be seen by the outside world, while all other spare wall space is dedicated to filled bookshelves. Hours could be spent browsing the array of artefacts on display, were it not for the arrival of Durra himself. Emerging directly from his studio and proffering a welcoming hand stained with fresh paint, we were received like old friends. Over some tea and biscuits, we spent 2 hours with the artist. Throughout, all manner of subjects were broached, from nostalgic childhood memories to the ubiquity of art in everyone's daily life.
As the surroundings suggest, Durra is a man obsessed by painting, and the pride he feels when talking about the Jordanian National Gallery of Fine Art's new retrospective is palpable. In talking about the exhibition, Durra gave us never-before heard insights into his paintings' provenances, which we have shared with you in this review.
Mohanna Durra, Abstraction, Oil on Canvas, 151×301cm, 2016
The all-encompassing exhibition of the artist's long and illustrious career sees the works divided over four floors, separated into 'Figures' on the ground floor, 'Clowns', 'Portraits' and 'Drawings' on the first, 'Abstraction' and 'Landscapes' on the second and 'Abstraction' on the third floor. With 194 paintings taken from private collections, the museum's permanent collection and Durra's personal collection, the exhibition brings together a comprehensive assemblage of a lifetime of work as will most likely never be seen again. Durra himself expressed his joy at being reunited with lost works, saying "I was delighted to see many of my old paintings again."
Mohanna Durra, Cowboy and Windmill, Oil on Canvas, 23×32.5cm, 1948
Rather than show Durra's work in chronological order, as one might expect from a retrospective, the curatorial team at the Jordanian National Gallery of Fine Arts (JNGFA) have opted for division by subject matter, thus resulting in each section featuring works from Durra's earliest years to 2018. This unconventional decision is instantly justified by even the most cursory of visits. While Durra has experimented with many artistic styles and subject matters throughout his career he is by no means a linear artist, and one repeatedly witnesses a reversion to specific colour palettes and styles at different stages of Durra's artistic journey. For this reason, the most reliable constant for Durra's opus is indeed subject matter over execution, and it is this division that enables us to best understand Durra's work. As he explains:
My work depends on my mood. Style is not a political party; it is not a dogma. Style is how you feel one morning. One morning you may feel like you want make an abstract painting, and it's important to be honest with what you're doing, to be spontaneous.
Mohanna Durra, Untitled, Oil on Wood, 81×119cm, 1967
Mohanna Durra, Three Faces, Oil on Wood, 47×53.5cm, 1959
This being said, the JNGFA has respected major thematic events in Durra's career. While a European trained artist, Durra remains Jordanian by nature, and his depiction of the Bedouin and local Jordanian were key subjects in his early years (and they continue to be addressed to this day). It is thus fitting that some of the first works we see upon entering the exhibition are portraits of Jordanians in traditional scenes (such as Untitled, 1966) executed in a realist style (albeit with a hint of abstraction in his liberated brush strokes), highlighting before all else that Durra is a Jordanian artist. And yet, these naturalist portraits are adjacent to abstract works such as '3 Faces' (1959) and 'Dance and Movement' (1971) (seen later below) whose brushstrokes are wild and loose, rejecting the naturalistic tendencies of their neighbours, despite sometimes occurring earlier in his career. In the first room in the exhibition, therefore, we are introduced to Durra's wide ranging stylistic abilities. Nestled between these works a small, simple scene of a Dervish can be spotted, innocent in its subject matter and execution. Dated to 1948, it is one of two works in the exhibition dating from when Durra was just 10 years old, and serves as a gentle reminder of the natural gift that Durra possesses. Whatever we see from this moment on, it seems to tell us, remember the talent that is required to create effective, expressive abstraction.
Mohanna Durra, Circassian Dance, China Ink on Paper, 49×63, 1982
The insistence on classical training in the fine arts before embarking on the journey of abstraction is something Durra feels strongly about. He says "I believe you have to be able to know how to draw [before you can attempt to be abstract], you have to be able to know the form and the shape in order to develop it or destroy it." On the first floor, therefore, the viewer is introduced to Durra's drawings, portraits and clowns. The effortless confidence in the free-flowing lines renders Durra's sketches breath-taking, with their economy of line reminiscent of Matisse and Schiele's sketches, while the knowledge of their existence aids the viewer in understanding the traditional artistic skill necessary to successfully execute an abstract work (eg. 'Circassian Dance', 1982).
