Initiatives and Programs
UniSat (University Satellite) Program
UniSat is an experimental microsatellite program of the University of Rome (Universita di Roma “La Sapienza”, Scuola di Ingegneria Aerospaziale). Education and hands-on experience of students and faculty in the field of aerospace engineering is the overall theme of the program (involving a number of Italian universities), funded by the Italian Government MURST (Ministry of University and Technological Research) and by ASI (Italian Space Agency). In the framework of the UniSat program, a laboratory for satellite design and construction and an amateur ground station called SPIV (San Pietro in Vincoli), were established at the University of Rome. 1) 2) 3)
The UniSat-1 development phase started in 1997 at GAUSS (Gruppo di Astrodinamica dell' Universita degli Studi “la Sapienza”), sponsored by ASI in cooperation with other Government Research Centers and with industry. The S/C body structure consists of an octagonal prism, 40 cm in diameter and a height of 25 cm. The modular tray design employs five Al/Al honeycomb plates, kept together by four stainless steel bars. Eight lateral panels with surface-mounted solar panels make up the external surface of the spacecraft. The satellite is spin-stabilized at 5 rpm with the spin-axis normal to the orbital plane. Attitude is sensed with two three-axis magnetometers and the use solar panels as a sun-sensing system. Actuation is provided by an active magnetic control system for spin-axis orientation and for spin rate control. One equatorial coil is used for spin-axis orientation and two transverse magnetic coils are used for spin-up/spin-down maneuvers. An average power of 10 W is provided by the solar panels. In addition, NiMH batteries of 2.4 Ah capacity are used for eclipse operations. The OBC (On-Board Computer) consists of a distributed network of microcontrollers (master/slave architecture) providing flexibility and reliability. UniSat-1 has a mass of 12 kg, qualifying almost as a nanosatellite. The S/C design life is one year.
The RF communications are implemented according to AMSAT standards with VHF (145.848 MHz) in uplink and UHF (436.450 MHz) in the downlink using the AX.25 packet protocol at data rates of 9.6 kbit/s. The UHF transmitting antenna consists of four dipoles providing circular polarization. The VHF receiving antenna is a dipole.
Launch: A launch of UniSat-1 took place on Sept. 26, 2000 from the Baikonur Cosmodrome on a Dnepr launch vehicle of ISC Kosmotras. UniSat-1, along with MegSat of Italy and TiungSat 1 of Malaysia, and SaudiSat-1A and -1B of SISR (Saudi Institute for Space Research), was launched in a multiple launch configuration (no primary payload). UniSat-1 is being operated by students.
Orbit: Circular orbit, altitude = 650 km, inclination = 65º, period = 98 minutes.
Mission status: UniSat-1 is no more operational.
The power subsystem represents two experiments; one involves a solar panel environment test, the second experiment involves a functional NiMH (Nickel Metal Hydride) battery test. The new batteries offer a much better capacity/mass ratio than conventional NiCd batteries. - The OBC distributed network architecture is a proof-of-concept test.
UniSat-2 (University Satellite-2)
UniSat-2 is a follow-up microsatellite project of the University of Rome (Universita di Roma “La Sapienza”, Scuola di Ingegneria Aerospaziale). The overall objective of this mission is to develop, and demonstrate an onboard micro-propulsion system, followed by a performance assessment. Such a system might eventually be used for future precise attitude control of a nanosatellite. 5)
UniSat-2, built by the GAUSS Laboratory of the University of Rome, is a spin stabilized spacecraft with the same dimensions as those of UniSat-1 consisting of an octagonal prism of 150 mm side length and 250 mm in height. The S/C has a modular structure made of five Al/Al honeycomb plates, kept together by four aluminum bars. Eight Al/Al honeycomb lateral panels, with surface-mounted solar panels, complete the satellite cylinder structure.
The S/C architecture consists of a multipurpose bus, able to accommodate several kinds of payloads (a tray system), and to accommodate change. The overall design permits easy assembling and disassembling, where each plate is devoted to a subsystem, thus allowing separate testing just before final integration. A Li-ion battery is used for ecliptic-phase operations, the S/C mass is 12 kg.
Launch: A launch of UniSat-2 from the Baikonur Cosmodrome on a Dnepr-1 vehicle took place on Dec. 20, 2002.
The co-passenger payloads on this multiple S/C flight were:
• LatinSat-1/2 (each of 12 kg) communications satellites for Aprize Satellite of Argentina. The objectives are monitor both fixed and mobile goods for the transportation industry.
• Rubin-2 (10 kg) a communications satellite of OHB-System, Germany. Rubin-2 uses the ORBComm network comprising 30 satellites to ensure interruption-free communications with the Earth.
• SaudiSat-2 (15 kg) scientific satellite for the Riyadh Space Research Institute, Saudi Arabia
• Trailblazer (110 kg) a technology minisatellite and a mockup of a future commercial lunar orbiter of TransOrbital, La Jolla, CA, USA.
Orbit: Circular orbit, altitude = 650 km, inclination = 65º, period = 97.8 minutes.
RF communications are in the amateur (AMSAT) UHF/VHF bands at 9.6 kbit/s using the AX.25 packet protocol. The UHF transmitting antenna consists of four dipoles providing circular polarization. The VHF receiving antenna is a dipole. The satellite is being operated by the University of Rome.
Mission status: UniSat-2 is no more operational.
Sensor/instrument complement: (AMI, ISIS, CGM)
AMI (Aerosol Monitoring Instrument):
AMI consists of two wide-angle CCD cameras. One of the cameras is equipped with an INSpector for digital spectroscopy in the spectral range of 430-900 nm. This information is used for precise mapping of the aerosols on Earth surface.
ISIS (In Situ Impact Sensor):
The debris impact sensors are made of piezoelectric devices (analog and digital boards hosting a dedicated microcontroller) used to register the impacts of sub-millimeter particles to obtain statistical information about the LEO environment. 6)
The piezoelectric elements can measure acoustic waves propagating through the satellite structure after an impact of sufficient momentum. Moreover, other effects might be measured in case of direct impacts on the sensors surface (for instance, some piezoelectric materials also show a pyroelectric behavior).
CGM (Cold-Gas Microthruster):
The experimental CGM was jointly developed by Mechatronic System Technik GmbH, Villach, Austria, and by INFM-TASC at Elettra Synchrotron Light Source, Trieste, Italy. The main CGM elements are: control valves and nozzles, pressurized N2 tank, control board, safety valve group, connections, and aluminum plates. The microthruster employs a chamber in which the pressurized nitrogen gas is introduced terminating in a supersonic nozzle in which the gas is accelerated. The throat dimension (0.02 mm diameter) defines the thrust range and is controlled by means of a proportional valve and a pressure sensor. A variable thrust of up to 560 µN is generated. CGM has a total mass of 0.835 kg.
The in-orbit experiment onboard UniSat-2 consists of successive spin-up/spin-down maneuvers using the microthrusters. The satellite nominal spin rate is 3 rpm, with the spin axis aligned to the orbit normal. The gas stored in the tank is enough to perform a sequence of six spin-up/ spin-down maneuvers. One spin-up and one spin-down maneuver per orbit are performed. The time duration of the whole experiment is limited by the microvalve leakage, imposing the experiment to be completed within one day from the safe valve actuation.
The final goal of the CGM project is further miniaturization of the system and the enhancement of its performance for eventual use in a nanosatellite ACS (Attitude Control Subsystem). Such an ACS requires a maximum thrust of about 100 µN that may be achieved using a Hydrazine propellant with an estimated mass flow rate of 0,1 mg/s and a reaction chamber pressure of about 0.3 MPa. A continuous modulation of the thrust is also required; this may be achieved in a control scheme where the pressure in the reaction chamber is used as a feedback signal for controlling the valve opening and thus the mass flow rate. 7) 8)
Legend to Figure 7: 1) microthruster; 2) thrusters group; 3) fluidics connections; 4) safety valve; 5) gas tank; 6) mechanical interface; 7) control unit; 8) power; 9) UniSat-2; and 10) Control Software.
UniSat-3 is the third microsatellite of the University of Rome “La Sapienza”, built by a team of students, researchers and professors at the GAUSS Laboratory.
UniSat-3 is based on the design of the previous two satellites. The spacecraft body is an octagonal prism in shape, 40 cm in diameter and a height of 25 cm. Four aluminium sandwich trays are assembled and kept together by four aluminium columns. Each tray contains a subsystem, allowing for separate manufacturing and testing activities. The trays are octagonal plates of 150 mm side with an overall height of 250 mm for the satellite. The columns are aluminium threaded rods, 6 mm in diameter, encompassing the structure. Eight aluminum panels provide the outer enclosure of the satellite. The solar arrays are surface-mounted on the outside of these panels. 9) 10) 11)
The spacecraft is stabilized using passive magnetic attitude control (no orbit control capability). The system employs a permanent magnet and an energy dissipation system, consists of three magnetic hysteresis rods. The satellite is not equipped with dedicated attitude sensors, except for a COTS three-axes magnetoresistive magnetometer (TAM). Attitude determination (in the order of about 10º) is performed using magnetometer readings and the telemetry data of three solar panels.
