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by: Frederick Boucher [ ]
Kawanishi N1K2-J Shidenkai
Mfg. ID: 8883
IntroductionThis review examines the big Hasegawa 1/32 Kawanishi N1K2-J Shiden (Violet Lightning) fighter, code-named "George" by the Allies. Long has this fighter fascinated fans of Imperial Japanese aviation and long have modelers dreamt of a modern kit to replace the 1/32 N1K1-J and N1K2-J of the 1970s.
Kawanishi N1K-J ShidenGraceful as a sumo wrestler, the N1K1-J Shiden was a private development by Kawanishi of their air superiority floatplane fighter, the N1K Kyofu (Strong Wind) "Rex", into a land-based interceptor (hence the "-J" suffix). A unique feature was the aircraft's automatic combat flaps that adjusted automatically. Shiden is widely considered the best Imperial Navy fighter of the war. Built around the powerful 1,990 hp (1,480 kW) Nakajima Homare NK9H 21 eighteen-cylinder radial engine, extremely maneuverable, packing devastating firepower ( up to two Type 97 7.7mm machine guns and four Type 99 20mm cannons), and able to withstand heavy damage, Shiden was as threatening as its thunderstorm allegory...
...when it could fly. Shiden’s Homare NK9H was unreliable. The aircraft retained the mid-mounted wing of the floatplane and the large propeller necessitated long, stalky landing gear. The gear was complex and prone to failure – both before flight and, particularly distressing, upon landing!
Just four days after the Shiden's first test flight a redesign was begun to remedy defects, primarily repositioning the wings to the bottom of the fuselage to solve the long, complex landing gear issue; the fuselage was lengthened, the tail redesigned, and the whole airframe was made much simpler to produce, eliminating some 18,000 (!) parts. The troublesome Homare engine was retained because there was no real alternative. Thus came to being the redesignated N1K2-J Shiden kai, ‘kai’ being short for kaizou 改造 meaning 'modified'.
Shiden entered combat for first time in spring 1944. They proved to be excellent dogfighters at low to medium altitudes. N1K-J fighters were mainly used by few units including the elite IJN 343rd Air Group (343 Kokutai), Japan’s "Squadron of Experts" similar to Germany’s JV-44, commanded by Genda Minoru. 343rd Kokutai pilot Muto Kaneyoshi reputedly shot down, by himself, four Hellcats in one dogfight. Had reliable Shidens been available, the Allies would have had a tougher time over the Pacific. However, the powerful Homare rapidly lost performance in the rarefied air of the B-29's domain, thus "George" was not useful at the high altitudes the war had moved up into.
Like lightning, Shiden was a beautifully dangerous flash, then gone. Production problems slowed production and air raids ended it with only 1,435 built. Unknown numbers failed to get airborne. Impressive as Shiden was, those that got into action only brought obsolescent pre-1942 low to medium altitude performance into an arena moving higher and faster and only eclipsed by the dawning jet age. Shidens that did engage the enemy eventually ended in the shattering boom of thunder that follows all lightning.
Opening the hangerI have both the 1/32 Revell N1K1-J and the 1/32 Doyusha N1K2-J models to compare this kit to, along with various 'modern' 1/32 kits. Like lightning, this new Shiden is a dazzling flash of brilliance! Read on to find why it electrifies me.
Shiden was a big airframe and this is a hefty model. All of this styrene is heavy and Hasegawa packs it in a big and sturdy conventional lid/tray box. Box art is a beautiful study of "white 15" of the 343rd NAG. (I wish Hasegawa would offer their artwork for sale.) Inside are several sealed clear bags holding 13 sprues of gray, clear, and vinyl parts (Hasegawa advertises 148 parts so I didn't count them.), a colorful decal sheet, and impressive instructions.
Several sprues are molded together. The sprues are:
A: N1K2-J forward fuselage halves, flaps, horizontal stabilizers, wheel well inserts.
B: N1K2-J wings.
C: N1K2-J cockpit box.
E: N1K2-J rear fuselage and vertical stabilizer.
G: N1K2-J shell ejection panels.
J: Cowl flaps.
L: (two) propellers, wheel hubs.
N: Homare NK9H radial engine.
P: Vinyl caps.
Q: Homare detail; landing gear and doors; cockpit instrument panels.
R: Canopy parts; nav lights; reflector gun sight parts. Two rear canopy styles are included.
S: Fuselage bulkheads; main spar; cockpit controls; pilots; drop tank.
T: N1K2-J cowling.
Attached to particular sprues are many ancillary parts: pitot; antennas; struts and braces; plumbing; cannon barrels; actuators.
Molding is top-notch! I have not spotted a hint of flash. Nor have I found mold seam lines of consequence. There are no sink marks. A few minor ejector circles are on the visible side of wheel doors. Parts are sharp and detail is crisp. Fine recessed panel lines and fastener detail demarcates the main external components. Some of the larger fasteners around the cowl even have slots molded across them. A few rivets that were not flush are molded appropriately raised; they and other small items are impressively thin. Hasegawa did not attempt to simulate fabric texture nor sag on the control surfaces, although the reinforcing tapes are molded in relief with simulated stitching.
“George’s” greenhouse canopy clear parts are without blemish. The framing is very fine, perhaps to the point of making masking difficult.
Hasegawa released this Shiden as a Model 21, one of the initial 100 built. It is molded with a separate aft fuselage and tail. This is curious as the N1K1-J and the N1K2-J fuselage and empennage were completely different; that and the modular underwing armament panels leads me to believe that a Shiden ko fighter-bomber model is in the future.
The model wings are conventional with a one-piece bottom and separate top halves. Deep wells are molded for the struts while separate well inserts are molded for the wheels. While all control surfaces are molded on, the flaps are provided separate with two options: retracted and extended.
Two pilot heads are provided. One represents Lt. Naoshi Kanno and the other resembles W.O. Kourji Ohara. The flying uniform and kit look very good and the parachute is molded separately.
While it can not be held against them, Hasegawa did not make this model friendly for modelers who intend to superdetail it with aftermarket goodies like cannon. (The 1/32 Ki-44 has separate access doors between the cowl and cockpit.) We will have to carefully cut out any access panels to expose weapon bays and engine accessories.
DetailI already mentioned the panel lines, fasteners and rivets. It also has hinge detail molded into the control surfaces. This model is a good case of letting the photos speaks their 1,000 words. Just look at the cooling gills and spark plug detail on the radial-engine! Further, Hasegawa engineered the ganglion of exhaust stacks as a single piece. Ultimately the engine is built with a dozen pieces. The propeller is assembled with individual blades. The cowl flaps are separate. Unfortunately, they are molded closed.
The main gear legs have brake lines molded into the top with air between them and the strut. Separate plumbing and torque arms finish the assembly. Some of the most detailed parts are the landing gear doors, festooned with rivet and hinge detail! Including the doors and tire halves, each main gear assembly has 12 parts!
Into the cockpit we find a four-piece Type 98 gun sight with three clear panes. Including that assembly, there are over 40 pieces to build the cockpit! These include three bulkheads, two sides, the floor, oxygen bottles, map light, radio, and many levers and sticks. The sharply molded instrument panel and accessory consoles have enough detail to make painting easy, or you can use the supplied decals. I have done both with Hasegawa’s 1/32 Ki-61 and Ki-84 and both have been satisfying. There is even pair of minuscule handles to attach inside the canopy hood! As exceptional as the cockpit is, cockpit photographs of one of the three surviving “George” fighters shows far more plumbing and wiring across the cockpit floor and behind the side consoles than are molded onto the parts. Perhaps those omissions will not be noticeable once the many separately applied sidewall parts are attached.
instructions, decals, paintingThis big bird comes with two decal and painting options:
1. 343A-15, I.J.N. 343rd Naval Flying Group 301st F.SQ., SQ. Leader Lt. Naoshi Kanno, Matsuyama A.B. April 1945
2. 343B-03 , I.J.N. 343rd Naval Flying Group 407th F.SQ., W.O. Kourji Ohara, Matsuyama A.B. April 1945
Decals are thin, opaque, sharply printed and precisely registered. A great many servicing and data stencilings are included. This model is wonderfully unusual in that uniform insignia decals are provided for the pilots!
Camouflage is "S3": dark green over natural metal. GSI Creos Aqueous and Mr. Color are the only two paint brands listed.
Hasegawa’s instruction sheet is a multipage brochure printed and illustrated in shaded black-and-white line art, plus black-and-white photographs of the assembled and painted (and decaled!) pilot.
Seventeen steps and many sub-steps guide the modeler through assembly. Two pages illustrate the painting and two decal options. It is well illustrated and sensibly laid out. A good history of Shiden kai is presented.
conclusionNow you understand why Hasegawa’s 1/32 Violet Lightning electrifies me! It is a very detailed model with exceptional molding. Decals are equally impressive. As best as I can tell, shape and outlines are accurate.
That it seems wiring and plumbing was omitted on the cockpit sidewalls does not really bother me as it can be easily added with sprue and wire; it probably can’t be seen once the fuselage halves are closed. More disappointing are a few slight ejection circles on a visible surface of the gear doors.
Yes, I am very enthusiastic about this model and am charged to build it. Shiden fans have waited a long time for a modern model of "George" in 1/32. I believe the wait has been worth it! Enthusiastically recommended!
Please tell retailers and vendors that you saw this model here - on Aeroscale.