Mohanna Durra, My First Teacher George Aleef, Acrylic on Canvas, 75×50cm, 1960
Among the portraits, the viewer is drawn towards a depiction of George Aleef, Durra's first teacher while still a child in Jordan. Durra shared the story behind this portrait with artmejo:
When I returned home from Rome, George Aleef, who was my teacher before my departure and who had taught me the scholastic method, the classic lessons about art, he was afraid that I had become so modern in throwing colours on the canvas that he came to my studio and he was almost angry! But then he sat on a chair and I painted him while he was talking, and after he saw [the portrait I had done of him] he forgave me and pardoned me and he said to me "in spite of the fact that you betrayed my teaching, you still have something, a gift."
Mohanna Durra, Self Portrait, Oil on Wood, 56×45cm, undated
Also on this floor, we are introduced to one of Durra's favourite subject matters: Faces and Clowns. For Durra, his "fascination with portraits results from the powerful impact of the different facial expressions and the story told by each face." Durra has the rare of skill of being able to express the personality of his sitter while simultaneously transmitting his own artistic character through the canvas. He claims that "for me, the resemblance is not important. Rather it is what she conveys to me, it is the feeling that is important. Everybody emanates some sort of energy, and it is my job to capture that." By employing looser brush strokes than used on conventional portraits and forgoing a detailed background in a favour of block colour, Durra focuses the viewer's attention entirely on the face and breaks the barrier between sitter and spectator, thus creating a portrait that is informal, intimate and warm.
Mohanna Durra, Clown, Oil on Canvas, 57×43cm, 2004 and Mohanna Durra, Clown, Oil on Paper, 51×40cm, 1982
While the portrait is important for Durra, the recurring subject matter of clowns suggests that his fascination is primarily with the face itself and in the unlocking of its secrets. While externally exhibiting the attributes of happiness, for Durra a clown can "hide behind [his] mask; putting a smile on other people's faces in spite of his sadness." The works featuring Clowns in Durra's work date from 1982-2010, once again showing Durra's long-enduring fascination in recurring subject matters. However, it was in fact as early as 1952, when Durra was only 14 years old, that the fascination manifested itself.
When I was a boy, I went to a movie (The Greatest Show on Earth) featuring James Stewart and in this movie he played a nice, very human character who was accused of something and had to run away and hide, thus joining the circus as a clown. He was filled with sadness, and yet he was making people laugh. I was struck by someone so, so sad still making people laugh. I was so impressed by this story that it keeps on coming back to me.
Mohanna Durra, Clown, Mixed Media on Paper, 14×9cm, 2002 and Clown section at JNGFA with Clown (2002) seen on the far left end
It is with this Clowns series that we are best able to observe the wide range of media used by Durra, ranging from charcoal on paper to watercolour on paper to oil on canvas. Durra is not limited in his artistic talents.
It is at this point worth noting that an exhibition can only be so good as its curation. JNGFA has found a perfect balance between spacious viewing opportunities and the occasional, intimate space where one can interact with the work on a personal level. Miniature canvases (such as 'Clown', 2002) placed in a broader context of larger works serve as a reminder to the viewer to approach the canvas and interact with the painting, encouraging dialogue between the individual and the art.