An average power of 12.3 W is provided by silicon solar arrays (16% efficiency), an NiCd battery (4 Ah capacity) is used for eclipse operations. The electronic components consist of several boards. The C&DH (Command and Data Handling) subsystem is a compact module, RCM3400, that incorporates a Rabbit 3000 8-bit microprocessor, operating at 29.4 MHz, an 11 bit 8 channel (or 12 bit 4 channel if used in differential mode) A/D converter, 512 kbyte of flash memory, 512 kbyte of static RAM and two clocks (main oscillator and time-keeping). The spacecraft mass is 12 kg.
RF communications: The S/C communications conform to amateur radio standards permitting a data rate of 9.6 kbit/s full duplex communications. The uplink is in VHF (145 MHz), the downlink in UHF (436 MHz). The communications protocol used is the HDLC (High-level Data Link Control). Each piece of raw data is encapsulated by the microprocessor in an HDLC frame by adding a trailer and a header.
Launch: A launch of UniSat-3 took place on June 29, 2004, on a Dnepr launch vehicle from the Baikonur Cosmodrome, Kazakhstan.
UniSat-3 was part of a multiple payload launch consisting of the following additional satellites: SaudiComsat-1, SaudiComsat-2 and SaudiSat-2 from Saudi Arabia (KACST); AprizeSat-1 (LatinSat-C), AprizeSat-2 (LatinSat-D), and AMSAT OE (Echo) from USA (SpaceQuest); DEMETER from France (CNES), AKS-1 from Russia (Aerospace Systems), and Celestis-04, a space burial from USA (CPAC).
Orbit: Sun-synchronous orbit, mean altitude = 750 km, inclination = 98º. Local equator crossing time on ascending node at 22:30 hours.
UniSat-3 is operational in 2010 (more than 5 1/2 years after launch). The data of the spacecraft are being received at the University of Rome ground station on a regularly basis.
• The magnetometer experienced a z-axis failure during the first year in orbit. 12)
Solar cell experiment (power subsystem):
Four experimental solar panels are installed on the lateral surfaces in order to test different solutions. Several bonding techniques were employed.
• Terrestrial grade monocrystalline silicon solar cells (BP-Saturn7), encapsulated using an improved terrestrial technology procedure, are the basis of the photovoltaic system.
• One panel was made by Kiev Polytechnic Institute of the National Technical University of Ukraine. This panel was manufactured with monocrystalline silicon solar cells, covered with glass. The nominal efficiency is about 15%. The cells are bonded to an aluminum honeycomb panel using polyimide film as dielectric insulation.
• Three panels were manufactured using triple junction GaAs cells with different cover materials to test in-orbit degradation. The nominal efficiency of the triple junction solar cells is 21%. Each array is realized by two parallel arrays. Each string has a series of four solar cells (Figure 15).
The power subsystem features a newly developed MPPT (Maximum Peak Power Tracking) device; the objective is to track the solar panels in such a fashion to obtain the maximum power operative condition, adapting to changing illumination and S/C temperature. The MPPT is based on a step-up DC/DC converter, in which the battery voltage is higher than the solar array voltage. The solar array connected to the MPPT is made of 14 silicon solar cells, with 7.6 V nominal open circuit voltage.
Magnetometer (Honeywell HM2003) for the measurement of the Earth's magnetic field (strength and direction). The 3-axis device is mounted on a PCB (Printed Circuit Board) containing the management circuitry.
MPPT (Maximum Peak Power Tracking):
The prototype MPPT system has been designed, manufactured and tested to be demonstrated on the satellite. The objective of MPPT was to improve the performance of the onboard power generation system. The MPPT includes an adjustable DC/DC converter connecting the solar panel to the load. In this way the system is capable to track autonomously the solar array maximum power operative condition, adapting to changing illumination and temperature events during the orbital phases. The MPPT configuration implemented is considered an upgrade configuration to conventional systems, in which the voltage of the battery is higher than the voltage of the solar arrays.
The MPPT has been manufactured on a PCB (Printed Circuit Board) consisting of six layers. SMD (Surface Mount Device) components have been exploited to reduce the volume (50 mm x 82,4 mm) and the mass of the circuitry to ~ 50 g. All other electronics of the system are COTS (Commercial-of-the-Shelf) components. 15)
UniSat-4 is the fourth microsatellite of the University of Rome ”La Sapienza”, built by a team of students, researchers and professors at the GAUSS laboratory.
UniSat-4 is based on the design of the previous UniSat satellites. Four aluminum sandwich “trays” are assembled and kept together by four aluminum columns. Each tray is devoted to a particular subsystem, allowing for separate manufacturing and testing activities. The trays are octagonal plates of 150 mm side with an overall height of 250 mm for the satellite.
The C&DH subsystem is an embedded microprocessor system module, the RCM3400, including a Rabbit 3000 8-bit microprocessor, operating at 29.4 MHz, an 11-bit 8-channel (or 12-bit 4-channel if used in differential mode) A/D converter, 512 kB of flash memory, 512 kM of static RAM and two clocks (main oscillator and time-keeping).
The power subsystem is based on a photovoltaic system and Ni-Cd batteries. The solar arrays are directly connected to the battery, through a blocking diode. In this configuration, the solar array voltage must be higher than the battery voltage. The solar panels are manufactured using monocrystalline silicon panels, based on the same technology successfully used in previous UniSat missions, and triple junction solar cells. The silicon cells have an efficiency of about 15%, while triple junction cells have an efficiency of about 24%.
The batteries are 4Ah NiCd cells. This choice is mainly due to the reliability and long experience of in orbit performance of this batteries technology.
Launch: The launch of UniSat-4 (10 kg mass) took place on July 26, 2006, on a Dnepr launch vehicle from the Baikonur Cosmodrome, Kazakhstan. UniSat-4 was part of a multiple payload launch.
• The following co-passenger CubeSats were flown: ION (Illinois Observing Nanosatellite ) of the University of Illinois at Urbana¿Champaign; Sacred (Study of the Action of Cumulative Radiation on Electronic Devices) of the (University of Arizona; KUTESat (Kansas Universities' Technology Evaluation Satellite) of the University of Kansas, Lawrence, KS; ICEcube-1, -2 (Ionospheric Scintillation Experiment) of Cornell University), Ithaca, NY; RinconSat of the University of Arizona, Tucson, AZ; SEEDS (Space Engineering Educational Satellite) of Nihon University, Tokyo, Japan; HAUSat-1 (Hankuk Aviation University Satellite-1) of Hankuk Aviation University, Seoul, South Korea; nCube-1 (Norsk Romsenter), Norway, MEROPE (Montana Earth-Orbiting Pico-Explorer) of Montana State University, Bozeman, MT; AeroCube-1 of The Aerospace Corporation, El Segundo, CA; PolySat-1, -2 of CalPoly, San Luis Obispo, CA; and Voyager of the University of of Hawaii. The 14 CubeSats from 10 different universities and 1 company participated in the CubeSat launch, coordinated by California Polytechnic State University (CalPoly).
• Additional smallsats on the flight were: Belka (RKK Energia) the first remote sensing satellite of Belarus with 250 kg, Baumanets (NPO Mash) with 80 kg, and PicPot (University of Torino) with 3 kg.
• UniSat-4 is not active due to a launch failure which occurred after 2 minutes of flight.
This launch failure represented a great setback and disappointment to all institutions involved. An investigation disclosed that the launch failure was due to a malfunctioning hydraulic drive unit in a combustion chamber on the booster's first stage.
Orbit: Sun-synchronous orbit, mean altitude = 750 km, inclination = 98º.
MPPT (Maximum Peak Power Tracking):
MPPT has been designed, manufactured and tested to be boarded on the satellite. This is a system capable to track the solar array maximum power operative condition, adapting to changing illumination and temperature (see description under UniSat-3).
COTS (Commercial-off-the Shelf) cameras:
The UniSat-4 microsatellite hosts two CCD-based programmable cameras. The CCD sensor contains 640 x 480 pixels. The JPEG compression algorithm is used with the compression factor selectable by ground command. The two cameras have different optics and resolution. In this way, UniSat-4 is able to take pictures of the Earth's surface in the northern hemisphere.
One camera is provided with optics of 2.5 mm focal length, providing a FOV (Field of View) of 84.6º and a resolution of about 0.8 km/pixel. The second camera is equipped with optics of 6 mm focal length (36.8º FOV) providing a 0.3 km/pixel resolution. The FOVs of the two cameras are overlapping to take imagery of the same target area with different resolutions.
The camera software is written in such a way as to select snapshots by lighting condition criteria. The shutter is regulated automatically. Only pictures with the required luminosity are stored in the onboard memory. The camera responds to different commands involving the time schedule as well as the amount of images to be taken. The sun sensor uses optics with a focal length of 2.5 mm for maximum FOV applications.
This is a complete GPS OEM sensor implementation. The autonomous 12-channel receiver is capable of tracking automatically all GPS satellites in view providing a 3D position and velocity solution with an associated figure-of-merit. In addition, the GPS receiver features an SBAS (Satellite Based Augmentation System) option for WAAS and EGNOS service support. The formats supported are binary and NMEA-0183 (National Marine Electronics Association) standard.
The receiver power supply voltage is 3.3 VDC, and the current is about 0.15 A, leading to a power consumption of about 0.5 W. The device dimensions are 41 mm x 71 mm x 13 mm, the mass is about 22 g, representing only a minor impact on the satellite's mass budget.