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Transverse and longitudinal vaginal septum abnormalities
A vaginal septum is a piece of flesh inside the vaginal canal that is attached either lengthways (longitudinal) or sideways/horizontal (transverse). These vaginal septa can go unnoticed, or can cause vaginal blockages, painful sex, impossible tampon use, and difficulties during labour.
Septum abnormalities are developed in the womb and therefore are known as congenital (or anatomical) abnormalities.
A septum is a separator of some kind, as you would see between your nostrils.
Transverse (horizontal) vaginal septum
A transverse vaginal septum occurs when a defect in fusion occurs when the vagina is being created during foetal development. The Mullerian ducts incorrectly fuse to the urogenital sinus.
A transverse vaginal septum is estimated to occur to one anatomically female person in 3,000-80,000, and is considered the rarest of urogenital tract congenital abnormalities.
Numbers are vague because if the septum doesn’t trap menstrual blood behind it in a complete obstruction, it can go completely unnoticed.
The septum is usually less than one centimetre thick. A vaginal septum is often located in the top section of the vagina, but can be found anywhere in the vagina. These vaginal septa are not generally associated with other reproductive abnormalities.
Symptoms of a transverse vaginal septum
The most noticeable problems occur around puberty and menstruation when menstrual blood accumulates behind the blockage (cryptomenorrhoea), causing cyclic abdominal pain, problems urinating and back pain.
As a newborn, unusual abdominal swelling can occur as vaginal discharge caused by the mother’s pregnancy hormones cannot escape.
Treatments for a transverse vaginal septum
Treatment for a transverse vaginal septum is typically surgery, where the excess tissue can easily be removed. The surgery is usually uneventful, quick, and complications are very, very rare.
Longitudinal (lengthways) vaginal septum – the ‘double vagina’
A longitudinal septum is also termed the ‘double vagina’, where the Mullerian ducts fuse incompletely. This makes the vagina split into two, and is often accompanied by a double cervix, and a uterine septum or double uterus (uterus didelphys).
Many of those with longitudinal vaginal septa and double organs may go their whole lives without being aware of it. Painful sex (dyspareunia) may occur as a result, in which case surgery on the septum can be performed and the problem is usually solved.
Symptoms of a longitudinal vaginal septum
A longitudinal vaginal septum may result in pain during sex or menstruation, and cause uterine bleeding. It is not dangerous to your health, and can go unnoticed for a lifetime.
Diagnosis of a longitudinal vaginal septum
MRIs are very useful for diagnosis, and are considered to be the gold standard in diagnosing the nature of a vaginal septum.
Fertility outcomes of a longitudinal vaginal septum
There is a higher risk of blood going ‘backwards’ (retrograde menstruation) due to the blood being unable to escape out of the body via the vagina.
Retrograde menstruation can result in endometriosis, whereby blood from the uterus escapes into the body cavity via the fallopian tubes and attaches to the walls of internal organs.
Those with vaginal septa can have successful pregnancies, however they tend to have slightly worse pregnancy outcomes. Conception can be difficult, and miscarriages are more common with transverse and longitudinal vaginal septa.
Those with lower transverse vaginal septa have better conception rates than those with upper or middle transverse septa.
Other problems with carrying a baby to term include early pregnancy loss, premature births, abnormal foetuses and preterm labour. Obstruction can also occur during birth, particularly if the septum has not been discovered until late in the process.
Live birth rates for longitudinal septa sit at 82 per cent, and 94 per cent for those with a transverse septum.
Surgical treatments and outcomes for vaginal septa
The septa removal surgery is reasonably straightforward as in, the septum is removed and the bases of the septum are joined together.
Your surgeon should be experienced in this surgery. The Atlas of Pelvic Surgery has an excellent set of diagrams that accurately depicts the surgery.
In terms of outcomes, the surgery will keep you in hospital for one or two days (though some are out the same day), and the tissue is healed up in weeks. Sex can resume after about four weeks.
Any surgery comes with risks, and your surgeon will explain these to you. The risks of this surgery are poor healing and scar tissue, nerve damage, and infection.
Because the surgery isn’t too invasive, risks can be minimised, and the benefits will be great – having pleasurable (pain-free) sex and if it is on the menu, conceive and deliver a baby without extra risks.

domain: health


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Thank You For the Roses has shades of rose red, purple, pale blue and forest green and Jack Frost is a very pale Persian green.
This colour kit contains two braids of fibre - one speckle dyed, and one semi solid colourway. Both colourways have been put together as they co-ordinate well together. Ply them together or spin each one up separately and use them for colourwork!
Hand-Painted yarns and fibre are dyed in a way that produces lovely sections of intense colour that spill into each other causing interesting colour mixes. This random mixing of colour means that each skein and braid of fibre is truly unique, no two skeins will look alike. Please note: these braids are currently in-stock and ready to ship.
Polwarth Silk fibre contains 60% Polwarth and 40% Silk. Each braid measures approximately 3.5oz or 100grams. Beautifully soft and easy to spin, this fibre is perfect for beginners through to advanced.

domain: design


4 December 2012 to 5 December 2012
in Brussels (Belgium)
Organised byEUROPEAID Development Policy (DEVCO A) and Latin America and Caribbean (DEVCO G) Directors
EuropeAid hosted a workshop on PEFA and PFM reform in Latin America on 4 and 5 December 2012 in Brussels. Discussions focused on how PEFA assessments have contributed to improve PFM reform processes and the dynamics of these reforms. This event was a occasion to exchange experiences.