Mohanna Durra, Abstraction, Acrylic on Canvas, 102×151cm, 2012
Having been introduced to Durra's more traditional subject matters and styles, the exhibition next introduces us to Durra's more famous larger-scale abstract works. Throughout the exhibition the viewer is given hints of the textural experimentation that occurs in Durra's works in the latter half of his career, however it is not until Floor 2 that this is shown explicitly. This writer is tempted to coin Durra's larger abstract works 'The Sheet Series', so explicit is his application of texture in his works. Layering canvas on top of the base canvas layer, Durra creates an almost topographical aspect in his works with creases emerging from the canvasses surface, reminiscent of a crumpled bed sheet. While the shades of blue that are constantly recurring in Durra's palette of choice feature in his Abstract scenes, there is also the introduction of an emphasis on red and orange. By placing a primarily blue canvas 'Abstraction' (2016) opposite its counterpoint 'Abstraction' (2012), whose palette is entirely in shades of red, the exhibition succeeds once again in highlighting for the viewer the variety and progression in Durra's paintings.
Mohanna Durra, Abstraction, Oil on Canvas, 100×100cm, 2016 (not mentioned painting above)
Throughout our conversation with Durra at his home, he repeatedly referenced artists, psychological theories, literature and music. Here is an artist, indeed, but more than that he is an intellectual. When describing his process for creating abstraction, Durra explains that:
I don't draw [or use underdrawings], I just use the brush, a thick brush at that, because a thick brush will not give details, and through these clouds of whatever colour I throw on the canvas, one can see things. You know, it's like the Rorschach Test…we may all see movement in a stroke, but how we interpret that movement, it's different for all of us. It's important that you [the artist] give the interpretation of movement as you yourself feel it/want.
Mohanna Durra, Composition 2, Oil on Canvas, 74×96.5cm, 1977
Painting is an art form, but it should not be limited to itself. Durra fondly recalls the Arabic proverb that says that "'the Arts, when they develop and become refined, meet."عندما ترتقي الفنون, تلتقي" Poetry meets music, and music meets art. So" explains Durra "when you paint you think about these tonalities… you have to listen to what you are doing. It may take a while until you feel comfortable with what you've done but it is necessary."
Mohanna Durra, Dance and Movement, Oil on Canvas, 58×45cm, 1971
The coalescing of music and art is something that Durra, a classical music enthusiast, is passionate about. Whenever he paints, music plays. It was during his 10 years spent in Moscow, where he lived while working as a member of the Jordanian Foreign Office, that the works of Stravinsky, Rachmaninoff and Wagner caught his attention. In our private audience, artmejo was shown the painter's sketches of conductors created while watching live orchestras playing at venues such as the Tchaikovsky Concert Hall. They reveal an intimate insight into the painter's attempts to convey musical direction, be it piano or fortissimo, via pen stroke and highlight his recurrent interest in the dialogue between motion and drawing, as can be seen in the "Line and Movement" sketches on the first floor.
Mohanna Durra, Silver Abstraction, Oil on Canvas, 101×181, 2018
On the final floor, Durra's largest and most 'modern' abstract works are displayed. In later works from the 1990s and 2000s Durra appears to leave behind the mixing of paints before application, instead favouring the application of block colours directly from the tube. While by no means pop-art, the resulting canvases most certainly pop, expressing a vibrancy and strength different from any of his earlier abstract works. The confidence in line conveys the genius of the painter. Durra struggled with the confines of the Accademia di Belle Arti di Roma as a young student. While he sought to express himself with abstraction, his professors sought to mould him into a conventional artist. Durra told us that:
We tend to think that in order to distort a form or to develop a certain form you have to know it first. The trouble with people who have a solid academic background is that they become prisoners of the Academy, let's call this 'Academism'. The artist himself should take a certain proportion of what he learns but not be governed by it
Mohanna Durra, Abstraction, Oil on Paper, 49×74cm, undated
In this final floor it is made that clear that Durra has succeeded in his mission to respect his traditional artistic education while not being governed by it. These works, as with all those in the exhibition, are unique in their execution and capture the energy of the artist, an energy that emanates from every canvas we lay our eyes on.