With a sampling rate of 1/60 Hz (data rate is up to 1 Hz), it is possible to obtain about 100 GPS data measurements in one orbit, sufficient for an accurate position determination. Moreover, the GPS time signal will be used to set the onboard real-time clock, which is important to synchronize on-orbit position with the telemetry data.
Different data types may be requested from the GPS receiver, such as navigation data [time, position, velocity, HDOP (Horizontal Dilution of Position), GDOP (Geometric Dilution of Position). etc.]. The GPS data are being used in two different experiments. The first one involves the Langmuir probe and the GPS navigation data, which are used to define the exact position of probe samplings. In the second experiment, data are being collected of in-view GPS satellites along with magnetometer, sun sensor, and solar panels data to determine the attitude of the satellite.
Three magnetometers, based on different technologies, are hosted onboard UniSat-4. Two magnetometers use the magneto resistive device of Honeywell HMC 2003. One of these provides digital outputs; the other one, re-designed and tested at the University of Rome laboratory, provides analog outputs. 17) 18)
The third magnetometer, by Applied Physics Systems, is a fluxgate sensor providing digital outputs. The main goal of hosting three types of magnetometers is to compare their performances in orbit. The magnetic field measurements are also being used onboard for active magnetic attitude control, and on the ground for attitude determination.
The UniSat bus communication system uses a 9600 bit/s digital communication channel in the UHF/VHF bands. In addition, an S-band transmitter (2.4 GHz) is installed onboard UniSat-4 to improve the data rate, as required by the considerable amount of data generated by the sensor complement. The downlink data rates available (24, 48, or 96 kbit/s) are selectable by ground station command. A dedicated flash memory of 4 MByte is being used for onboard data storage.
SIRDARIA (Spacecraft Integrated Reentry Device Aero Resistant Increasing Area):
SIRDARIA is an innovative passive deorbiting mechanism designed and developed at GAUSS. The overall objective is to provide a means for spacecraft deorbiting at the end of its operational life within a suitable time period. The principle of SIRDARIA is based on a cross-sectional drag increase of the spacecraft by unfolding a triangular sail on two deployed booms. UniSat-4 will carry two butterfly sails for a symmetrical configuration. 19)
Numerical simulations using DAS (Debris Assesssment Software) have been carried out to evaluate the efficiency of the SIRDARIA system. A total sail surface area of 1.2 m2 is being used with respect to the UniSat-4 main surface of 0.09 m2 considering different orbital altitudes for analysis. All parts of SIRDARIA are realized in aluminum. The main body of the system supports booms, hosts the opening system, the connectors for power connection and the folded sail; moreover it contains the interface with the satellite.
TPS (Triple Probe System):
TPS is a prototype electrostatic probe to infer local plasma density and electron temperature determination through the acquisition of instantaneous voltage and current measurements. The objective of TPS is to study ionospheric plasma parameter variations which might be related to forthcoming earthquake analysis. 20)
During the pre-seismic process activity in the hypocentral zone of an earthquake, the micro-fracture of the rock arises, linked to variations of stress in the lithosphere (i.e., the outer layer of the Earth's crust with a thickness of about 100 km). The electromagnetic signals emitted from stressed rocks in the ELF-ULF bands (0-3000 Hz) seem to be the cause of irregularities in the ionospheric plasma parameters that can be measured by satellites several hours (0-24 h) prior to the main phase of an earthquake.
The TPS consists of three electrodes exposed to the plasma and driven by an electronic circuit. Each of the electrodes has a spherical shape to provide its results independently of the satellite's attitude. The instrument mass and volume are extremely reduced to make it compatible with microsatellite constraints.
To avoid electrical interference among the electrodes, the relative distances should be much larger than the shielding distance λD (Debye length), which, in typical ionospheric conditions, ranges from 0.2 to 1 cm. In this experiment the distance among the probes has been fixed at 10 cm.
The electrodes are fixed to rods, realized with dielectric material (resin-glass), which separate them from the spacecraft assuring also the stiffness required to withstand the launch and space environment loads. The rods are 25 cm long to avoid interferences caused by electrical charging of the spacecraft.
1) F. Graziani, M. Ferrante, G. B. Palmerini, F. Santoni, P. Tortora, “UniSat program: a University Tool for Space Education,” Proceedings of the 51st IAF Congress, Rio de Janeiro, Brazil, Oct. 2-6, 2000, IAF-00-P.2.07
2) F. Graziani, G. B. Palmerini, F. Santoni, P. Tortora, C. Marchiori, “Mechanical Design and Manufacturing of the Microsatellite UniSat,” ESA Special Publication, SP-468, 2001, Conference proceedings of “Spacecraft Structures, Materials & Mechanical Testing,” Nov. 1-12, 2000, Noordwijk
3) Filippo Graziani, Fabrizio Piergentili, Fabio Santoni, “A space standards proposal for university-class Microsatellites,” Proceedings of the 59th IAC (International Astronautical Congress), Glasgow, Scotland, UK, Sept. 29 to Oct. 3, 2008, IAC-08.D1.5.7
4) C. Cappelletti, F. Paolillo, F. Guarducci, L. Ridolfi, F. Graziani, P. Teofilatto, F. Santoni, F. Piergentili, M. L. Batagliere, “From UNISAT to UNICubeSAT,” 5th Annual CubeSat Developers' Workshop, San Luis Obispo, CA, USA, April 9-11, 2008, URL: http://mstl.atl.calpoly.edu/~bklofas/Presentations/DevelopersWorkshop2008/session6/6-UNICubeSAT-Chantal_Capelletti.pdf
5) F. Santoni, P. Tortora, F. Graziani, G. Manzoni, E. Di Fabrizio, L .Vaccari, “Micropropulsion Experiment on UniSat-2,” Proceedings of IEEE Aerospace Conference, Big Sky, MT, March 9-16, 2002
6) F. Graziani, M. Porfilio, F. Santoni, “An In Situ Impact Sensor on board a UniSat microsatellite for monitoring the microparticles environment,” Proceedings of the 6th Cranfield DCSSS Conference, July 18-22, 2004, Riomaggiore, Italy. URL: http://naca.central.cranfield.ac.uk/dcsss/2004/C22_articolo_ISIS_5_Terre_2004EDITfinal.pdf
7) L. Vaccari, M. Altissimo, E. Di Fabrizio, F. De Grandis, G. Manzoni, A. Gerardino, F. Perennes, P. Miotti, “Design and prototyping of a micropropulsion system for microsatellites attitude control and orbit correction,” Journal of Vacuum Science and Technology, B, Vol. 20, No 6, Nov./Dec. 2002, pp. 2793-2797
8) F. Santoni, P. Tortora, F. Graziani, G. Manzoni, E. De Fabrizio, L. Vaccari, “Micropropulsion experiment on UniSat-2,” Proceedings of the IEEE Aerospace Conference 2002, Big Sky, MT, USA, March 9-16, 2002
9) F. Graziani, F. Santoni, F. Piergentili, F. Bulgarelli, M. Sgubini, S. Bernardini, “Manufacturing and launching student-made microsatellites: “hands-on” education at the University of Roma,” Proceedings of IAC, 2004, Vancouver, Canada, Oct. 4-8, 2004, IAC-04-P.5.A.02
10) F. Graziani, F. Santoni, F. Piergentili, F. Bulgarelli, M. Sgubini, “UniSat-3 Mission: Preliminary Results,” Aerotecnica Missili e Spazio Vol. 83, No 4, 2004, pp. 175-184
11) F. Santoni, F. Piergentili, “UniSat-3 Attitude Determination using Solar Panel and Magnetometer Data,” Proceedings of the 56th IAC 2005, Fukuoda, Japan, Oct. 17-21, 2005, IAC-05-C1.2.06
12) F. Graziani, F. Santoni, F. Piergentili, F. Bulgarelli, M. Ronzitti, M. Sgubini, “UniSat-3 results after one year operations in orbit,” Workshop on University Microsatellites in Italy, University of Rome, July 27, 2005
13) F. Santoni, F. Piergentili, F. Graziani, “In orbit performances of the UniSat-3 solar arrays,” Proceedings of the 57th IAC/IAF/IAA (International Astronautical Congress), Valencia, Spain, Oct. 2-6, 2006, IAC-06-C3.4.-D3.4.04
14) F. Graziani, 2nd International Workshop ”Spaceflight Dynamics and Control” University of Beira Interior, Covilha, Portugal, Oct. 9-11, 2006, URL: http://www.aerospace.ubi.pt/.../portogallo_Filippo_Graziani.pdf
15) F. Santoni, F. Piergentili, “Design and test of a Maximum Power Point Tracking System for UniSat-3 Microsatellite,” Proceedings of the 55th International Astronautical Congress, Vancouver, Canada, Oct.. , 2004, IAC-04-R.2. 01
16) F. Santoni, F. Piergentili, F. Bulgarelli, F. Graziani, “The UniSat Program: Lessons Learned and Achieved Results,” Proceedings of the 57th IAC/IAF/IAA (International Astronautical Congress), Valencia, Spain, Oct. 2-6, 2006, IAC-06-E1.1.10,
the same topic is also in: Acta Astronautica, Volume 65, Issues 1-2, July-August 2009, pp. 54-60
17) F. Santoni, M. Zelli, “Passive Magnetic Attitude Stabilization of the UniSat-4 Microsatellite,”Proceedings of the 57th IAC/IAF/IAA (International Astronautical Congress), Valencia, Spain, Oct. 2-6, 2006, IAC-06-C1.1.05
18) ,F. Graziani, F. Santoni, F. Piergentili, M. Agostinelli, M. L. Battagliere, F. Bulgarelli, M. Ronzitti, M. Sgubini, “Fundamental Physics in Space with Small Payloads (FPS-06),” Frascati, Italy, March 21-23, 2006
19) F. Piergentili, F. Graziani, “SIRDARIA: A low-cost autonomous deorbiting system for microsatellites,” Proceedings of the 57th IAC/IAF/IAA (International Astronautical Congress), Valencia, Spain, Oct. 2-6, 2006, IAC-06-B6.4.07
20) M. L. Battagliere, F. Piergentili, G. Vannaroni, F. Graziani, “Triple Probe System For In Situ Ionospheric Plasma Monitoring,” XVIII Congresso Nazionale A.I.D.A.A., Volterra (PI), Italy, Sept. 19-22, 2005
The information compiled and edited in this article was provided by Herbert J. Kramer from his documentation of: ”Observation of the Earth and Its Environment: Survey of Missions and Sensors” (Springer Verlag) as well as many other sources after the publication of the 4th edition in 2002. - Comments and corrections to this article are always welcome for further updates.


