text:
Sports Birthdays for July 26 — Dorothy Hamill and More
Here are some of the people in the sports world celebrating birthdays on July 26:
Bob Lilly
Age: 73
Profession: Retired NFL Player
Best Known For: An 11-time Pro Bowl defensive tackle, Bob Lilly was one of the best defensive linemen in NFL history. He played from 1961 to 1974 with the Dallas Cowboys. Lilly was named to the NFL's 75th Anniversary All-Time Team and was a member of the Dallas team that won Super Bowl VI . Lilly was inducted into the Pro Football Hall of Fame in 1980.
Dorothy Hamill
Age: 56
Profession: Retired Figure Skater
Best Known For: With a signature bob haircut that became an American fad in the 1970s, Dorothy Hamill won the gold medal in figure skating at the 1976 Winter Olympics in Innsbruck, Austria. She also won the 1976 World and U.S. championships to sweep the three most prized skating competitions. Hamill invented the Hamill Camel — a camel spin that turns into a sit spin. Decades later Hamill is still "America's Sweetheart' and a much beloved sports personality.
Jeff Blatnick
Age: 55
Profession: Retired Olympic Wreslter
Best Known For: After recovering from the removal of his spleen and appendix due to Hodgkin's lymphoma, Jeff Blatnick won the gold medal in the super heavyweight class of Greco-Roman wrestling at the 1984 Summer Olympics in Los Angeles. Prior to his Olympic feat, Blatnick won NCAA Division II heavyweight wrestling championships in 1978 and 1979 while at Springfield College in Massachusetts. He later served as a broadcast analyst for Ultimate Fighting Championships matches.
Joe Smith
Age: 37
Profession: NBA Player
Best Known For: The first overall pick of the 1995 NBA Draft, Joe Smith has played with a record-tying 12 NBA teams during his long career. After being named College Player of the Year at Maryland in 1995, Smith was chosen first by the Golden State Warriors and later named to the 1995–96 All-Rookie Team.
Delonte West
Age: 29
Profession: NBA Player
Best Known For: A sometimes lethal outside shooter, Delonte West has played shooting guard for the Boston Celtics, Seattle SuperSonics, Cleveland Cavaliers and Dallas Mavericks since 2004. While in college at St. Joseph's, West teamed with point guard Jameer Nelson to lead the Hawks to a 30-2 record and an appearance in the NCAA Elite Eight. In 2009, West was arrested on weapons charges after police found him in possession of three high-powered guns during a traffic stop. West plead guilty and was sentenced to electronic monitoring, community service and psychological counseling.


text:
this is a discussion within the Saints Community Forum; ROOM TO GROW The Saints likely won't be big players in free agency, but a list of veterans and free agents will be pared as the new staff fits players to its philosophy and frees money for draft picks. Thursday, ...
|Thread Tools
|Display Modes
500th Post
Join Date: Apr 2005
Location: new orleans
Posts: 584
The Saints likely won't be big players in free agency, but a list of veterans and free agents will be pared as the new staff fits players to its philosophy and frees money for draft picks.
Thursday, March 02, 2006
By Mike Triplett
Staff writer
Whether or not the NFL's players and owners agree on an 11th-hour extension to the collective bargaining agreement, the Saints' short-term plans won't change drastically.
The Saints were not preparing to make much of a splash in free agency, with much of the starting lineup under contract.
They are $8.3 million under the current $92 million salary cap almost exactly in the middle of the NFL pack so they won't need to hold the kind of fire sale that could take place around the league before the free-agency period begins Friday.
But the Saints do need to put aside enough cash for the pricey No. 2 overall pick in next month's draft.
General Manager Mickey Loomis said last week that the team will waive some players currently under contract. But that will be based more on the evaluations of the new coaching staff than on financial desperation.
"Even though we're at the midpoint and we're generally OK relative to the league, we've still got some issues," Loomis said. "We've got some maneuvering to do in order to re-sign the guys we'd like to re-sign and attract an impact free agent or two into our program. We don't have the ability to go out there and start signing four, five, six, seven guys. Not too many teams have that kind of room available.
"I think this year's a real squeeze for all the teams in general, because there is no CBA extension at this point."