Durra estate door, and the artist in conversation (images by artmejo team)
As our interview with Durra came to its conclusion artmejo was invited into the artist's studio, a most intimate of sanctuaries. While ironically devoid of paintings (many of the paintings you see at the exhibition have come directly from the artist's house), the space retained its charismatic aura. Perched on the easel, a half-completed canvas rested. While unfinished, the work hinted at the direction in which Durra's art is headed, revealing muted pastels and pared down tones. As we made our exit from Durra's house, a final surprise awaited us. While Durra was recovering from cancer, he told us, he was unable to descend to his studio to paint and as such resorted to new, unconventional surfaces on which to express his emotions. This is how the unassuming front door, appearing as a simple blue from the exterior of the house, came to be covered in an unmistakable Durra Abstraction of soft pinks on its interior. Despite having had a career spanning over 70 years, Durra is still continuing to surprise and develop. A veritable Great.
Click image for artwork details
Image courtesy of The National Gallery of Fine Arts except where indicated
Felix Goodman
I am an Arabic and Islamic Studies student at Exeter University who has a passion for all things art, with a focus on Middle Eastern and Islamic art.
Artist of the Month: Stéphane Vereecken
Observational Rides: Longing and Art


In today's edition, Facebook faces the fallout from a report on its attempts to avoid scandal, we join a coalition urging Congress to protect the Mueller probe, two tragic deaths are tied to a Colombian bribery probe, looking back on a big spending gubernatorial race, and more.
Today's roundup is brought to you by Talking Heads.
Editors note: Planning your holiday giving? Tuesday, November 27th is #GivingTuesday. We would be honored if you choose to support the Sunlight Foundation that day and throughout the holiday season. Keep your eyes on our website over the next couple of weeks for more information. In the meantime, if you're an Amazon user, you can support us with every purchase you make via smile.amazon.com.
The United States Department of Justice building in Washington, DC.
A newsstand advertising The Citizen, an independent newspaper in Dar Es Salaam, Tanzania. Photo by Adam Jones via Wikimedia Commons.


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Omid Kokabee (persa: امید کوکبی; nacido en 1982) es un físico experimental láser iraní en la Universidad de Texas en Austin , que fue detenido en Irán después de regresar de los Estados Unidos para visitar a su familia el 30 de enero de 2011. Fue acusado inicialmente de "reunión y colusión contra la seguridad nacional", pero más tarde, después de haber sido absuelto de los cargos primarios, fue juzgado por "comunicarse con un gobierno hostil (EE.UU.)" y "ganancias ilegales/ilegítimas". A pesar de que en repetidas ocasiones negó todos los cargos contra él, finalmente fue condenado a diez años de prisión.

En septiembre de 2013, la American Physical Society (APS) anunció a Kokabee como co-receptor de su Premio 2014 Andrei Sajarov  por "su coraje al negarse a utilizar sus conocimientos de física para trabajar en proyectos que consideraba perjudiciales para la humanidad, enfrentándose a una presión física y psicológica extrema".

En noviembre de 2013, Amnistía Internacional publicó una declaración pública declarando a Kokabee "preso de conciencia, detenido únicamente por su negativa a trabajar en proyectos militares en Irán y como resultado de cargos falsos relacionados con sus legítimos lazos académicos con instituciones académicas fuera de Irán". En esa declaración, Amnistía pidió "su liberación inmediata e incondicional".

En octubre de 2014, la Asociación Estadounidense para el Avance de la Ciencia (AAAS) otorgó a Kokabee su Premio 2014 de Libertad y Responsabilidad Científica "por su posición valiente y disposición para soportar el encarcelamiento antes que violar su postura moral de que su experiencia científica no debe utilizarse con fines destructivos y por sus esfuerzos para proporcionar esperanza y educación a sus compañeros de prisión".

Referencias
Inglés artículo de Wikipedia y persa artículo de Wikipedia

Nacidos en 1982

redpajama_set_name: RedPajamaWikipedia


They will appear in court next month.
A teenager and a man have been charged following ten burglaries in the North Nottinghamshire area.
The burglaries occurred between December 7 and 15 in Winkburn, Gamston, Norton, Woodbeck, Retford, Rampton, Bothamstall, Cottam and Sturton-le-Steeple.
A 16-year-old boy and a 23-year-old man were arrested and taken into custody near Rampton Hospital on December 15 and later charged with conspiracy to commit burglary.