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Saturday, January 31, 2015
On Tuesday, trading for the week kick started on a flat note on...
The Nifty came near the milestone 9000 mark (although it couldnt surpass it) despite witnessing some amount of volatility and uncertainty. The index had a dream run, with it gaining for ten...

domain: economics


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Actress Priyanka Chopra, along with the Tennis star Sania Mirza, , Google CEO Sundar Pichai, founders of Flipkart Binny Bansal and Sachin Bansal, and Reserve Bank of India (RBI) Governor Raghuraj Rajan has recently been named by TIME Magazine in its list of the ‘100 Most Influential People in the World’. Also on the list is the NRI actor Aziz Ansari and Raj Panjabi, CEO of Last Mile Health and the US NRI Governor of South Carolina, Nikki Haley. Environmentalist Sunita Narain also featured in the list for the first time.
The Tennis star Sania was recently awarded India’s third highest civilian honour the ‘Padma Bhushan’. Priyanka, who came into the limelight in the West playing the lead role in popular American TV series “Quantico”, was recently awarded the Padma Shri by the Indian government.
Hailing the RBI Governoras ‘India’s prescient banker’ the coveted magazine says that “he is among a rare breed of economic seers who steered India through the global crisis and fall out”.
About the Environmentalist Sunita Narain the Magazine says in her profile that, “Hers is a voice that urgently needs to be heard in this era of climate change. It added, despite resistance from many quarters, some of their key recommendations have been embraced by the courts”.
On Flipkart, TIME says that the “Flipkart founders Binny Bansal and Sachin Bansal may have come across as arrogant when they told investors the company they started in 2007 as an online bookstore could be worth $100 million in a decade. It turned out to be modesty: Flipkart now has 75 million users and a $13 billion valuation".
The Chennai born CEO of Google Sundar Pichai was hailed as the Internet’s chief engineer who helped change the world.

domain: news


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This photo-like image of the Texas and Louisiana coasts shows the impact of Hurricane Ike’s powerful storm surge on coastal wetlands. Hurricane Ike came ashore over southeast Texas on September 13, 2008, bringing with it a wall of water that stretched from Galveston, Texas, across all of coastal Louisiana. The storm’s surge covered hundreds of kilometers of the Gulf Coast because Ike was a large storm, with tropical-storm-strength winds stretching more than four hundred kilometers from the center of the storm. The strongest storm surge devastated Galveston and the Bolivar Peninsula. Though it was not as hard hit, coastal Louisiana—still trying to dry out from Hurricane Gustav—suffered as well.
Most of the shoreline in this region is coastal wetland. The surge of ocean water from the Gulf pushed far inland, inundating the wetlands. The salty water burned the plants, leaving them wilted and brown. A strip of brown lines the coast for hundreds of kilometers. This line of brown corresponds with the location and extent of the wetlands. In places where the water lingers, the impact on the plants will be much greater than those areas simply washed by the surging salt water.
In other cases, the damage is physical, with plants washed away or marshland removed or shifted, says John Barras, a geographer with the USGS National Wetlands Research Center stationed at Louisiana State University. Apart from damaging wetland vegetation, the powerful tug of water returning to the Gulf of Mexico also stripped marsh vegetation and soil off the land. Some of the brown seen in the wetlands may be deposited sediment. Scientists don’t yet know how long it will take the wetlands to recover from the storm damage. The Louisiana wetlands have yet to recover from damage caused by Hurricanes Rita and Katrina in 2005, says Barras.
North of the brown line, the vegetation gradually transitions to pale green farmland and darker green natural vegetation untouched by the storm’s surge. A few fires, most of which are probably agricultural fires, are outlined in red.
The Gulf is also thick with sediment in this image. Plumes of brown pour from land as sediment-choked water continues to drain into the Gulf both from rivers and from the coast in general. The muddy water slowly diffuses, turning pale green, green, and finally blue as it blends with clearer water. The diagonal stripes in the water are an artifact of the satellite sensor.
The Moderate Resolution Imaging Spectroradiometer (MODIS) on NASA’s Terra satellite captured this image on September 26, 2008, thirteen days after Ike came ashore. The image is available in multiple resolutions from the MODIS Rapid Response Team.
This photo-like image of the Texas and Louisiana coasts shows the impact of Hurricane Ike’s powerful storm surge on coastal wetlands. Hurricane Ike came ashore bringing with it a wall of water that stretched from Galveston, Texas, across all of coastal Louisiana.
Hurricane Ike came ashore along the U.S. Gulf Coast on September 13, 2008, and the storm’s eye narrowly missed Galveston and Houston. Although the storm produced tremendous damage in both cities, perhaps the greatest damage was caused by the storm surge, which inundated the coastline near Galveston. The storm surge was greatest east of Galveston, reaching 4.6 meters (15 feet) above sea level. The area devastated by the storm surge includes coastline immediately east of Galveston Bay.

domain: geography


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“Then little children were brought to Jesus for him to place his hands on them and pray for them. But the disciples rebuked those who brought them. Jesus said, “Let the little children come to me, and do not hinder them, for the kingdom of heaven belongs to such as these.” When he had placed his hands on them, he went on from there.”
Here is the scene: Parents were bringing their young children, including infants, to be blessed by Jesus. The Disciples, probably for numerous reasons (delays, children are seen and not heard, etc.) rebuked both the parents and the kids. Jesus, once again, has to rebuke His disciples for their hard hearts and lack of understanding and then proceeds to bless all the children that had been brought to Him. Sounds eerily familiar to me…does it to you?
“Hey Dad! I want to show you what I just did!”
“Not now, son…I’m in the middle of something.”
“Honey…he really wants your attention. Can’t you stop for just a minute and go look?”
There are other, more theologically profound meanings that you can draw out of this passage, of course. The parents were concerned for the spiritual wellbeing of their kids. Jesus was willing to bless and accept the “least of these” despite the cultural norm to do otherwise. This passage, combined with the ones right before and after, tells us many things about the family from God’s perspective. Yes, these are deep and important teachings, but it’s Jesus’ willingness to stop what He was doing that keeps hitting me in the face as a father of four.
He did it for children, prostitutes, lepers, tax collectors, the sick, the lame, the blind, the rich and the poor alike…regardless of His schedule or societal norms. Jesus was always willing to STOP for those who wanted to know Him. Do you remember the day He stopped for YOU? How willing are YOU to stop for those around you? I know, I know…you are SO busy! Do you really want to go there? Jesus, Creator of Everything and the Redeemer of Man wasn’t too busy… but YOU are?
One interesting point: Jesus didn’t spend much time with unrepentant sinners, and neither should we (don’t throw your pearls to swine, Mth 7:6). As Children of God, we are stewards of many things including the time we have been given. We should always be willing to invest it in eternal matters such as sharing the Gospel, discipleship, encouraging, or teaching…while at the same time willing to divert it away from temporal things when necessary, including work, emails, Facebook, Netflix, or the next round of golf.
Jesus took the time to bless the people around Him who wanted His attention. We should, too.