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«media matters Battlefields of Negotiation Control, Agency, and Ownership in World of Warcraft rené glas amsterdam university press Battlefields of ...»
This is the first time that we've really put all of the power in the hands of players. So you see some really interesting things going on. In some places, you see multiple über-guilds that have treated each other with respect, or who have called a truce, and are engaged in some massive collective farming. You see a lot of guilds setting up contests to encourage others to participate. The event really comes down to the politics and diplomacy on each realm (Schiesel 2006: 2).
Blizzard’s intentions, as shown through Kaplan’s remarks, echo Castranova’s idea of MMORPGs as possible ‘petri dishes for social science’ (2006a: 170). As this chapter only investigates one such petri dish, I do not claim to offer a broad, cross-realm inquiry of the Ahn’Qiraj case. As such, the situation described here was experienced differently on all other realms. I nevertheless came across more stories of severe power struggles during and after the event. A wiki post on the US Illidan realm, for example, lists ‘The Gong Affair’ as one of the most (in)famous events to take place among its players, with some guilds still being “blacklisted” by the community for using the sceptre while other guilds were not present to witness the event.113 Kaplan talked about ‘really interesting things going on’, and the aim of this chapter has been to show just that in the form of a temporary 170 battlefields of negotiation community fragmentation. Both the power introduced through the sceptre and the resulting politics and diplomacy mentioned by Kaplan were largely bestowed upon one particular subgroup of players: the raid community. Implementing such power asymmetries in the design of a game like World of Warcraft remains a tricky affair. If not all subgroups agree that the privileged group handled this power in the right way, and when they have no means to negotiate such asymmetries in any democratic way but are subject to the whims of those with the power, a community can turn on itself.
In this and the previous two chapters, I have investigated what can best be described as the difficulties that different stakeholders in World of Warcraft encounter when disagreements arise about what is “good” and what is “bad” behaviour in or around the game. Investigating the various ways in which not just social codes of practice but also forms of contract and management play a part in stakeholders’ efforts to claim agency and ownership over the game has allowed me to shed light on the question of how both players and Blizzard situate themselves in battlefields of negotiation where certain forms of play and/or appropriation of the game are preferred above others. Blizzard’s active part in negotiation processes that tackle breaches of contract is, in most cases, greeted positively by the player community. The codes of practice that players create and (re-)negotiate among themselves are not always sufficient to deal definitively with devious behaviour. From observation and experience, I can say that most players, for instance, agree with Blizzard’s tough stance on the black market of the RealMoney Trade, even if it results in some collateral damage (like my temporary ban from the game due to supposed involvement in RMT activities). The RMT case study, however, also demonstrated that not all players agree with Blizzard’s tough stance against buying gold with real money. For some, acquiring gold through RMT is the only way to compete with players with more time to spend on the game. While these players can openly engage in negotiations about the rights and wrongs of such practices with other players, when interacting with Blizzard, they find that their rules on RMT are nonnegotiable.
While contractual rules of World of Warcraft do not stop players from breaching them, they certainly have the effect of enlarging the stakes involved, with the outcome of these battlefields of negotiation being a potential temporary or indefinite ban for the player. A pressing issue discussed in these chapters, however, is that Blizzard does not always enforce its contractual rules in a transparent way. Similar to the way black boxes are built into the game’s design to keep players guessing about the inner workings of the game, vague and/or inconsequent contractual rules and the enforcement thereof leave players in the dark about what they can and cannot do within – or in the case of the machinima filmmakers discussed, with – the game.
part iv claiming the game The methods that Blizzard employs to govern World of Warcraft on the levels of game design and game contract do not make the company exceptional. In fact, many commercial virtual worlds are set up as what Lawrence Lessig calls ‘merchant-sovereignties’ (2006: 287). ‘Our recourse with respect to merchant-sovereigns’, he points out, ‘is simply to take our business elsewhere’ (ibid.). What I have shown in this chapter is that players do not always take what could be considered the easy way out. Manifesting a large investment in this particular game, players continuously create arenas of negotiation through which control, agency and ownership are consolidated and contested, even if it implies opposing omnipotent ruling sovereignties.
172 battlefields of negotiationConclusion
In July 2008, I ventured to Paris, France to visit the Blizzard Worldwide Invitational, a large convention celebrating Blizzard’s computer games and spinoff products. Thousands of Blizzard fans from all over Europe and beyond – a considerable part of which were hardcore World of Warcraft players – gathered in a giant convention centre somewhere on the Parisian outskirts to attend developer Q&A panels, play unreleased games, get the latest scoops, buy merchandise, meet other players and be part of the Blizzard brand community. This particular edition of the Blizzard Worldwide Invitational preceded the release of the World of Warcraft’s Wrath of the Lich King expansion pack (which was playable in demo-form on the convention floor). As a player/researcher, I was both in awe of the scale of fandom present but at the same time felt a certain unease. The following excerpt
comes from a blog post I published soon after the event:
The whole thing started with a giant opening ceremony. The most fascinating part about this ceremony wasn’t that the hosts whipped the crowd into a cheering frenzy for the presence of Blizzard’s “superstars”. That was to be expected. No, it was because these superstars included not only the designers and founders of the company but also the heads of PR, marketing and, yes, even global finance. So here was a crowd of thousands, cheering for those who did not make the games and virtual worlds they adore, but for those whose job it is to make a lot of money out of this love. [...] Most of the crowd didn’t even know these “suits” (I didn’t hear their names being called out due to the deafening music) but cheer they did (Glas 2008).
What this observation illustrates is that the Blizzard Worldwide Invitational is an unabashed celebration of all things Blizzard. I was amazed by the players’ enthusiastic reaction to what constituted the corporate rather than creative part of the game industry. In hindsight, however, I realized that the crowd was, in fact, not just cheering for Blizzard but also for itself.
The reason the crowd’s reaction can be considered self-celebratory has everything to do with the negotiation processes central to this book. By investigating World of Warcraft on the levels of game design, game play, game contract and game culture, I have shown that a traditional dichotomy between the consumer part iv claiming the game and the producer does not convey the complexity of a game of this type. The fact that the game is designed to offer a broad range of different play styles and preferences, ranging from individual play to group play and everything in between, has attracted a wide variety of players, each with their own take on – and stakes in – World of Warcraft. All these players and player groups have different views on the game – what it is, how it should be played and how it should evolve – and these views guide the way they play and play with the game. Blizzard, as I have shown, is an especially powerful stakeholder, too. It has designed World of Warcraft in a very particular way, with both game design and game contracts expressing certain preferred uses through a host of formal affordances and limitations. As a company, it does not shy away from enforcing players to keep within the limits of what it deems acceptable forms of play or appropriation. Players nevertheless find ways to circumvent, deviate from or transgress these dominant uses if they so please. Power over the game therefore does not reside with Blizzard; formally, it might own the game but in reality, all stakeholders involved can (and do) claim the game to be their own. World of Warcraft, then, does not just contain battlefields of negotiation between stakeholders; it can be defined as a battlefield of negotiation itself.
Control, agency and ownership over the game, I argue, do not reside with either the consumer (the players) or the producer (Blizzard) but instead are constantly shifting between them. In other words, World of Warcraft is continuously at stake. Negotiations over what the game is, how it should be played and how it should evolve take form in various configurations of participation. As I have demonstrated throughout this book, these negotiation processes convey both converging and diverging stakes, leading to situations of both cooperation as well as conflict, which convey that power is not always distributed equally. World of Warcraft’s evolution over time results from these negotiation processes; it conveys the constant back and forth between Blizzard and the player community in all its ways and forms.
The fact that players themselves are just as much “owners” of the game as Blizzard, I would argue, is for a large part the reason why the crowd reacted so audaciously during the Paris convention. A game like World of Warcraft is, after all, as much their accomplishment as it is Blizzard’s. It is their play, and the ongoing negotiation thereof, that shapes and defines the game. When, for instance, players feel the dominant strategy of leveling up is too slow, they can powerlevel through the game using walkthroughs, ignoring most of the game’s emergent content by replacing it with a wholly linear experience. Battleground twinkers make shrewd use of the game’s mechanics to dominate other players by fashioning a new, unique way of player-versus-player combat. Explorers put game design flaws to use to show an eager audience what lies beyond Azeroth’s otherwise unscalable virtual mountains, teaching other players how to exploit the game’s design in the process. It is through such processes, and others discussed in this 174 battlefields of negotiation book, that players showcase their tactics to gain or keep control, agency and ownership over and in World of Warcraft – tactics that change the game considerably.
While players display a wide range of practices that ignore, bend or in other ways deviate from World of Warcraft’s design, players nonetheless do not possess direct access to the game’s code or contract. Nor is the game designed to be appropriated and adapted by players in any formal, persistent manner. The power to truly change the game resides solely with Blizzard. Players can negotiate their own particular game experience and, through (individualized) group play, the experience of others. Players, however, have indirect rather than direct influence on World of Warcraft’s formal evolution. To use examples from this study: it is Blizzard, not the players, who at a certain point decided to incorporate more item options for battleground twinking into the game due to its continued popularity.
It was also Blizzard, not the players, who appropriated certain player-created UI mods, making them part of the official UI. It was also Blizzard who, in a reaction to devious exploration machinima, patched the game so that wall-walking practices enabling players to escape the boundaries of the fictional world would no longer be possible. All these examples show Blizzard adjusting the game to prevent it being exploited, or attempting to change it in such a way that it becomes more appealing to the player community (and potential new players). Depending on the stakeholder you ask, the changes mentioned above constitute negative or positive evolutionary steps. Either way, these changes are triggered by players deviating from or transgressing the rules of play – deviations and transgressions which, when accepted through negotiation, become the rules of play themselves.
The concept that World of Warcraft does not only display continuous battlefields of negotiation but should be considered a battlefield of negotiation itself is not just an ontological claim about this particular game or similar titles. The concept of studying these negotiation processes – that is, the what, how and why of a particular media object by its various stakeholders – is easily transferred to other forms of participatory media objects and environments. Battlefields of negotiation contain the struggles that various stakeholders encounter when dealing with a contested space of interaction, struggles that have less to do with consumers vs.
producer dichotomies than they have to do with the stakes these negotiating parties represent in terms of control, agency and ownership.
Looking at negotiation processes by “going native” – becoming an active player and participant in the game’s community – has other benefits for research. Having spent a substantial amount of time playing the game and participating on the many websites surrounding it, I not only became a highly proficient player but, as researcher, I also managed to understand the game and the way it is played in ways not possible without actually playing. Game designer Richard Bartle has pointed out that researchers who play a game to study it eventually reach a point where they “grok” (ie. profoundly and intuitively understand) the game’s conpart iv claiming the game cepts (2010a). He does not, however, consider this process of grokking games as
Study game after game after game, eventually you’ll reach the same point that game designers reach: you’ll merely have to read the manual to know what a game is going to play like. Actually playing it will tell you more, yes, but with swiftly diminishing returns (2010a).

domain: game


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Miss Young's Art Room: How to Draw a Volleyball. Instead of a volleyball, I envision the sections painted with different colors
Barcelona Lionel Messi 2015/16 Season Poster
Because I'm The Coach That's Why T-shirt
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Nike Club Profi Goalkeeper Shirts Maglia da portiere Nike
Sporting Kansas City Girls All Day I Dream About Soccer Tri Blend T-Shirt by adidas
This 16" x 20" poster is perfect for bedroom or dorm walls!
Some designs of a football tenue, i like the polygon one te most.