The 16-year-old was released on bail whilst Henry Tyson Wilsher, 23, of Coalville in Leicestershire was remanded in custody, both to appear at Nottingham Crown Court on Monday January 15 2018.
Investigations continue and officers are looking for a further three men in relation to these offences.
Anyone with any information is asked to call police on 101 quoting incident 511 of 7 December. You can also contact Crimestoppers anonymously on 0800 555 111.


We are searching for a junior-mid level Java Developer to join a large organisation in the heart of Dublin City Centre. This is a one-off opportunity to work with a modern tech stack alongside a highly collaborative team, within a market leading company. There are proven paths for progression with the client particularly eager to see developers who are excited by new technologies and fast learners. The essential skills required for the role is a good understanding of Java, 1-3 years' commercial experience and some exposure to Spring framework and frontend technologies. Excellent benefits and a generous salary are on offer.
* 1-3 years' experience as a Java Developer.
* Continuous Integration experience would be advantageous.
* Comfortable working in an agile environment.


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Shawn Saying Something…
The random ramblings of Shawn Van Tol.
Contained (Flash Fiction)
Shawn Van Tol	Flash Fiction	 March 27, 2014 3 Minutes
Catherine watched Brian as he stepped into the airlock and the door sealed behind him with a soft thump. From her small control console, she monitored the strange biological readouts of the black mass of spongy goo that had been recovered from the wreckage. This creature, this substance, had been brought on board and survived for thirty days in a sterile and dry environment without sustenance. After days of debates in every corridor, utility bay and mess hall, the captain of the small space hauler finally yielded to the curiosity of his crew and decided to investigate the life form further. It was Brian who immediately volunteered.
Brian approached the organism slowly. The white boots of his biohazard suit squeaked against the immaculate floor. Catherine watched through the thick glass window of the containment room as Brian grew closer to the examining table. Black goo hung over the edges like silly putty. It's damp surface, still wet after all this time, glistened in the bleach-white light. Brian turned and nodded to Catherine. She tapped at her console and a small drawer extended out from the wall inside. Brian picked up a plastic gun, something that had the look of a child's toy, and pointed it at the mass. He pulled the trigger and a wide, blue beam projected out. He scanned slowly.
"Anything?" he asked.
Catherine shook her head to herself. "Nothing. I'm still only seeing moisture and temperature. No vital signs of any kind."
A voice came over the speaker. "Maybe it's not a creature," said the captain from outside the main room. "Maybe it's just space-weeds."
Brian continued sweeping the blue ray over the space weeds. "If this is vegetation, it's the most advanced form of vegetation I've ever seen. It reacted to me. It tried to hide beneath the ship."
"It never showed any signs of awareness during our tests," said the captain.
"I saw what I saw!" shouted Brian.
Catherine sighed and looked over her shoulder. The captain and the rest of the crew watched from the hallway. The captain shrugged. "Is it showing any signs of awareness now?" asked Catherine.
Brian held the plastic gun up and looked down at the table. Catherine could hear a small sigh come through his microphone. "I don't know," he said. "It appears to be bigger than before."
Catherine looked up just in time to see a thin strand, like a long piece of black yarn, extend down and around the base of the table. She blinked, not believing her sight at first. When she saw the black line round the corner and go for Brian, she screamed.
Brian turned and saw the extension. In his shock, he dropped the scanner and it fell to the ground with a plastic clatter. He raised his hands, but it didn't matter. The black appendage seemed to solidify and it pierced directly through his hand. A small splat of blood burst onto his face shield and Brian began to scream. The extension retracted as quickly as it struck and absorbed itself back into the main mass.
Brian fell to the ground, screaming out of fear more so than pain. He crawled on his knees for a few paces, leaving small red marks on the pristine tile of the floor, before regaining his feet and stumbling to the door.
"Let me out of here!" he screamed. His eyes were wide and his face panicked. Small beads of sweat formed over his pores. Catherine looked to the table and saw that Brian was right. The mass was aware. It was aware and moving toward him. Small spindles of black points extended out to the floor like needle-shaped legs. There were nearly twenty legs in all. The black mass lifted itself from the table.