domain: literature


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Ariel Henley writes movingly about her experience here with Crouzon syndrome, a congenital craniofacial anomaly. In craniofacial surgery, the goal is to create more normal appearance, that doesn’t trigger comments in passing and most important, harmonizes how “normal” the patient feels inside, with their outer appearance. It’s hard work and tremendously rewarding.
Effy Redman penned a lovely essay about her experience with Mobius syndrome. In this congenital deformity, the nerves that supply the muscles in the face don’t develop properly, so children have little to no expression. A “social smile” develops by around 6 weeks of age, so very quickly there can be a disconnect from the baby’s feelings, and what others perceive, limiting and changing communication. Currently we have to wait for children to be big enough to have microsurgery, to transplant a muscle and connect its supplying nerve to one of the functioning muscles used for chewing, to create a smile; and it takes two surgeries, one for each side. Depending on the child’s size, this can be around 5-7 years of age. We often talk about restoring smiles with cleft lip repair (“Operation Smile”, “Smile Train”) but this is a rarer and more challenging condition to treat, though it is similarly rewarding!
After the recent win of deaf contestant Nyle DiMarco on America’s Next Top Model, another woman with Treacher Collins syndrome (a craniofacial anomaly) wrote about her experience auditioning for the show. I applaud her honesty in describing her challenges and frustration with the standards of beauty. “We live in a world of difference, a world that so far, has not often been represented in the modeling and entertainment industries. This prejudice carries over to the professional world, where people with facial disorders want to be accepted and looked at based on our own merits. . . . I remember how the other contestants derided DiMarco because of his deafness, because he lived in a world of silence and was different, because, as they said, he would never fit into the high-stakes world he so aspired to join. With tears in my eyes, I heard his name called and watched his face light up in disbelief and overwhelming happiness when the American Sign Language interpreter translated the announcement of his win.” Treacher Collins is a rare craniofacial syndrome affecting the orbits, midface, ears, and lower jaw. Even though she had several surgeries which are typically recommended for reconstruction, she still […]
We carry the EarWell ear molding device, and it was just profiled on NPR! Between one-fifth and one-third of infants are born with prominent or misfolded ears. Immediately after birth, the cartilage is very flexible, thanks to circulating estrogen left over from pregnancy. The ears are especially malleable. Some misfolded ears unfold on their own shortly after the child is born, but if the issue does not resolve itself within a week, early intervention is advisable. There is a very specific window of time in which treatment with the EarWell device is appropriate: before the child is one month of age. If you miss this window, ear correction will have to wait until the child is old enough to undergo surgery (around age 5 or 6 ). Having surgery is a much more invasive option, with issues of recovery, cost and potential discomfort to consider. What is the EarWell Infant Ear Correction System? The EarWell is a custom-fit plastic molding device. It resembles a “cradle” that adheres around the ear, with retractors that shape the ear’s structure. A special shell fits over the ear and holds all of the components in place. The EarWell device should be worn for six […]
I’ve always enjoyed old movies and recently I caught one I hadn’t seen before: A Woman’s Face, starring Joan Crawford. In the film, Crawford plays a woman who was severely scarred on one side of her face as a child, and grows up extremely self-conscious of the scar. She runs an inn, and blackmails on the side – and it’s implied that her facial scar has scarred her character as well, leading her to malicious crimes. I won’t spoil it for you here, but suffice it to say that she meets a plastic surgeon, who after twelve (!) surgeries is able to restore her facial symmetry and she appears to have no scars (this is Hollywood after all – in real life there is no scar-less surgery!). And as a result, she feels able to leave her life of crime behind. Of course, I don’t think that one’s appearance determines destiny, or that scarring or deformity is associated with crime. I do think, however, that this film dramatizes the effect that self-consciousness of a facial deformity can affect all of one’s interactions; and the converse idea, which is that others make assumptions about a person’s character based on their appearance. […]
In the United States, approximately one of every 700 babies is born with a cleft lip and/or cleft palate, a condition created when tissue in the baby’s upper lip or the roof of the mouth does not join together completely during pregnancy and leaves an opening. Despite unique health challenges, those born with cleft and craniofacial conditions can lead fulfilling, successful, and accomplished lives. Clefts are usually repaired surgically in the first year of life, though many children require additional surgeries and treatments through adolescence to correct challenges to breathing, eating, or speech development. Individuals born with cleft lip or palate often need specialized dental or orthodontic care throughout their lives as well. I really enjoy taking care of children born with facial differences, it’s very rewarding. Even though it’s common to think that facial surgery is all cosmetic, having a facial difference can really change how you interact with the world, so reconstructing the “interface” you have with the world can be very positive. This essay details one view on facial discrimination. Here’s a great list of national and regional groups if you want to donate or help support in other ways!
At the end of last week I traveled down to Palm Springs, where the annual American Cleft association and American Craniofacial Society meetings were held. It was great to see mentors and colleagues, and also hear how other centers handle their cleft and craniofacial cases. We all face similar challenges in optimizing care, so it’s great to be able to discuss and collaborate. There is a surprising amount of controversy on how to best treat different conditions, so we need more research, but it’s difficult when there are so few cases. We do agree on the desired outcomes though: well-adjusted young adults who interact with their peers without drawing much attention to their scars. Until next year!
This story came out of the UK recently – and I would like to make clear that punching a patient is not an appropriate or effective approach to fixing a cheekbone fracture! Surgeon who punched patient is fired Of course most patients sustain these injuries through some kind of trauma, but reproducing that impact doesn’t fix the fracture or help anyone. Some of my patients joke (I think?!) that they imagine that I have to hit them again to put the bones back in place, but I promise that is not what happens. There is more swelling again after the repair, but that’s from my gaining access to the fractures, not from repeat trauma! Stay safe this Cinco de Mayo!
My patients who are Golden State Warriors fans, know that I really only follow one player, one team: Jeremy Lin, and whatever team he is on. Sadly, I know, now it is the Lakers. (Let’s not talk any more about it.) I came across the news of the Oklahoma Thunder point guard Russell Westbrook’s injury when I saw him playing with his face mask on: Russell Westbrook was hit in the face by his teammates’s knee during a game on February 27th. He had a zygomatic arch fracture, which is the cheekbone – and it was repaired the following day. I see these fractures occasionally – the repair is usually pretty straightforward, but if it is complex and comminuted (with multiple fragments) sometimes I need to make an incision across the top of the head, from ear to ear, to reduce and fix it properly. As with all facial fractures, we avoid making visible incisions on the face, so at least the scalp incision is hidden by the hair. He got the VIP treatment by having it repaired the following day – if there is a lot of swelling, I wait a few days until it improves, because it’s […]
Most people have heard of, or seen, a cleft lip. There are much rarer facial clefts, however, where large segments of the soft tissues and bone are involved, leading to missing tissue or bone, or redundant tissue where the two parts of the face didn’t come together as close as they normally should. These clefts were first described and classified by Paul Tessier, the father of craniofacial surgery, who trained my mentor Dr. Kawamoto (they co-authored the original publication on these clefts). Dr. Tessier pioneered moving the facial bones, including the eye sockets and forehead bone which also houses the brain; he showed that it could be done safely and make patients with severe deformities look normal again. Now with 3D printers and skull models, we can plan these kinds of surgery in more detail before heading in to the operating room. Dr. Tessier didn’t even have CT scans – just xrays—but he could visualize his plan just from his exam, and improvise in the operating room because of his experience. There is a nice article and video (above) in the New York Times this week about how the craniofacial surgeon at Boston Children’s Hospital planned a Tessier no. 4 cleft repair […]

domain: medical


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Among the casualties of Hurricane Sandy in New York City is an institution for homeless LGBT youth, the Ali Forney Center’s drop-in center on West 22nd Street in the West Chelsea neighborhood of Manhattan.
Four feet of water from the Hudson River, just half a block away, surged into the facility when the storm hit Monday, executive director Carl Siciliano told the Washington Blade. “Everything is destroyed — all of the electricity in the place, the floors, the computers, the laptops, the phones, files, all the furniture,” he said.
“Everything is just destroyed. The refrigerator was floating and knocked over, all the food was out. The space is uninhabitable.”
If possible, please make a donation to the Ali Forney Center to help these most vulnerable.
Use this email address – firstname.lastname@example.org – to donate via Paypal
Donate via credit card: click here.
Siciliano said to the Blade, “The kids that come into that space are like our most vulnerable kids. They’re the ones who are out on the streets with nowhere to go. And that program’s really a lifeline for them. They get food and clothing and showers and bathroom facilities, medical care [and] HIV testing. It’s kind of our triage place in the city for kids who are chucked out on the streets.”
In the meantime the organization is finding alternatives for these young people, such as sending them to “storm centers” set up in Sandy’s wake, Siciliano told The Advocate. He has appealed to the federal, state, and local governments for assistance, and the Ali Forney Center is accepting donations on its website.