With nearly 50,000 employees and sales of €17.3 billion, the automotive sector is one of the key industries in Hessen. Certainly the state's most well-known car maker is Opel in Rüsselsheim, which has one of the world's most cutting edge production facilities which outputs 150,000 cars annually. In the Kassel area, both Daimler and Volkswagen have production facilities, as well as the automotive component and logistics center of the entire VW Corporation. Many suppliers, such as Continental, Veritas and Bosch are also located in Hessen.
Companies such as Seat and Ferrari have located their German headquarters in Hessen. The export share of the Hessen automotive branch is more than 60% or €6.4 billion. The direct investment of foreign companies in Hessen is €2.4 billion. Numerous Asian carmakers also have their sales, logistics and R+D centers in Hessen.
Research and development plays a central role for innovation in the automotive branch. It is not surprising that the total R&D expenditure of Hessen's automotive sector totaled €1.4 billion in 2013, roughly one third of total R&D spending in the manufacturing sector.
Numerous international car makers have located their research and development centers in Hessen, for example Honda, Hyundai and Kia in Offenbach, Frankfurt and Rüsselsheim, Isuzu and Brilliance/Shenhua in Ginsheim-Gustavsburg, Mazda in Oberursel and Suzuki in Bensheim.
Numerous automotive companies in Hessen offer a diverse range of jobs and career perspectives. Thanks to the highly-regarded technical universities in Hessen which offer academic programs in engineering, mechanical engineering and process technology, there are certainly enough highly-trained young professionals in the workforce.
More than 1,000 graduates annually complete studies in these disciplines. In addition, Hessen companies in the automotive sector train another 2,500 people annually in company-specific trainee programs and many more are trained at numerous supply companies.


Seagull guitar high action
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EDUCATION SPONSORSHIP PROGRAMME
If there’s one thing that Swami has stressed time and time again, it’s the importance of education – not any kind of education, but the right kind of education. Swami says, “Education must open the eyes and enable them to recognize the One behind the many.“ Unfortunately, the reality for many children living on the edge of poverty in Malaysia, college or tertiary education is an unattainable luxury – a benefit reserved only for those who can afford it. This is why one of the key aims for the past 15 years at Sai Ananda Malaysia was to help underprivileged children further their studies through sponsorship.
Numerous children and youth have benefited from Swamis’ grace this way – through a chance to further their studies and continue serving Him in whatever role or capacity that He has chosen for them. This is an on-going program, whereby sponsorship range from primary school education fees to bachelor degree program fees.
HOW ARE THESE CHILDREN SELECTED FOR THE SPONSORSHIP?
These students are the financially underprivileged Bal Vikas and EHV students of Sai Ananda, Malaysia. Every year, the youth conduct surveys to find out more about the families in need in the vicinity of Batu Caves, Selangor (Malaysia). For many, the situation is bleak. For the past 10 years, It has been a promise to the families of these Bal Vikas students, that for every child that is willing and prepared to do the work, each family will have at least one child who will become Bachelor’s degree holder.
WHAT ARE THE OUTCOMES FROM THIS PROGRAMME?
Through Swami’s blessings and guidance to the youths, no less than 60 students have received a degree in various fields of study through Sai Ananda’s Education Sponsorship Program. As part of this on-going program, the students that have achieved their degree are required to guide their siblings and other Bal Vikas children to reach their higher education goals and aspirations. Further, these students are encouraged and taught to serve the society as part of this program. Although this is not a requirement of the program, many of the youth have continued to serve at Sai Ananda, making use of their talents and skills to educate the younger ones, and to help with the day-to-day administration of the centre.
The students of today are the teachers of tomorrow.

domain: sociology


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Biod.AI.versity Observation & Integration (Bio.AI)
Dr. Jana Waeldchen
Our goal is to simplify, accelerate and increasingly automate global biodiversity monitoring through automated species identification in citizen science projects and remote sensing. Our specifically developed AI technology for species identification provides large amounts of data for this, and targeted science communication additionally contributes to raising public awareness for the protection of biodiversity.
Focus areas of the Bio.AI research group:
The Bio.AI research group combines three focus areas that each complement each other:
- Automated species identification
- Biodiversity monitoring
- Citizen Science/Science communication
Automated species identification
Within this research focus, we develop and use innovative methods of artificial intelligence to automate species identification. As part of our research activities, the Flora Incognita app was developed. To date, the app can identify more than 16.000 wild plants of Central Europe simply by taking photos in the field, resulting in many millions of plant observations including geolocation. By 2022, the app had been installed more than 5 million times.
Building on this successful framework, we are working on the automatic identification of other life forms such as phytoplankton, fungi and butterflies.
Michael Rzanny et al. (2022)
Image-based automated recognition of 31 Poaceae species: The most relevant perspectives
Frontiers in Plant Science,12: 804140. doi: 10.3389/fpls.2021.804140
Roelvan Klink et al. (2022)
Emerging technologies revolutionise insect ecology and monitoring
Trends in Ecology & Evolution. doi: 10.1016/j.tree.2022.06.001
Michael Rzanny et al. (2019)
Flowers, leaves or both? How to obtain suitable images for automated plant identification
Plant Methods 15, 77. doi: 10.1186/s13007-019-0462-4
Susanne Dunker et al. (2018)
Combining high‑throughput imaging flow cytometry and deep learning for efficient species and life‑cycle stage identification of phytoplankton
BMC Ecology 18, 51. doi: 10.1186/s12898-018-0209-5
The Bio.AI research group aims to simplify, accelerate and increasingly automate global biodiversity monitoring. Therefore, in this research area, we are currently focusing on the question of the extent to which automated species identification in combination with Citizen Science and remote sensing can contribute to biodiversity monitoring. The steadily growing number of plant occurrence data via the Flora Incognita app already provides us with important information:
- When and where do which species flower?
- How much do the characteristics of a plant species vary?
- How do the composition of plant communities and the locations of plants change in connection with climate change and the type of underlying land use?
Negin Katal & Michael Rzanny et al. (2023)
Bridging the gap: how to adopt opportunistic plant observations for phenology monitoring.
Bridging the gap: how to adopt opportunistic plant observations for phenology monitoring. Front. Plant Sci. 14:1150956. https://doi.org/10.3389/fpls.2023.1150956
Miguel D. Mahecha et al. (2021)
Crowd-sourced plant occurrence data provide a reliable description of macroecological gradients
Ecography (Editors‘ Choice). doi: 10.1111/ecog.05492
Citizen Science & Science communication
Biodiversity monitoring data are often collected by trained persons, and usually only reach a small temporal and spatial coverage. Another limiting factor is the growing public loss in species knowledge. With the developement of automated species idenfication tools it is now possible that people without any species knowledge can collect biodiversity data. Those rarely follow a strict protocol regarding where, when, and how to record a species - resulting in a set of unstructured data.
Within the Bio.AI research group, we run two Citizen Science projects to collect plant species occurences: The Flora Incognita project, which collects opportunistic plant observations, and the Flora Capture project, where Citizen Scientists record plant findings in a set of predefined perspectives, resulting in a set of structured images.
In order to reach as many people as possible to use our apps and collect plant occurrence data, we invest significant resources into science communication:
- Social Media channels (Twitter, Instagram, Facebook, Youtube)
- Flora Incognita website and blog
- Exhibitions and events (MS Wissenschaft, Long Night of Science)
- Traditional PR like interviews, podcasts, articles
Patrick Mäder et al. (2021)
The Flora Incognita app – Interactive plant species identification
Methods in Ecology and Evolution. 12: 1335– 1342; doi: 10.1111/2041-210X.13611
David Boho et al. (2020)
Flora Capture: a citizen science application for collecting structured plant observations,
BMC Bioinformatics 21, 576; doi:10.1186/s12859-020-03920-9