"Let me out!" Brian shrieked "Let me out!"
"I can't!" Catherine cried. She moved her hand over a small panel that had the digital display of a red button. Brian's eyes followed her hand.
"I can get out!" he insisted. "Let me out! I can make it I swear!"
The black space weed, once spongy and soft, had formed itself into a rounded ball of needles. Catherine was suddenly reminded of pictures of pufferfish she had seen as a child. She closed her eyes and placed her palm on the panel. There was a burst of red light as the vaporizer was engaged, and Brian's scream was silenced. When she opened her eyes, the room was empty save for black char that fluttered within the glass. She tapped the panel again and a small port opened, sucking the contents of the room out into space.
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This week K-Town ends its debut season and they must have heard the falling of my teardrops because the series is coming back for a second season in November. Yay? Anyway, on to the recap! We finally get to see the full extent of Uncle Joe and Mohawk Steve's fight this week. I was initially going to say "fist fight" but that would be inaccurate as the two don't actually throw punches but rather slap each other and do some awkward wrasslin'. It just goes to show that trying to fight gracefully while standing on the cushioned seats of a karaoke lounge is a terrible idea.


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Telltale Games has announced that it will release a spin-off Walking Dead miniseries, featuring Michonne - the uber tough, katana-wielding bad ass from the comics and TV show.It's part of a plan to bring the worlds of the comic and the game closer together. "There is no greater character than Michonne to help bridge that gap," said series creator Robert Kirkman during a E3 live stream.The game won't retell events of the comic. Instead, it will let you see what happened to Michonne between issues 126 and 139, when she wasn't around.To get access to The Walking Dead: Michonne, you'll need to own at least the first episode of The Walking Dead: Season Two. The three-part series will come to iOS, and Android this autumn.&#;&#;
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&#;How'd you like to add Fallout emoji to your texts? Be good, wouldn't it?Well, now you can. Bethesda has released the Fallout C.H.A.T. app for iOS and Android (it stands for Communications Hub and Transmitter).Downloading it nets you a fully customised Fallout keyboard with new post-apocalyptic text styles.There are also over 60 Fallout emoji and animated Vault Boy GIFs that you can send to your folks.Why bring this out now? Huh, didn't you know that Fallout 4 is out for consoles and PC on November 10th. Yeah, it's pretty close now.Anyway, go download Fallout C.H.A.T. for free on the App Store and Google Play if you're into it.So, hipsters are apparently still a thing and soon you can play a game where you kill them because they like Starbucks. Hipster Attack will be out later this month on iOS and Android for £2.99 / $2.99 and it seems perfect for people who just can't stand those pesky hipsters, who, again, still exist?The trailer, narrated by a proud New Yorker, outlines why hipsters are just awful and how they're ruinin' cauffee with their lattes and mocha-choca-cappa-frappa-ccinos (the views expressed in this trailer do not necessarily reflect the views of Pocket Gamer).The trailer also shows us a bit of gameplay that doesn't look so dissimilar from a certain plant-based zombie killing tower defence game. You place down your workforce units, such as construction workers, janitors and HR department employees. With the tools they have, they defend your precious regular old coffee from the mouchaste having, flannel wearing, vinyl listening devils.
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According to the box art, physical copies of The Banner Saga Trilogy on Switch will still need you to download some content and have a microSD card installed.We don't yet know how big the file size will be, but since you need a microSD we can assume it will be around the Switch's hard drive size of 32GB. There are Switch-specific SD cards now available, but it's not ideal for those who'd rather not fork out the extra cash so they can play the game.I hate to be the bearer of more bad news, but it also appears as though folks on Switch will be getting the trilogy a little later than on other consoles. The Amazon release date indicates that the game will be out for the Switch on the 21st of September, while on other consoles it'll be out on the 27th of July.If you'd rather not wait then you'll be able to buy each individual entry in the series when the third game is released on the 24th, but that will undoubtedly end up being more expensive.