domain: sociology


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Pretty much everyone I know is recommending this New Yorker profile describing how Mark Burnett created Donald Trump’s current image (and with it his electoral prospects).
Along with describing how both Trump and Burnett came to turn the popularity of the show into a marketing vehicle and a Trump’s telling claim that he initially hesitated before signing onto reality teevee because the, “contractors, politicians, mobsters, and everyone else I have to deal with in my business … don’t like, as they’re talking to me, having cameras all over the room,” the piece describes how the show depicted not reality, but a heavily edited narrative trying to retroactively justify Trump’s capricious firing decisions each week.
The result created the illusion that a serially bankrupt joker was, instead, a king.
Burnett has often boasted that, for each televised hour of “The Apprentice,” his crews shot as many as three hundred hours of footage. The real alchemy of reality television is the editing—sifting through a compost heap of clips and piecing together an absorbing story. Jonathon Braun, an editor who started working with Burnett on “Survivor” and then worked on the first six seasons of “The Apprentice,” told me, “You don’t make anything up. But you accentuate things that you see as themes.” He readily conceded how distorting this process can be. Much of reality TV consists of reaction shots: one participant says something outrageous, and the camera cuts away to another participant rolling her eyes. Often, Braun said, editors lift an eye roll from an entirely different part of the conversation.
At the end of each episode, Trump determined which competitor should be “fired.” But, as Braun explained, Trump was frequently unprepared for these sessions, with little grasp of who had performed well. Sometimes a candidate distinguished herself during the contest only to get fired, on a whim, by Trump. When this happened, Braun said, the editors were often obliged to “reverse engineer” the episode, scouring hundreds of hours of footage to emphasize the few moments when the exemplary candidate might have slipped up, in an attempt to assemble an artificial version of history in which Trump’s shoot-from-the-hip decision made sense. During the making of “The Apprentice,” Burnett conceded that the stories were constructed in this way, saying, “We know each week who has been fired, and, therefore, you’re editing in reverse.” Braun noted that President Trump’s staff seems to have been similarly forced to learn the art of retroactive narrative construction, adding, “I find it strangely validating to hear that they’re doing the same thing in the White House.”
Such sleight of hand is the industry standard in reality television. But the entire premise of “The Apprentice” was also something of a con. When Trump and Burnett told the story of their partnership, both suggested that Trump was initially wary of committing to a TV show, because he was so busy running his flourishing real-estate empire. During a 2004 panel at the Museum of Television and Radio, in Los Angeles, Trump claimed that “every network” had tried to get him to do a reality show, but he wasn’t interested: “I don’t want to have cameras all over my office, dealing with contractors, politicians, mobsters, and everyone else I have to deal with in my business. You know, mobsters don’t like, as they’re talking to me, having cameras all over the room. It would play well on television, but it doesn’t play well with them.”
“The Apprentice” portrayed Trump not as a skeezy hustler who huddles with local mobsters but as a plutocrat with impeccable business instincts and unparalleled wealth—a titan who always seemed to be climbing out of helicopters or into limousines. “Most of us knew he was a fake,” Braun told me. “He had just gone through I don’t know how many bankruptcies. But we made him out to be the most important person in the world. It was like making the court jester the king.” Bill Pruitt, another producer, recalled, “We walked through the offices and saw chipped furniture. We saw a crumbling empire at every turn. Our job was to make it seem otherwise.”
Trump took to his part more nimbly than anyone might have predicted. He wouldn’t read a script—he stumbled over the words and got the enunciation all wrong. But off the cuff he delivered the kind of zesty banter that is the lifeblood of reality television. He barked at one contestant, “Sam, you’re sort of a disaster. Don’t take offense, but everyone hates you.” Katherine Walker told me that producers often struggled to make Trump seem coherent, editing out garbled syntax and malapropisms. “We cleaned it up so that he was his best self,” she said, adding, “I’m sure Donald thinks that he was never edited.” [my emphasis]
Throughout, the piece both implicitly and explicitly suggests that the White House is adopting techniques from the show in burnishing Trump’s power. Or, at least, Trump is asking that his handlers replicate the same frames of power that Burnett used.
The show’s camera operators often shot Trump from low angles, as you would a basketball pro, or Mt. Rushmore. Trump loomed over the viewer, his face in a jowly glower, his hair darker than it is now, the metallic auburn of a new penny. (“Apprentice” employees were instructed not to fiddle with Trump’s hair, which he dyed and styled himself.) Trump’s entrances were choreographed for maximum impact, and often set to a moody accompaniment of synthesized drums and cymbals. The “boardroom”—a stage set where Trump determined which candidate should be fired—had the menacing gloom of a “Godfather” movie. In one scene, Trump ushered contestants through his rococo Trump Tower aerie, and said, “I show this apartment to very few people. Presidents. Kings.” In the tabloid ecosystem in which he had long languished, Trump was always Donald, or the Donald. On “The Apprentice,” he finally became Mr. Trump.
Trump has succeeded in politics, in part, by borrowing the tropes of the show. Jonathon Braun pointed out to me that when Trump announced his candidacy, in 2015, he did so in the atrium of Trump Tower, and made his entrance by descending the gold-colored escalator—choreography that Burnett and his team had repeatedly used on the show. After Trump’s announcement, reports suggested that people who had filled the space and cheered during his speech had been hired to do so, like TV extras, for a day rate of fifty dollars. Earlier this year, the White House started issuing brief video monologues from the President that strongly evoke his appearances on Burnett’s show. Justin McConney, a former director of new media for the Trump Organization, told New York that, whenever Trump works with camera people, he instructs them, “Shoot me like I’m shot on ‘The Apprentice.’ ” [my emphasis]
One of the most interesting details in the piece is that Democrats actively (and successfully) lobbied musical talent to blow off Trump’s inauguration, themselves performing a kind of script-writing that has haunted Trump since.
A Democratic political operative who was involved in a back-channel campaign to dissuade big-name stars from appearing at the event told me that Burnett had tried to enlist musicians to perform. “Mark was somebody we were actively working against,” the operative said. Trump’s wish list included Elton John, Aretha Franklin, and Paul Anka—who, he hoped, would sing “My Way”—but they all claimed to be otherwise engaged. The event ended up with sparse crowds and a feeble roster of performers.
Because I dawdled before reading the piece, I was reading it at the same time as reading coverage of the shutdown. That coverage highlights the results of running a Reality Teevee star as President. There’s NYT report that the reason why Trump has shut down the government to get Congress to fund him a wall is because Sam Nunberg and Roger Stone (and Steve Bannon) used the wall as a mnemonic device to get Trump to repeat his lines.
“How do we get him to continue to talk about immigration?” Sam Nunberg, one of Mr. Trump’s early political advisers, recalled telling Roger J. Stone Jr., another adviser. “We’re going to get him to talk about he’s going to build a wall.”
“As a messaging strategy, it was pretty successful,” [anti-immigration activist Mark] Krikorian said. “The problem is, you got elected; now what do you do? Having made it his signature issue, Trump handed the Democrats a weapon against him.”
We’ve shut down the entire government because an entertainment professional always refused to memorize his lines (or as someone on Twitter noted, use a teleprompter), and so the unstable hacks who managed him early on invented a policy promise that not even hardline anti-immigration experts want.
Trump spent much of Saturday on the phone with allies, talking through his positioning on the shutdown and hearing their reviews of his Rose Garden performance, according to a person close to him. Two people regularly on his call list — Rep. Mark Meadows (R-N.C.) and Sen. Lindsey O. Graham (R-S.C.) — have encouraged Trump to take a hard line and refuse to agree to reopen the government unless wall funding is secured, the person said.
Trump, who doesn’t understand the successful tycoon that starred in The Apprentice was the product of heavy editing, has now taken to editing himself, trying to fulfill the things the Campaign Reality Teevee star said over and over, based off what Mark Meadows and Lindsey Graham tell him.
The New Yorker profile, however, offers scant solutions to the problem that Burnett created — just his ex-wife imploring him to tell Trump he’s not actually living a reality show, as if that will fix the problem.
One day this past fall, Burnett got a call from his first wife, Kym Gold, with whom he remains friendly. Gold was upset about what was happening in the country, and asked Burnett to intervene with Trump. “We had it out,” she told me. “I said, ‘You’ve got to help our children, for the future and safety of this country.’ ” Gold implored Burnett, “Tell him this is not a reality show. This is real life. You’re the President. You’re saying things you cannot say—to reporters, to other world leaders.”
But that wouldn’t fix it even if Burnett were willing to risk losing access to Trump by telling him.
The problem, and any potential solutions, is something I’ve been thinking about for some time. No one is going to cure Trump of his addiction to being framed to look powerful. If he doesn’t get that high from his White House handlers, he will continue to fire them and look elsewhere, to people who are even better trained at flattery than Burnett. Trump now believes he can produce himself, based largely on the feedback of nutjobs like Ann Coulter and Sean Hannity.
I’m not actually advocating letting Trump frame himself as a king. But I also think that much of Democrats’ response involves trying to fact check Trump rather than reframe him. Your typical Trump voter isn’t going to give a damn that Trump is lying until some policy he has bragged about (up to and including the shutdown, but also his trade wars) ends up making them feel personally betrayed.
Mind you, I think Nancy Pelosi understands all this. She understands (like that other great female politician, Angela Merkel) that Trump will lose more if he is shown looking weak next to a woman than if someone proves his 100,000th lie.
That last of the self-imagined productive sycophants left with John Kelly. Trump now has a temporary Chief of Staff, one who will be gone once Trump decides to internalize Mick Mulvaney’s labeling of Trump’s position on the wall as “childish.” That creates a vacuum in the function of framing Trump’s image.
Update, January 12: This important op-ed from an OLC veteran describes how lawyers there do much the same as what editors on The Apprentice does.
But when I was at OLC, I saw again and again how the decision to trust the president failed the office’s attorneys, the Justice Department and the American people. The failure took different forms. Sometimes, we just wouldn’t look that closely at the claims the president was making about the state of the world. When we did look closely, we could give only nudges. For example, if I identified a claim by the president that was provably false, I would ask the White House to supply a fig leaf of supporting evidence. Or if the White House’s justification for taking an action reeked of unconstitutional animus, I would suggest a less pungent framing or better tailoring of the actions described in the order.
I often wondered, though, whether my attempts to remove the most basic inaccuracies from the face of a presidential order meant that I was myself failing to carry out my oath to protect and defend the Constitution. After all, the president had already submitted, through his early drafts or via Twitter, his reasons for issuing a particular order. I sometimes felt that, rather than engaging in professionally responsible advocacy, my OLC colleagues and I were using the law to legitimize lies.
I felt more than a twinge of recognition this month when reading a New Yorker article about Trump and the reality-TV show “The Apprentice.” Jonathan Braun, an editor on “The Apprentice,” described how editors would “reverse engineer” episodes after Trump made impulsive decisions about firing a contestant. The article described editors “scouring hundreds of hours of footage . . . in an attempt to assemble an artificial version of history in which Trump’s shoot-from-the-hip decision made sense.” Like a staff member at “The Apprentice,” I occasionally caught myself fashioning a pretext, building an alibi.