domain: biology


The sale of Russian Tor-M1 missile system to Iran have generated a
fair bit of hype, but a closer look reveals that the sale is not as big a deal
as some try to make it out to be. While the Russians are selling 29
missile systems, it is not nearly enough to reliably defend all of the key
sites in Iran's nuclear program.
Iranian nuclear program is scattered throughout the country - some around
Tehran, some around Bushehr, some in other locations. In other words, these
launchers will not be bunched up, they will be scattered across Iran. Can the
Tor-M1 cover all of it? Not quite. The reasons are easily discovered when one
looks closely at the system involved.
Tor-M1 - known to NATO as the SA-15 Gauntlet, has a maximum range of 12
kilometers. It is only effective up to 6000 meters altitude. The system was
designed as a successor to the SA-N-8 Gecko. Each launcher carries eight
missiles, and it is claimed to be capable of engaging two targets
simultaneously. The system was designed to be a tactical battlefield
air-defense system, designed to take out close-air-support planes like the A-10
or tactical fighter-bombers like the F-4, F-16, and F-18.
a Tomahawk cruise missile, which goes as fast as 880 kilometers per hour, and
comes in at very low altitudes, the Tor-M1 is a very marginal system. A single
Tor would have 49 seconds at most to engage a Tomahawk if it detects the
missile at its maximum range. That is a pretty big if, as radar performance
declines against low-altitude targets. This assumes the missile will hit. If
the missile misses (not an unthinkable occurrence in some circumstances), then
more have to be fired.
Tomahawks are not an option, then attacking from above the Tor's reach is. Most
American combat planes can easily fly at altitudes above 6000 meters. These
aircraft would have the option of either attacking the Tor systems themselves
(and clearing the road for Tomahawks or combat aircraft to attack the main
target), or going for the main target itself.
could also be neutralized by sending in UAVs or target drones on a flight
profile similar to that flown by combat aircraft or Tomahawk cruise missiles.
This was the technique used in the 1991 Gulf War against the Iraqi air defense
system. The Iraqis fired at the drones, revealing the location of the missile
batteries and drawing very prompt attention from American Wild Weasels. The
Iraqi system was neutralized very quickly.
it comes right down to it, the Iranians have spent some of their petrodollars
to get a missile system that looks good on paper, and which generate media
attention, but ultimately is a false sense of security. The Russians have
managed to make some money, get an export customer, yet these systems will not
be able to deflect a determined attack against the nuclear weapons program. -
Harold C. Hutchison (email@example.com)


text:
Kiwi artist and global traveller Lawrence Arabia presents a cinematic mix in tribute to his current home city of New York.
Below, Lawrence describes his mix ROMANZA in more eloquent terms than we could ever muster, so we will leave it with him.
"Like many travellers, I'm always kind of looking for or expecting a transcendent experience here; one that evokes the New York you imagine in film and in song. Some friends and I went down to Brooklyn Bridge Park the other evening where Patti Smith was reading some poetry and memoirs to a couple of thousand people sitting on the granite steps overlooking the East River, with lower Manhattan looming in the background.
"Not to bang on about it too sentimentally, but the whole experience was intimate, special and sublime, and as the sun went down and the sky went blue and orange and purple and the buildings in silhouette began twinkling with their romantic, yet wasteful, lights, I wanted to block out all the things that made it so gauchely Today - the Instagrams, the overprotective parents, the functional trouser pockets, the Purell - and I wanted to hold onto that feeling for as long as possible.
"As my friends and I walked out towards the Brooklyn Bridge, the illusion still holding, I got the "doo-wop-sh-wop" of The Flamingos in my head and I began piecing together a musical, nocturnal New York where if you squinted your eyes and ears you could really be in that dangerous, adolescent love affair with police sirens doppler-ing a block or two away and a rather half-baked (and possibly insultingly racially sterotypical) character nearby pushing a food cart and summing the whole gosh darn situation up to you in a wise and world weary manner that can't help but make you smile."
You can catch Lawrence on his European tour throughout September and his new album, The Sparrow, is out now on Bella Union.

domain: artistic


text:
One hundred years ago, the photographer Lewis Hine travelled to mills and factories in New England and the South, photographing child labourers. His photographs are among the most haunting images of children ever made. In this exhibition, a beautiful selection of Hine’s child-labour photographs is juxtaposed with stunning contemporary photographs taken by photographer Jason Francisco (Stanford M.F.A., ’89) of those same mill and factory sites as they look now.
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In the news
The site of Emmeline Pankhurst’s statue in Westminster was chosen by her fellow suffragists – there is no reason for it to change
The sculptor has made quietly effective political work in the past. Will he do so again next year?

domain: history


text: I hope you are having a wonderful week so far! It's only three days until Christmas! Today, I wanted to post a new outfit post! This outfit is vintage and whimsical inspired as usual. I really love this dress. I decided to style this dress with golden glitter heels and a white floral headband. I hope that you like this outfit!


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Play 3d adult chat - Men dating young women
We interview the ladies and have gotten to know them.
We will continue to assist both you and them in finding that special person to share a life with.
(REUTERS/Mario Anzuoni) Many men and women are seemingly rejecting those cougar and sugar-daddy stereotypes, as some experts are seeing that a substantial portion of middle-age and older singles are willing to choose partners who are younger than themselves.
On average, men in all societies date younger women.
Age Match is the #1 age gap dating app dedicated to helping develop relationships between older women dating younger men, and older men dating younger women.
EXPERTS SAY THIS IS THE BEST WAY TO FLIRT Celebrities like actor and director Mel Gibson, whose partner Rosalind Ross is 35 years his junior, and director Sam Taylor-Johnson, whose husband, actor Aaron Taylor-Johnson, is 24 years younger than her, apparently agree with that notion.
But what might the real benefits of dating someone younger be?
This taboo makes some of my clients feel shameful about their age preferences.
They think it’s creepy and even put them the same category as pedophiles.On the other hand, many women are most attracted to men in their 30’s, 40’s, and even 50’s.Before I get attacked as somehow being sexist…look at the anecdotal evidence.Older women can experience new and exciting possibilities when they are dating younger men, regaining the confidence that they had during their youth.Older woman can really hold their own in the world, they have their own lives and they know what they want, which can make dating an older woman a lot more fun.Begin by getting a first impression using our high quality pictures and videos on the Photo-Album and reading the Bio provided by each beautiful lady.Tags: Adult Dating, affair dating, sex dating


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Girl In Red, probably the most exciting and talented Norwegian singer-songwriter since Ane Brun, has just released her latest single, 'you stupid bitch', ahead of her upcoming album, 'if i could make it go quiet'. The Scandinavian Indie-Pop sensation Marie Ulven Ringheim, aka Girl In Red, follows up her first single of 2021, 'seratonin', with her latest two weeks before her debut album is due to drop.
Girl In Red has been making her brand of infectious left field pop for a few years now and already has a huge following. Girl In Red released her first single, 'i wanna be your girlfriend' back in 2018 and has since released 17 more, all largely written and recorded from the comfort of her bedroom. Her 2018 track, 'we fell in love in october', has been streamed more than a 160 Million times with the video amassing an incredible 34 Million views.
For her last single, 'seratonin', Marie enlisted the help of Billie Eilish collaborator, and elder brother, Finneas. The five time Grammy Award winner said, "Serotonin is one of the coolest songs I’ve ever heard and I am THRILLED that I got to be a part of it." On her latest track, 'you stupid bitch', Girl In Red joins Matias Tellez (young Dreams) on production.
In a recent interview where Maria talked about her new album she said, "'If I Could Make It Go Quiet' is an attempt to learn what it’s like to be human; to deal with the scariest parts of myself; to live with the pain of knowing I’m only flesh and bones; to be angry, broken and unforgiving yet still able to wear my heart on my sleeve. I’m shedding light on the darkest parts of my mind and I’m letting everyone in. 'If I Could Make It Go Quiet' is me simply trying to understand what the f**K is going on."
The 3m15s of her latest release are certainly more animated and angry than much of her previous output. There is more of an Indie/Rock drive to the new single, more of an impassioned performance and an up front and direct delivery. It's a change from the norm and an exciting deviation for the super talented singer-songwriter.
Girl In Red's debut album, 'if i could make it go quiet', comes out on April 30th.
Nothing reflects the ethos of European football than We Are The People.
We don't think it's too much of a stretch to say that Daddy's Home by St. Vincent will be one of the more memorable albums of the year.
After releasing their latest single, 'Go Long', on the 5th May, BRIDGES are gearing up for the release of their new EP, 'Empty Galleries', and a tour...
These are the greatest songs from Foo Fighters.
It was a very female-centered show at the 2021 Brit Awards.
With a great deal of excitement, a lot of relief and some anxiousness, the biggest night on the UK's musical calendar went ahead as the BRIT's 2021...
Biggy Pop the cockatoo bops along to "UK music".
Asleep In The Back is less claustrophobic than some of Elbow's other material, it doesn't envelope you and wrap you up, there is still wriggle room...
Put down the weight-loss smoothie and indulge in some carbs.
We all need to listen to Billie right now.
As 'normal life' seems to be a few steps closer, as the first experimental music events take place, and as everyone gears up for a summer of...
April 2021 may have been one of the coldest in 60 years, but there were still enough hot releases to warm our hearts and fuel our fires.
The Weeknd, DaBaby, Pop Smoke and Gabby Barrett land multiple nominations.
As a new, vital, immediate and pivotal era in music was just about to break, AC/DC signed a record deal that would see them launch their incredible...
A birth certificate blunder of epic proportions.