Loomis and Saints coach Sean Payton declined to speak about individual players, but several veterans may be released in the next few days or months because of their salaries and pending roster bonuses.
At the top of that list is quarterback Aaron Brooks, who is expected to be traded or released after being benched at the end of last season. Brooks is due $6.25 million in salary this year, plus a $250,000 workout bonus.
Brooks has two years left on his contract and would still cost nearly $4 million against the Saints' salary cap this year if released. But his cap number is nearly $8.5 million if he stays.
Other veterans who may be on the hot seat include:
-- Offensive linemen Jermane Mayberry ($770,000 salary, reportedly due a roster bonus of $2.1 million); Kendyl Jacox ($1.825 million salary and $225,000 in bonuses); and Wayne Gandy ($4 million salary).
-- Defensive backs Fred Thomas ($1.9 million salary and $1 million in bonuses), Jason Craft ($1 million salary) and Jay Bellamy ($850,000 salary).
-- Defensive lineman Brian Young ($1.95 million salary).
-- Tight end Ernie Conwell ($1.6 million salary).
-- Quarterback Todd Bouman ($700,000 salary and $325,000 in bonuses).
-- Tailback Aaron Stecker ($1 million salary).
The Saints also have a list of 16 unrestricted free agents they must consider. The only two high-profile names on the list are center LeCharles Bentley and defensive end Darren Howard, both of whom are expected to sign elsewhere.
The other 14 are mostly second-tier players, led by return specialist Michael Lewis, cornerback Fakhir Brown, linebackers Sedrick Hodge, James Allen and Ronald McKinnon and defensive tackle Willie Whitehead.
Loomis said he expects more roster turnover than usual because of the new coaching staff.
They spent the past month reviewing film, evaluating and discussing last year's roster. But they don't know each player as well as the previous staff.
"Of our unrestricted list, I think that our coaching staff liked a number of those guys and would like to have at least the opportunity to coach those guys. So we're going to make an effort to sign a number of those guys," Loomis said. "I don't know if I could put a number on it. Obviously, there's some guys that don't fit the program, but there's a number of guys who do, and they're good contributors, good people, good teammates."
As for outside free agents, the Saints likely won't pursue many big names. As of right now, an interior offensive lineman and one or two starting-caliber linebackers are the top priorities.
But depending on which players the Saints decide to re-sign or let go, they will need to replace them in free agency.
For example, if the Saints decide to part ways with Brown, Thomas or Craft, then a starting-caliber cornerback will become a top priority. If they decide to let Brooks and Bouman go, they likely will pursue a veteran quarterback who can come in and start.
The same goes for the offensive line and the defensive tackles, among other positions.
Lewis is a particularly interesting free agent because he has been so popular in New Orleans for so long. The 34-year-old missed most of last season with a torn ACL, but if the Saints don't re-sign him, they need to find an impact return specialist.
Loomis said he is not sure how the condition of New Orleans will affect the Saints' ability to attract free agents. He was encouraged by the positive response the team received from head-coaching and assistant-coaching candidates.
But in the open market for players, the Saints might need to pay more money than other teams to push them over the edge.
"I've spoken (to agents) somewhat. I wouldn't say it's been real positive so far, but it's not been overwhelmingly negative, either," Loomis said. "But if we have to overpay every guy in order for them to come to New Orleans, then we're at a competitive disadvantage."
Loomis said the league has not instituted any special incentives for free agents to sign with the Saints, although they have discussed ways to aid the team in free agency or the draft.
BALL UP FOR 49ERS JOB: Saints senior football administrator Russ Ball interviewed for the San Francisco 49ers' president of football operations job this week. He is considered a leading candidate for the job.
The 49ers were high on Seattle vice president Mike Reinfeldt, but he removed himself from consideration two weeks ago.
Ball has been a top executive in the Saints' personnel department for four years. His primary duties include contract negotiations and salary cap management. He also took part in the Saints' recent head coaching interview process.
. . . . . . .