&#; Much loved arcade-style car chase simulator – Pako 2 – has just received an impressive new update. Returning players should be on the lookout for the new Suburbia level, set in, well, suburbia of course.But wait, that's not all! We'll also be able to access three brand new cars to tear through the town in, and then there's the addition of a car chase camera which allows you to follow the action from an entirely fresh perspective – it's all super slick and exciting.
Mixing MOBAs and card battler is nothing new but Nexon wants a share of that Clash Royale pie. This time though, while they could sound familiar on paper, Champions Rising lets you command troops on the battlefield in 1v1 or 2v2 scenarios.As you can imagine, you'll unlock new cards, customise your deck and upgrade your troops while trying to destroy the enemy's core. The art style of the game is quite something with a hand-drawn cartoon feel to it.If this sounds like something you'd want to try, do note that it has been soft-launched in the Philippines this week and you can get it here by following our guide.&#;
The next Fighting Fantasy gamebook from Tin Man Games is Fighting Fantasy: Bloodbones, and it'll be out at midnight.Bloodbones has you venturing across the high seas in order to seek revenge against the dreaded pirate-lord Cinnabar, who killed your parents.Apparently, this yucky pirate was put down by an adventurer before, but now he's back with the power of voodoo. It's up to you to quell his reign of terror so, um, good luck with that.If you've played any of Tin Man Games's previous gamebooks (Caverns of the Snow Witch, Appointment With F.E.A.R., and so on) you'll be familiar with how Bloodbones will play as it's made in the same engine.You'll be racing against the clock as you chase Cinnabar across the seas, and getting into deadly scuffles with gruesome beasts.You do this all while reading through descriptive passages of text provided by Fighting Fantasy creators Steve Jackson and Ian Livingstone.You should be able to purchase Fighting Fantasy: Bloodbones for £3.99 / $5.99 on the UK and US App Stores at midnight.
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Carol Baxter is the descendant of a First Fleet marine who later joined the NSW Corps, and of a British soldier who was taken prisoner during the American War of Independence, and has spent a considerable amount of time researching these ancestors. She has also examined military records in depth in her role as General Editor of the Biographical Database of Australia. This seminar will provide an overview of military records available in Britain and Australia and guide you towards the sources you can readily access.
While General Editor of the Biographical Database of Australia, Carol Baxter examined all the Muster Books and Pay Lists for Governor Macquarie's 73rd Regiment of Foot, which served in New South Wales between 1810 and 1814. By examining the records of all the soldiers, rather than simply looking for information about an individual soldier, she made the astonishing discovery that she could determine a huge amount of information about the lives of the rank and file even when the lists themselves included no information against a particular soldier's name.
While researchers have to assume that most historical records are accurate (or there would be little point in undertaking historical research), everyone makes mistakes, including those producing the historical records of interest. This seminar explores the subject of inaccuracies in original records and provides strategies for overcoming the problems they can create.
Online resources for researching your ancestor who enlisted in World War 1 - whether in the Army, Navy, Flying Corps or Nursing Services. Also covered are resources for researching those who enlisted in the New Zealand or British services.


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Home > Resources For You > Blog > Charities Accounting Standard > Charities Accounting Standard (CAS) - To Adopt or Not To Adopt?
Charities Accounting Standard (CAS) - To Adopt or Not To Adopt?
By Mr Suhaimi Salleh (republished) On 02 Dec 2015
"It's not easy to convert into CAS. It's time consuming."
"We don't have the knowledge to prepare our accounts according to CAS."
"Costs apportionment to the various cost categories is difficult to do and not cost effective."
"Best to stick to FRS since we are very familiar with the reporting format."
As an auditor and a trainer on the Charities Accounting Standards (CAS) these are just some of the many comments that I have heard since the launch of the CAS in July.
The apprehension expressed by the preparers of charities' financial statements is quite understandable. For the first-time adopters of the CAS, the task ahead can be quite daunting. Some of the concerns include:
1. Changing our normal understanding of "income" under the Financial Reporting Standard (FRS) to suit that of the CAS.
Currently, income in CAS includes both income and capital items. For example, under the FRS, donation to a permanent endowment fund, which is capital in nature, will be taken up directly to the endowment fund in the balance sheet. However, it will be recognised as income (under the endowment fund column) in the Statement of Financial Activities (SOFA) under the CAS, if the donation meets all three of the income recognition criteria - entitlement, certainty and measurement.