Apple introduces new 9.7 inch iPad with Apple Pencil support
Apple Education Event
"Apple today updated its most popular iPad with support for Apple Pencil plus even greater performance, starting at RRP A$469 inc. GST. The new 9.7-inch iPad and Apple Pencil give users the ability to be even more creative and productive, from sketching ideas and jotting down handwritten notes to marking up screenshots. The new iPad is more versatile and capable than ever, features a large Retina display, the A10 Fusion chip and advanced sensors that help deliver immersive augmented reality, and provides unmatched portability, ease of use and all-day battery life."


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Dorothy Eugenie Brett’s oil on board painting titled Jemez Corn Dance was created in 1967. She creates a depiction of the ceremonial corn dance— a prayer for rain and growth needed to ensure a successful harvest—through the use of oil paints in a two-dimensional format. The piece embodies the rhythmic motions of the dancers and evokes feelings of both liveliness and serenity. The vibrant color scheme, use of lines, and arrangement of details all serve to create its purpose.
Dancers caught in motion flow down the center of the piece, covered in white body paint with thick black horizontal lines running across their bodies. Most of these lines are diagonal due to their curved body movements. These dancers, also called Koshares or clowns, look similar to zebras and are believed to represent ancestral spirits to promote growth and fertility. They are bare-chested, dressed in nothing but red cloths that resemble a type of skirt wrapped around their waists with string. Black designs are drawn onto their whitewashed faces, including rings around their eyes and v-shaped marking on both their foreheads and chins. Behind them are two banners, one white and one red, crossing one another to make an X. This banner separates them from another group of Koshares dancing off in the distance, this time dressed in blue cloths. On both the left and right sides of the painting, crowds of dancing people are gathered around the Koshares, facing forward with somber faces, never making eye contact with them. They appear to be holding green leaves wrapped in blue ribbon and rattles for making sound. Those on the left are dressed in blue clothing while those on the right are dressed in yellow. Located on both the bottom left and right corners of the painting are drum players who appear to be leading the way of the ceremony. From the traditional style of dress— such as the moccasins and headdresses —as well as the numerous props used throughout the piece—such as the rattles— one can assume that the people are Indians.
The painting includes a mixture of both warm and cool tones. The color scheme represents nature, which is essential for the production of crops. The blues represent the desire of water and the sky from which it falls, which is necessary for the growth of corn. The greens represent products of nature such as plants, and the yellows represent the sun and its warmth, also necessary for a successful harvest.
The vibrancy of the oil paints serves to represent the liveliness of the corn dance ceremony, yet the cooler tones and the expressionless faces both give a feeling of calmness as well. The paint blends smoothly on the canvas without creating a harsh transition from one color to the next. Brett has used quick, short strokes to create the leaves within the surrounding crowds as well as the fox tails peeking out from behind the Koshares.
There is a repetition of implied lines used throughout the artwork. Diagonal lines can be found in the surrounding crowds of dancers on each side of the Koshares, as well as within the Koshares’ own movements. These lines imply movement and direction, helping to give the feeling that the crowd is moving along to beating of the drums. Brett also incorporates curved lines into the artwork which represent the natural curvature of the human body and depict the motions of the dance. Depending upon the moves, the arms are either straight or curved, extending up to the sky as well as to the ground.
Brett creates an element of symmetry helping to keep the painting balanced. She achieves this by keeping the direction and placement of the surrounding crowds similar. The crowds move forward in orderly rows of twos, threes, or singles. If the row of people on one side is heavily slanted, Brett balances the opposite side by making that row heavily slanted as well. There is also a similarity in facial expressions. Depending upon the row, the faces are painted with eyes open looking off in the direction that they appear to be going, or painted with their eyes closed. She paints this in repetition with the first row having their eyes open, the second row with their eyes closed, the third row with eyes open, and so on. This helps to set rhythm within the piece.
The Koshares are a major element of the piece, as they appear to jump out in front of the surrounding dancers. Their white bodies contrast heavily with the red hues of their garments, helping to bring them into focus against the rest of the painting.
When looking at the painting, our eyes naturally focus on the Koshare leading the rest of the group. Brett appears to make this the focal point by placing him/her in the middle of the painting, body facing completely forward. He/she appears larger in stature than the rest of the crowd, and when compared to the color of the garments on the other Koshares his/her color red is the brightest and most vibrant. The horizontal lines painted on his/her body give a sense of stagnancy versus the feeling of movement given from the surrounding diagonal lines.
Dorothy Brett brings the ceremonial Jemez corn dance to life, carefully capturing both the movements involved and the underlying motives for the performance. Its intense burst of color and composition reflects the energetic atmosphere of the ceremony as well as its rhythm.
- Fergusson, Erna. Dancing Gods: Indian Ceremonials of New Mexico and Arizona. New York, NY: A.A. Knopf, 1931.


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Take a look at our favourite reads of 2022 – a haunting Aussie novel, a collection of books exploring Western farming practices, a heartbreaking memoir, a political page-turner, a reflection on fatherhood and more.
Take a look at what we’ve read in November – a gripping Aussie crime, a Miles Franklin winner, a mental health anthology and more!
Take a look at what we’ve read in October – a local debut, a nuanced literary novel, a book of poems for the internet age, and a collection of stories inspired by Paul Kelly songs.
Take a look at what we’ve read in September – a complex thriller, a meditation on grief, an addictive page-turner, a piece on Antarctic moss, a book of essays and more!
Take a look at what we’ve read in August – a compelling ode to Sarajevo, a contemplative literary novel, a new voice in Aussie crime, a haunting short story, a middle grade adventure and more!
Take a look at what we’ve read in July – a middle grade First Nations story, a postmodern reimagining of a classic, a book told from a painting’s perspective and more!
Take a look at the great things we’ve listened to in May
With the Sydney Writers’ Festival a couple weeks away, the Writing NSW staff share the events they are most looking forward to. Have a read to discover what to keep an eye out for!
Take a look at the great things we’ve read in April — a heartbreaking memoir, a graphic novel, an array of articles on how Australian arts is supported and more!


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domain: medical


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Beauty & Beast is a Toy Theatre unlike any other.
The toy theatre is presented in a deluxe folder with 10 cards to cut out with drop scenes, actors and puppets. All accompanied by a 24pp A5 booklet, that contains an introduction, assembly instructions, a full play script by poet Olivia McCannon, and to finish, an original song with music by Paul Sartin, and lyrics by Olivia McCannon.
It features an all-star list of contributors, Illustrated by Clive Hicks-Jenkins, model design by David W Slack, words and lyrics by Olivia McCannon, and additional music by composer and songwriter, Paul Sartin.
It is published in a limited edition of 600 copies, and a stunning production, 25 x 23 cm on quality uncoated card, and proudly printed in England, keeping it local.
Animation courtesy of Clive Hicks-Jenkins and David W. Slack


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The intercontinental ballistic missile was launched from submerged position in the White Sea early on Friday morning and hit its target on the Kura firing range on the Kamchatka Peninsula, Interfax reports, citing a source in the Russian Defense Ministry.
The missile launch seen from the control tower at Alta airport Friday morning. (Photo: Terje Abrahamsen)
At 05.45 Norwegian time people in Northern Norway could see a strange light phenomenon in the sky to the north-east, Nordlys reports.
- We saw a light to the northeast on the sky which zigzagged and went up and down. We could see a spurt of flame and assumed it was a Russian missile, one of the eyewitnesses tells Nordlys.
In December 2009, a failed Bulava-launch created a giant spiral shaped light that could be seen in the eastern sky from large parts of Northern Norway for several minutes. The incident triggered speculations on UFOs, black holes and HAARP weapons.
“Yury Dolgoruky” is planned to be taken into service in the Pacific Fleet within the end of the year. Today’s launch was the submarine’s third in less than six months. The first was conducted in June and the second in August, as BarentsObserver reported. There will be two more missile launches before the submarine is handed over to the navy, Utro.ru reports.
“Yury Dolgoruky” is Russia’s first Borey class submarine and started sea trials in the White Sea in 2010. It is designed to carry the nuclear-capable Bulava intercontinental missile, which the Kremlin hopes to make the cornerstone of its arsenal over the next decade.
No Bulava-launch for first serial submarine in 2011 The next submarine in the Borey-class, “Aleksander Nevski”, is currently undergoing sea trials in the White Sea. This sub is also planned to be sent to the Pacific Fleet. After “Yury Dolgoruky“’s successful launch in June, navy commander Admiral Vladimir Vysotsky said that also “Aleksander Nevsky” would conduct a Bulava test launch within the end of 2011.
The information has now been rejected by the Russian Navy, who says that the submarine will start test-launching Bulava missiles only next summer, ITAR-TASS reports.