domain: politics


I love plinking. 535 rounds of .22 blazer for $20, can't beat that. So my .22's get shot the most.
1961 Seneca Green Nylon 66, learned how to shoot on this gun. Ruger 10/22, Walther P22 and S&W 15-22 are my only other .22's. Cheap and fun.
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text:
|La Cage aux rossignols|
|Directed by||Jean Dréville|
|Written by|| Georges Chaperot (story)|
René Wheeler (story & screenplay)
Noël-Noël (adaptation, dialogue & screenplay)
|Starring|| Noël-Noël |
|Cinematography|| Paul Cotteret |
|Edited by||Jacques Grassi|
|Music by||René Cloërec|
|Distributed by||Compagnie Parisienne de Location de Films|
|6 September 1945|
|Box office||5,085,489 admissions (France) |
A Cage of Nightingales (French: La Cage aux rossignols) is a 1945 French film directed by Jean Dréville. It was nominated for the Academy Award for Best Story, and served as an inspiration for the film The Chorus (2004).
Clement Mathieu seeks to publish his novel without success. With the help of a friend who is a journalist, his story about the 'Cage of Nightingales' is slipped surreptitiously into a newspaper...
In France, in the 1930s, a supervisor at a rehabilitation house awakens difficult teens' inner musical tendencies by forming a choir, despite the director's skepticism. Later, this experience is reported in a novel in a major newspaper.
The history of the Cage of Nightingales' is directly inspired by that of an actual educational centre, called Ker Goat, where Jacques Dietz, Roger Riffier and their teams worked to help children in difficulty through choral singing and innovative teaching methods.
The film was the second most popular movie at the French box office in 1945.  A highly regarded adaptation of the film, under the title Les Choristes (English title: The Chorus) came out in 2004, and starred the French actor Gérard Jugnot. It was directed by Christophe Barratier.
Gérard Philipe was a prominent French actor who appeared in 32 films between 1944 and 1959. Active in both theatre and cinema, he was, until his early death, one of the main stars of the post-war period. His image has remained youthful and romantic, which has made him one of the icons of French cinema.
René Clément was a French film director and screenwriter.
Forbidden Games is a 1952 French war drama film directed by René Clément and based on François Boyer's novel Jeux Interdits.
The Chorus is a 2004 French musical drama film directed by Christophe Barratier. Co-written by Barratier and Philippe Lopes-Curval, it is an adaptation of the 1945 film A Cage of Nightingales. The story is inspired by the origin of the boys' choir The Little Singers of Paris.
Gervaise is a 1956 French film directed by René Clément based on the 1877 novel L'Assommoir by Émile Zola. It depicts a working-class woman in the mid-nineteenth century trying to cope with the descent of her husband into alcoholism. The film was nominated for the Best Foreign Language Film at the 29th Academy Awards. Schell won the Volpi Cup for Best Actress at the 1956 Venice Film Festival for her performance. It won the 1957 BAFTA for Best Film and Best Actor.
Devil in the Flesh is a 1947 French romantic drama film directed by Claude Autant-Lara, based on the 1923 novel of the same name by Raymond Radiguet. The film stars Micheline Presle and Gérard Philipe, with Palau, Jean Varas, Jacques Tati, Denise Grey and Jean Debucourt in supporting roles.
Royal Affairs in Versailles is a 1954 French-Italian historical drama directed by Sacha Guitry. Described as "a historical film showing Versailles from its beginnings to the present day", it tells some episodes through portrayal of the personalities who lived in the Palace of Versailles. Its sister films are Napoléon (1955) and If Paris Were Told to Us (1956).
Léonie, Baroness Cooreman, also known by her stage name Annie Cordy, was a Belgian actress and singer. She appeared in more than 50 films from 1954 and staged many memorable appearances at Bruno Coquatrix' famous Paris Olympia. Her version of "La Ballade de Davy Crockett" was number 1 in the charts for five weeks in France in August 1956. She was born in Laeken, Belgium, where in 2004, King Albert II of Belgium bestowed upon her the title of Baroness in recognition for her life's achievements.
The Glass Castle is a 1950 French romantic drama film directed by René Clément who co-wrote the screenplay with Gian Bistolfi and Pierre Bost, based on the 1935 novel Das große Einmaleins by Vicki Baum. The film stars Michèle Morgan and Jean Marais, Jean Servais, Fosco Giachetti and Elisa Cegani.
René Lefèvre, born René Paul Louis Lefèvre, was a French actor and writer. Throughout his career, he worked with several notable directors, like Jean Renoir, Jean-Pierre Melville, Jules Dassin, and René Clair.
Noël-Noël was a French actor and screenwriter. He appeared in 45 films between 1931 and 1966.
Juliette, or Key of Dreams is a 1951 French drama film directed by Marcel Carné. It was entered into the 1951 Cannes Film Festival. The film is based on a play by Georges Neveux.
Le Masque de fer is a 1962 French film directed by Henri Decoin, based on the 1850 novel The Vicomte of Bragelonne: Ten Years Later by Alexandre Dumas and specifically part 3 of the novel, The Man in the Iron Mask; which in turn is based on the real-life story of the Man in the Iron Mask.
Jean Aurenche was a French screenwriter. During his career, he wrote 80 films for directors such as René Clément, Bertrand Tavernier, Marcel Carné, Jean Delannoy and Claude Autant-Lara. He is often associated with the screenwriter Pierre Bost, with whom he had a fertile partnership from 1940 to 1975.
Boule de Suif is a 1945 French historical drama film directed by Christian-Jaque and starring Micheline Presle, Berthe Bovy and Louise Conte. It is an adaptation of the short story Boule de suif by Guy de Maupassant, set during the Franco-Prussian War.
Love and the Frenchwoman is the US title of a 1960 French anthology film originally entitled La française et l'amour. It starred Jean-Paul Belmondo and Dany Robin.
Twilight is a 1944 French drama film directed by Marc Allégret and starring Claude Dauphin, Micheline Presle and Louis Jourdan.
Cage of Girls is a 1949 French drama film directed by Maurice Cloche and starring Danièle Delorme, Jacky Flynt and Louise Lagrange. It is set in a women's prison.
The Secret of Monte Cristo is a 1948 French historical drama film directed by Albert Valentin and starring Pierre Brasseur, Georges Vitray and Pierre Larquey. The film is based on the purported real story behind the Alexandre Dumas novel The Count of Monte Cristo.
The Phantom Carriage or The Phantom Wagon is a 1939 French drama film directed by Julien Duvivier and starring Pierre Fresnay, Marie Bell and Micheline Francey. It is based on the novel Thy Soul Shall Bear Witness! by Selma Lagerlöf, which had previously been adapted into the 1921 Swedish silent film The Phantom Carriage by Victor Sjöström.