2. The allocation of support costs to the various categories of costs may be very challenging to some.
The bases and accuracy of the costs apportionment are some of the concerns expressed by accountants. Some even ask whether there is a need to prepare time sheets to account for the time spent by employees in the relevant cost areas. The CAS, however, does not prescribe such details. What is required is that the bases of apportionment are reasonable and justifiable and it is consistently applied over the years, whether it is time spent, area occupied, headcount or any other basis used.
3. The comparative year's figures can be difficult to determine, as the CAS treatment of some balance sheet and SOFA items is different from the FRS treatment.
However, it is stated in the CAS that charities need not restate or reclassify the comparative information to conform to the accounting principles of the CAS if it is impracticable to do so. The Charities Unit advised that for such situations, charities can have the option to attach the previous year's audited financial statement to serve as a comparison.
Why Adopt the CAS
Considering the challenges mentioned above, should charities then adopt the CAS?
More Relevant to Charities
The CAS is a much simpler financial reporting framework compared to the FRS. Unlike the FRS which is meant for the larger commercial entities, the CAS has been developed to specifically meet the needs of charities.
Since the CAS was developed for charities, the accounting treatment of certain transactions that are applicable to charities are addressed in the CAS and not in the FRS. Examples of such transactions include the accounting treatment for "Preservation of Monument" assets, and for endowment and restricted income funds that are unique to charities.
It is important to note here that partial adoption of the FRS or CAS is not allowed. Charities that have adopted the FRS prior to the introduction of the CAS and do not wish to adopt the CAS cannot adopt part of the CAS when applying its accounting standard for the treatment of transactions that are not addressed specifically in the FRS. Charities are however allowed to use the SOFA format in its Statement of Comprehensive Income under FRS.
Less Onerous for Charities
Charities that choose to adopt the CAS will find that it is not as daunting as it first appears to be. In fact, it is a less onerous accounting framework compared to the FRS as only relevant extracts of the FRS have been included in the CAS. This is evidenced by the reduced size of the CAS which is approximately one-tenth that of the FRS.
Governing Board Members are Responsible
Regardless of the format selected, charities need to note that the responsibility of preparing the financial statements in accordance to the CAS or FRS rests with the governing board members and not with the auditors. It is the auditors' duty to check that the financial statements comply with the relevant standard. Hence, it does make sense for charities to adopt a financial reporting framework that is less onerous for the governing board members.
Teething Issues Can Be Overcome
When the RAP6 was first introduced in 2006, many charities faced teething issues during its implementation. However, many of these issues have been resolved over the years and preparers of RAP6-based financial statements no longer find it a hassle. First-time preparers of CAS-based financial statements may face the same situation but once they get used to the CAS, I expect the challenges and problems to be reduced.
Readily Available Courses & Seminar on CAS
Currently, there are many courses and seminars conducted by the Social Service Training Institute (SSTI) and the Institute of Singapore Chartered Accountants Singapore (ISCA) on CAS. Charities that are still unsure of the CAS are encouraged to send their accounting professionals to such courses, some of which are offered with subsidies from the Workforce Development Agency (WDA) or VWO-Charities Capabilities Fund (VCF). The VCF also provides funding for charities to engage consultants to help them with their conversion to CAS.
So should charities then adopt CAS? In my opinion, they should, and it should be done as soon as possible. In fact, the smaller the charity, the easier it is for them to convert to this new financial reporting framework. Even though charities may choose between adopting the CAS or FRS, I believe the future benefits of adopting the CAS will outweigh the initial teething issues that they will face.
About the Writer:
Suhaimi Salleh is the CEO of SSA Consulting Group Pte Ltd. He was also a member of the Charity Council from 2007 - 2013, representing the people sector. Currently he serves SG Enable as a Board Member and its Audit Committee Chairman.
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