domain: news


Camera phones are now so prevalent that when something happens, there's a good chance it'll be captured from multiple angles. That was the case in a spectacular car explosion in Colorado Springs yesterday. A vehicle, rear-ended near Highway 115 and Cheyenne Mountain Boulevard, was already aflame when a secondary blast from oxygen canisters in the trunk erupted, causing one videographer to proclaim, "That was fricking insane," as if censoring himself for when the footage ran on the news. And that's just video number one. See both below.
Here's the fricking insane snippet, shot by Jacob Curnow and shared by 7News. Things get even more fiery in the opening seconds:
And here's the same sequence of events as captured by a YouTube user who goes by ThatOneMusicGuy79. The second explosion takes place just after the 45 second mark:
And now, just as you'd expect, here's a video that cuts both sequences together:
We Believe Local Journalism is Critical to the Life of a City
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The fallout? 7News reports that Joshua Morgan, driver of the vehicle that did the rear-ending, was busted on suspicion of driving under the influence of drugs, while the man in the car ahead of him is said to have broken a vertabrae as a result of being slammed. However, none of the emergency personnel responding to the scene were hurt.
More from our Videos archive: "Videos: What the hail? See the pounding storms gave much (but not all) of Denver metro."


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Chocolate Cherry Mice
Serve up sweet treats and smiles with Chocolate Cherry Mice. Warning: Friends and family may think they’re too cute to eat!
These Merry Mice are a fun no-bake treat to add to your holiday cookie tin or tray, requiring just 4 ingredients and a dip in melted chocolate!
Here are the ingredients you’ll need:
- Stemmed Maraschino Cherries
- Hershey’s Kisses
- Chocolate Chips, semi-sweet or bittersweet and white
- Sliced Almonds
- Drain your cherries and blot them as dry as possible with a paper towel.
- Unwrap your kisses and pair up similarly-sized almond slices for ears.
- Melt your chocolate chips according to the package directions.
Microwaves vary, so start with 50% power in 30 second bursts,
repeating and stirring until melted, to prevent scorched chocolate.
Alternatively you can use candy melts / wafers or almond bark for dipping.
- Hold the cherry by the stem and dip in melted chocolate to cover completely, letting the excess chocolate drip back into your bowl.
- Place dipped cherry on a piece of parchment paper.
- Place the flat bottom of a chocolate kiss to the rounded bottom of dipped cherry.
- Hold briefly until kiss adheres, then position 2 almond slices for ears, while the chocolate is still warm.
When chocolate kiss has set, paint on mouse eyes and nose with a dab of melted white chocolate, using a wooden skewer or toothpick.
I already had the white chocolate chips but you could use white decorating gel to pipe on nose and eyes if you prefer.
You can serve or gift these Merry Mice in mini cupcake liners or
let your mice run amok in your tin of holiday treats. :)
The cookie tin is also filled with No Bake Peanut Butter-Chocolate Swirl Bars. Easy and irresistible!
You can find 20+ recipes to bake your spirits bright and make your holidays extra sweet, HERE. You’ll also find some easy no-bake treats and food gift ideas too!
Chocolate Cherry Mice
- 1 cup chocolate chips or candy coating disks from 1 [10-oz.] pkg., such as Ghirardelli Dark Chocolate Flavored Melting Wafers
- 20 stemmed maraschino cherries from 2 [10-oz.] jars, blotted dry
- 20 milk chocolate kisses such as Hershey's Kisses
- 40 almond slices
- 1/4 cup white chocolate chips , melted
- Line a baking sheet with parchment paper; set aside. Microwave chocolate chips in a small microwavable bowl on 50% power until melted and smooth, 60 to 90 seconds, stirring every 30 seconds to prevent chocolate from scorching.
- Working with 1 cherry at a time, hold by the stem and dip in melted chocolate, covering completely; let excess chocolate drip back into bowl. Use a spoon if need to spoon chocolate over cherry to cover.
- Place covered cherry on parchment lined sheet. While chocolate is warm, attach flat bottom of 1 chocolate kiss to rounded bottom of dipped cherry to create mouse head; hold together for about 10 seconds. Position 2 almond slices for ears, between the cherry and chocolate kiss, while chocolate is still warm.
- Repeat process with remaining ingredients. Allow to set, about 20 minutes.
- To create mouse eyes and nose, dip end of wooden skewer or toothpick into melted white chocolate to dab on eyes and nose.
- Store, covered, in refrigerator until ready to gift and serve.
- Lay out almonds and unwrap kisses in advance to work quickly while chocolate is warm.
- If chocolate becomes firm while working, reheat on 50% power until melted again.
- Alternatively use white decorating gel to pipe on features if you prefer.
- Serve in miniature muffin papers if desired.

domain: food


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Underage drinkers can easily buy booze in New York City, according to the findings of an undercover investigation into liquor sales at grocery stores, pharmacies and other retail outlets.
Underage decoys were able to buy alcoholic beverages in more than half of the 911 stores sampled during the six-month probe last year, officials with the city Department of Health and Mental Hygiene said Sunday.
The outlets that sold alcohol to the decoys represent about 10 percent of all the stores with liquor licenses in the five boroughs.
Retailers charged with underage sales of alcohol face civil penalties of up to $10,000 per violation, with fines starting at $2,500 for a first offense, according to the authority. Repeat offenders could lose their licenses.
The city health department intends to send letters to all stores in the city licensed to sell beer, wine or liquor requesting that they help reduce underage drinking by checking customer IDs.


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A semi-smooth Newton method for the optimal control of the heat equation with pointwise state inequality constraints (with V. Akcelik et al.), preprint.
 A fast and high order method for the three-dimensional elastic wave scattering problem (with F. Bu and F. Reitich ), submitted. [pdf]
 Resonances of a finite one-dimensional photonic crystal with a defect (with F. Santosa), SIAM J. Appl. Math., 73 (2013), 1002-1019. [pdf]
 Near-field imaging of the surface displacement on an infinite ground plane (with G. Bao), Inverse Probl. Imag., 2 (2013), 377-396. [pdf]
 Imaging of reflective surfaces by near-field optics (with G. Bao), Opt. Lett., 37 (2012), 5027-5029. [pdf]
 Mode matching for the electromagnetic scattering from three dimensional large cavities (with G. Bao, J. Gao, and W. Zhang), IEEE Trans. Antennas Propag., 60 (2012), 2004-2010. [pdf]
 Imaging of local surface displacement on an infinite ground plane: the multiple frequency case (with G. Bao), SIAM J. Appl. Math., 71 (2011), 1733-1752. [pdf]
 An inverse source problem with multiple frequency data (with G. Bao and F. Triki), Comptes Rendus Mathematique, 349 (2011), 855-859. [pdf]
 Numerical solution of the inverse source problem for the Helmholtz equation with multiple frequency data (with G. Bao and F. Triki), Contemp. Math., AMS, 548 (2011), 45-60. [pdf]
 A multi-frequency inverse source problem (with G. Bao and F. Triki), J. Differential Equations, 249 (2010), 3443-3465. [pdf]
 A level set method to reconstruct the interface of discontinuity in conductivity (with W. Chen, J. Cheng, and L. Wang,), Sci. China Ser. A, 52 (2009), 29-44. [pdf]
 A uniqueness result and image reconstruction of the orthotropic conductivity in magnetic resonance electrical impedance tomography, J. Inverse Ill-posed Problems, 16 (2008), 381-396. [pdf]
 Stable determination of a boundary coefficient in an elliptic equation (with J. Cheng and M. Choulli), Math. Mod. Meth. Appl. Sci. (M3AS), 18 (2008), 107-123. [pdf]
Work in preparation
Numerical reconstruction of electromagnetic inclusions in three dimensions (with G. Bao and S. Mefire).