domain: artistic


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Emergency Medicine/Family Medicine/Alaska/30 days on 30 days off/No Alaska license required
Venture Medical Staffing, LLC
Healthcare - Physician
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Emergency Medicine opening in , Alaska. This and other physician jobs brought to you by DocCafe.com
Rural Alaska hospital is seeking emergency medicine physician or family physician with extensive emergency medicine experience to join their current team of providers. This is an EXCELLENT opportunity for someone who would like great benefits, exceptional compensation and great quality of life. This facility is less than 5 years old with a tremendous staff. NO ALASKA LICENSE REQUIRED. Details are listed below.
* 30 days on / 30 days off (5 - 12 hours shifts per week) * Patient census approximately 24 patients per 24 hour period * Double physician coverage during most of day shifts * 275K per year (for only 6 months) * Full benefit package including paid medical insurance * No Alaska license required * Travel and lodging provided * No OB (OB/GYN physicians on site to handle any deliveries)
No surgeries are performed at this facility and they are staffed with full time OB/GYN, Hospitalists, Psychiatrists and other mental health providers, Primary Care physicians. MUST HAVE CLEAN LICENSE HISTORY.
For more information on this position, please contact me at:
Keyphrases: emergency medicine jobs, critical care medicine jobs, pulmonary critical care jobs, critical care nurse practitioner jobs, surgical critical care jobs, emergency medicine specialist jobs, internal emergency medicine jobs, emergency medical care jobs, emergency cardiac care jobs, wilderness medical jobs, pediatric emergency medicine jobs, emergency medical technician jobs
Associated topics: emergency department, emt, medic, paramedic, pmt, technician, technician i, technician iii, technician iv, technician basic
* The salary listed in the header is an estimate based on salary data for similar jobs in the same area. Salary or compensation data found in the job description is accurate.


text:
An Interview with
Spaceman Jason Pierce
photos and story
by Karena Bernard
introduction by Gregg Mitchell
Like no other band in the 90s, Spiritualized has intergrated & subterfuged the main influential ingredients in post Beatles rock n roll - the Beach Boys, Stooges, the Velvet Underground, Suicide, punk rock, My Bloody Valentine, the Pixies - all the while managing to create some of the most original, dissonant and timeless pop music in recent memory.
Rather then rely on these influences, Jason Pierce - the spaced out mind behind Spiritualized's beautiful madness - makes the music explode with a mark & sound of it's own, proving the landmark work "Ladies & Gentlemen, We Are Floating" to be as important and monumental as "The Velvet Undeground & Nico", "Raw Power" and "Pet Sounds."
But what about the sheepish Major Tom behind the controls? In the creative spirit of such legendary loonies as Brian Wilson, Syd Barrett & Julian Cope before him, Jason Pierce has (inadvertently?) cultivated himself an image of blissed out existence - not at all content, not quite drug free, and somewhat resigned to it all. Perhaps it would take a mad man to marry the subtle brutality of an album like "Suicide" to the psychedelic majesty of "Sgt. Pepper" - and then throw some gospel & brass into the mix. But the chaotic blend works wonders and, like the work of the more mellow but equally mezmorizing Mogwai, redefines the dynamics of pop music like the Pixies & Nirvana nine years before.
Still Performers Run Deep
Jason Pierce looks about as comfortable as a cat in water under the flood of camera flashes as he and his band, Spiritualized, open the last set on the final night of Reading Fest 1998. As the photographers work the Melody Maker stage, he keeps his eyes closed and stands fast (stage left, not center stage), seeming to focus inward while his fingersfind the right places on his guitar. The instantly recognizable opening notes of Electricity, the single from their acclaimed breakthrough release, Ladies And Gentlemen We Are Floating In Space are answered with cheers from the audience. No member of the band has yet spoke one word, nor will they do so during the entire set. That was just fine, however, as the sequence of electronic amalgamates is all the communication needed.
Opener, Electricity is the band's most commercial number. It has great energy, attitide, lyrics and melody. It's a song that gets your attention on the first play. The other songs on Ladies And Gentlemen take a little longer to get their message across. But when they do they take you to a much, much deeper place than Electricity. During the remainder of the set, repetitions of melody twirl around layers of sound; build, crash and then ebb. Each composition is an impressionistic audio painting splashed upon the audience as canvas. Sharp electronic sounds intermittently splice the even hushed rhythms and reverberate to indpendent, or no rhythm. Aside from a cheer as soon as each new song is recognized, the audience is quiet, but very attentive as the 'spirilozidine' takes effect.
Go to: TransAction Magazine: Front Page
Karena Bernard: Are the songs on Ladies and Gentlemen We Are Floating In Space autobiographical?
Jason Pierce: I guess the music we do has to be honest. I always thought that to get soul into music you have to have no compromise and be honest. It's not autobiographical in a sense that I'd be writing a diary or something. I don't think music can be autobiographical in that way. It has to be larger than life. The music we deal with has to do life the highest highs and the lowest lows in those extremes. I don't live in those extremes. If I did, I'd be a schizophrenic and I'd be out there. So I think it has to be larger than life. It doesn't have to do with mediocrity.
K: Do you listen to your own music?
J: Recreationally?-no. I hear it occasionally and stuff. I know its finished and I know its done, but to play it so many times during the making of the record. Also a lot of people said stuff like Spacemen 3 is great to trip to and I find that difficult in those situations to hear my voice. Most people can't listen to their own voice off the tape machine.They are so used to hearing their own internal voice in their head. The tape machine sounds a bit weird. It sounds a bit higher than people are used to. I guess I have that problem as well..
K:Do you find you have to push your music to the edge?
J:If you want to write music about that -yeah. Like what I said about being honest, but I don't know if that kind of stuff can happen. I personally don't think the author of the music is that important once the music has been made. If you listen to the Righteous Brothers' "You've Lost That Loving Feeling" or Ray Charles' "I Can't Stop Loving You", you don't listen to those songs from the author's perspective. You don't think about them writing about a specific event in their life, you think about how it affects your life.
K: The creative process -how does it work?
J: Well to me, it's like work. I sit down and do it. This album took me 11 days to write. I don't put myself into any kind of situation. I feel like its work to sit down in the studio and work. I don't think in a way that a lot of musicians do in that, musics floating around and you act like a (congru??) and try to grab the music. I find that lazy. I find if you actually sit down and work at it, it will come to you. Rather than waiting 2 years for an album to be made-you gotta make it happen.
K: What happened with the set of first songs on a tape?
J: The tape was lost, but I found it. Some of them were the same. Cool waves was on it and one other song. It seems weird to put the rest on it because its hard to work on tracks now that you did 2 and a half years ago. I don't think much of that tape will ever get out.
K: What was your attitude when you lost the tape?
J: Didn't really bother us. It was a reference of ideas and stuff. It's a tape and it's not like its that precious. It probably did me a favor. It made me write a whole load of new stuff that worked out fine.
K: If you moved to America, where would you live based on your tours?
J: I guess I would live where I have the most friends in NY, LA, or San Francisco. I know a lot of people there who I really like. When we tour, a lot of people like NY. There isn't any place when we tour where we have the need to get out of. I like wherever we tour.
K: What do you like better: Cats or Dogs?
J: Cats because they are low maintenance. I had two. They take care of themselves.


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domain: health


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Schools in Grand Rapids are set to benefit from an energy audit provided by the Michigan Department of Energy's Rebuild Michigan program, according to MLive.
The program aims to increase the energy efficiency and management of buildings throughout the state. The school district will also become the first in Michigan to host a Green Schools Fellow with the help of the U.S. Green Building Council to improve learning for students.
"This will be helpful information that can help the district reduce energy use and achieve cost savings," said Renae Hesselink, chair of the West Michigan U.S. Green Building Council Green School Committee.
Other school districts in the state as well as Grand Rapids Community College have used auditing services to enhance the sustainability of their operations. Out of the district's 43 buildings, Hesselink said the committee will look into aging and more recent buildings to be part of the audit, which will begin by collecting 12 months of energy data to serve as a baseline.
California schools investing in retrofits, solar projects
Across the country in California, the state's Department of Education is looking to update building components for more energy savings, according to The Business Journal. Last year, voters approved Proposition 39, which will allow the state to receive an additional $381 million to install more efficient lighting, new ventilation systems and other equipment.
Fresno Unified School District is expected to obtain the third largest amount from Prop. 39, after Long Beach and Los Angeles districts.
Frank LiDiddo, energy manager at Fresno Unified School District, said money will help the district's schools meet energy efficiency requirements and state building standards. This includes paying to fix maintenance problems and other energy-related issues.
"Every dollar we invest in an energy efficiency project, we have to receive a $1.05 (savings) in return," LiDiddo said, in reference to Prop. 39 rules. "We want to save energy, but that's not what we're trying to do. We want to make our learning top notch."
Once energy audits within the district are completed and the California Energy Commission approves the energy savings project, LiDiddo said work will begin on buildings on older parts of campuses, including Fresno High School, which is over 90 years old. The district could receive up to $4 million in 2014. Other school districts have been investing in solar projects, such as one worth $25 million at Clovis Unified, in order to reduce operating costs.