domain: literature


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Petite Tiered Lace Pencil Skirt
Out of Stock
- Sits below the waist.
- Grosgrain ribbon finishes the waistband.
- Hidden side zip with hook-and-eye closure.
- Fully lined.
- 100% cotton. Hand wash, cold. Imported.
- Regular: approximately 18” in length at center back.
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Don’t bother wearing a belt.
Latest on The Tango
This is how it begins. In time the answer will be to remove humanity from the equation.
Morgan Freeman halted his Lifetime Achievement Award speech at Sunday's 24th annual Screen Actors Guild (SAG) Awards to call out a chatty guest in the front row. The veteran actor, who was honored for a lifetime of successful movies including Invictus and The Shawshank Redemption, took to the stage at the Shrine Auditorium in Los […]
Atlanta is dealing with some snow on the roads. Well, it’s trying to.
Beware of today’s Daily Dose!
How it feels returning to work after the weekend:
A visual artist has accused Katy Perry of stealing his work to use on the cover of her single Chained to the Rhythm. London-based designer Dom Sebastian was browsing Spotify when he noticed striking similarities between artwork promoting the Hot Chip remix of Katy’s track and a piece from his 2012 ‘Holographic Melt’ series. Dom […]
He may not know what this board is, but he does know that it’s fun!
Lorde was "blitzed" at a party in Australia when she heard she'd snagged an album of the year Grammy nomination. The Royals singer admits she had convinced herself she wouldn't score a nod for music's big night and tried to forget all about the nominations ceremony back in November. "I was at a massive party," […]
Things that were awesome in the 80’s and 90’s.

domain: entertainment


text:
Xiao lab members
Xiangshu Xiao, Ph.D.
Xiangshu received his B.S. from then Beijing Medical University (now Peking University Health Science Center). He then joined a master graduate program at Shanghai Institute of Materia Medica in Chinese Academy of Sciences. In 2001, he joined Purdue University as a Ph.D. student. He was a postdoctoral fellow at UT Southwestern Medical Center from 2005-2007 and joined OHSU faculty in 2007.Link to CV
Bingbing Li, M.D., Ph.D.
Bingbing got her M.D. in 1998 from Henan Medical University, Zhengzhou, China. Realizing her great interest in basic research, she went to Shanghai Medical College of Fudan University to pursue a Master degree in Genetics. In 2002, she was accepted into the genetics graduate program at Purdue University in 2002 and joined Don Ready lab in 2003. Her thesis was to study the function of MyoV in Drosophila eye development (rhabdomere development) and photoreceptor pigment granule movement. Inspired by the book "Racing to the Beginning of the Road: The Search for the Origin of Cancer" by Bob Weinberg, she got interested in cancer research. So she joined Xianghsu Xiao's lab and has been working on the pharmacology and mechanism of action of novel anti-cancer compounds. She has two daughters and all her free time is theirs. Still she tries to find time to read all kinds of books.
Jiangling Peng, Ph.D.
Jiangling Peng obtained his B.S. Degree in Chemistry from Hunan Normal University, China in 2008 and his Ph.D. Degree in Medicinal Chemistry from Guangzhou Institute of biomedicine and health (GIBH), University of Chinese Academy of Sciences in 2014. He joined Dr. Xiao's group at OHSU in 2015 as a postdoc. He is working on the project of CREB.
Qianli Meng, Ph.D.
Qianli completed his undergraduate studies in 2011 with a B.S degree obtained from Anhui Normal University, China. After that, he entered the doctoral program at Louisiana State University, USA. In Prof. M. Graca H. Vicente and Prof. Kevin M. Smith's research group, Qianli completed his dissertation research on synthesis, analysis and applications of near-IR boron dipyrromethene (BODIPY) fluorophores. He was awarded a Ph.D. degree in 2017, and then he moved to Portland to join Prof. Xiao's research group as a postdoctoral scholar at Oregon Health and Science University. His current research focuses on synthesis of various small-molecule lamin inhibitors.
Weiliang Chen, Ph.D.
Weiliang Chen obtained his B.S. in 2010 from Sichuan University. He received his Ph.D. degree in Sichuan University with a major in Organic Chemistry in 2015. Weiliang studied on total synthesis and drug discovery in Prof. Tius group at the University of Hawaii from Nov 2016 to Oct 2017. Weiliang joined Xiao's group at OHSU in Dec. 2016. He is working on developing inhibitors of CREB.
Hannah Sanford-Crane, M.Sc.
Audrey Dannar, BA
Audrey received her B.A. from Reed College, Portland, OR in May 2017. Her thesis studied photochromic DASA dimers with a focus on synthetic and physical chemistry. Audrey worked at the Reed Research Reactor as a senior reactor operator throughout her time at Reed, and conducted research in the analytical chemistry laboratory. Audrey joined the Xiao lab in June 2017 as an organic chemist and works synthesizing small molecule lamin modulators. Audrey enjoys biking to work and her favorite hobbies are reading and taking care of her houseplants and garden.

domain: chemistry


text:
Hey there, time traveller!
This article was published 16/3/2014 (1248 days ago), so information in it may no longer be current.
DUKE Ellington, the famous bandleader whose career spanned close to six decades, was a complex man who presented a deliberate image of himself to the public.
Biographer and Wall Street Journal drama critic Terry Teachout looks behind the dual facade in his new book Duke: A Life of Duke Ellington (Gotham Books, $31.50).
He calls Ellington "a riddle without an answer, an unknowable man who hid behind a high wall of ornate utterances and flowery compliments that grew higher as he grew older."
It was more than just pride that kept Ellington from admitting flaws, of which he had a few, from serial womanizing to hogging credit from collaborators. He felt he represented African-Americans and had to maintain a near-godlike public image to keep detractors from using his mistakes to denigrate all black people.
Ellington was a mighty force in jazz (even though he didn't like the name itself because he considered it low-class and restrictive, giving a negative image to African-Americans).
Yet his bands, full of stellar musicians over the years, made so much beautiful music labelled as jazz.
Not everything Ellington touched turned to gold. Yet his acknowledged list of masterpieces, including In a Sentimental Mood, Mood Indigo and Reminiscing in Tempo, had a broader reach than anyone else's.
Chalk that up to talent, longevity and his own definition of good luck: "being at the right place at the right time, doing the right things before the right people."
However, understanding the deeply religious man who could create such great music while stealing credit for similar achievements by his celebrated collaborator Billy Strayhorn and other musicians, even as Ellington manager Irving Mills was taking credit for the Duke's work, is not an easy task.
"He talked not to explain himself but to conceal himself," writes Teachout, also the author of Pops: A Life of Louis Armstrong. "Everyone knows him -- yet no one knows him. That was the way he wanted it."
Ellington rode many waves of popularity -- and the resulting troughs -- through a career that began with his professional debut in 1917 and ended shortly before his death in 1974, at 75.
He sometimes had to resort to smaller groups, but he mostly kept a big band going (even when he couldn't afford it), paid his musicians top dollar and did all he could to protect them when touring in the racist South.
His relationship with composer (Take the A Train) and arranger Billy Strayhorn was both beneficial and turbulent. Ellington took credit for some of Strayhorn's work and relied on him immensely.
Strayhorn accepted it for the most part because as a gay man in the '40s and '50s, it was easier for him to live his life within the security of the Ellington organization.
Eventually, Strayhorn's resentment got the better of him, causing a deep rift between the two men and causing Strayhorn to become a problem drinker.
Ellington was probably a genius and, like many a genius, he found it difficult to admit his faults. You have to weigh those flaws against the man's contributions to the musical world.
"If anyone doubts that he still matters, one need only look at the way in which America's cultural institutions now treat him," Teachout writes.
In 1987 Jazz at Lincoln Center co-founder Wynton Marsalis placed Ellington's music at the heart of its programming. The next year the Smithsonian Institution acquired his musical manuscripts and personal papers. In 1981, Sophisticated Ladies, a revue based on the Duke's songs, gave him the Broadway success that eluded him in life. And in 1999 he was posthumously awarded the Pulitzer Prize after earlier being deprived of it.
"Everyone knows him -- yet no one knows him. That was the way he wanted it," Teachout writes.
But we have the music (look in any jazz lover's collection) and we can still savour the image of the suave, sophisticated man at the piano, leading bands with some of the best musicians we'll ever hear.

domain: library


text:
Little is known about the impact of myelodysplastic syndromes (MDS) on the quality of life (QOL) of those living with the disease.
The purpose of this qualitative study was to explore this phenomenon.
Seventy patients with MDS participated in five focus groups conducted throughout the United States. Transcripts from recordings of focus group sessions were coded and emerging themes identified using thematic analysis.
Findings revealed a multifaceted description of how MDS affects QOL. MDS was found to cause a substantial and sustained decrease in ability to function. QOL was adversely affected by work expended on managing the disease. The emotional impact was often viewed as more problematic than the physical impact; emotional reactions included shock, anger, depression, and anxiety. In contrast, spiritual well-being was often enhanced, with a renewed appreciation for life, relationships, and faith.
Data from this study suggest that MDS has a substantial, often negative impact on patients' lives and clinicians should be cognizant of this impact. Attention must be directed at providing more comprehensive support for the patient throughout the illness trajectory.
The method of subject recruitment may have limited participation to individuals who are more proactive in obtaining information about their illness. The focus groups convened only once; thus, purposive sampling and repeated assessments were not possible.