Mike Triplett can be reached at firstname.lastname@example.com or at (504) 826-3405.
|Latest Blogs
Terrence Williams future threat option for Neworleans Saints? Last Blog: 02-18-2019 By: joker-saint
2019 Saints Roster Outlook Offseason Needs Last Blog: 02-01-2019 By: jeanpierre
2018 New Orleans Saints: Roster Outlook Last Blog: 01-25-2019 By: jeanpierre
|Thread Tools
|Display Modes
Linear Mode

subset: commoncrawl


text:
If you are experiencing difficulties logging in, creating an account or placing an order, call in the United States, 1-866-213-3373 or 414-466-6060, Monday through Friday 8am-4:30pm Central Time and ask for John Deere Bookstore help. You can also contact us through our online Help System after logging in.
Search for a product by the machine model number or use the links provided on the top menu of your screen to access required information.
All information shipped to you is produced on a custom per order basis and cannot be returned. Review our return policies.


text:
Drive Open to Public, Could Help Save Lives
Mandi Schwartz Marrow Donor Registration Drive at Yale
Part of the "Get in the Game. Save a Life." Program for the Be The Match Registry®
- Thursday, Apr. 19, 2012
- 10:00 a.m. to 4:00 p.m.
- Yale University Commons, 168 Grove Street (corner of College Street and Grove Street), New Haven, Conn. (Directions)
- Open to the general public
- No advance registration required
- Facebook event page: http://www.facebook.com/#!/events/391725170851352/
- Be The Match Registry® page: http://www.bethematchfoundation.org/goto/mandi
NEW HAVEN, Conn. – In its first three years, the Mandi Schwartz Marrow Donor Registration Drive at Yale has added nearly 2,500 people to the Be The Match Registry® and located at least six genetic matches for patients with life-threatening illnesses in need of transplants. This Thursday at Commons, Yale hopes to keep adding to those numbers. The football, women's ice hockey and field hockey teams are once again leading the drive, which is named in memory of women's ice hockey player Mandi Schwartz '10 (Wilcox, Sask.) (1988-2011) and her courageous battle with cancer.
The Mandi Schwartz Marrow Donor Registration Drive at Yale, which is part of the nationwide "Get in the Game. Save a Life." campaign for the Be The Match Registry®, will be held on Thursday, Apr. 19 from 10 a.m. to 4 p.m. at Yale's Commons on the corner of College Street and Grove Street in New Haven. It is open to the general public. Donors that could help save lives are located through testing that consists of simple cheek swabs.
Yale Athletics has held drives each of the past three springs, ever since Mandi was first diagnosed with cancer (acute myeloid leukemia) in December of 2008. Among the six confirmed matches found through Yale's record-setting drives is junior field hockey player Lexy Adams (Lancaster, Pa.), who donated to a patient with cancer in December 2010.
Yale's drives were led by the football team and women's ice hockey team each of the first two years. Last year, the field hockey team began assisting those two teams with the drive. The members of each team have two straightforward tasks:
- Team members are spreading the word about the need for donors to their classmates, friends and relatives.
- On the day of the drive, team members will volunteer at the various stations set up to assist potential donors with the registration process.
In addition to the three Yale teams, the drive is also scheduled to include appearances by Yale's live bulldog mascot, Handsome Dan, and Yale's costumed mascot, Boola. Food will be served.
Mandi's story has been one of the driving forces behind the success of the Yale drives. In September 2010 she required a stem cell transplant that was designed to give her a new immune system using two anonymously donated units of umbilical cord blood. A biopsy in December 2010 indicated that she had relapsed, and she passed away at home in Saskatchewan on Apr. 3, 2011 at the age of 23.
Mandi's plight shed further light on the needs of cancer patients everywhere, and the value of marrow donation. Every year, thousands of people of all ages are diagnosed with leukemia and other life-threatening diseases. Many of them will die unless they get a marrow or umbilical cord blood transplant from a matching donor. Seventy percent of people do not have a donor in their family and depend on the Be The Match Registry® to find a genetic match to save their life.
To join the Be The Match Registry®, a person must be between the ages of 18 and 60, meet certain health guidelines and be willing to donate to any patient in need. The donor test consists of simple cheek swabs and will only take approximately 15 minutes.
Those who registered at previous drives are already in the registry, so there is no need for them to be registered again. Yale is seeking to add as many NEW potential donors as possible, so those who registered at previous drives are asked to find friends and relatives who have not registered and encourage them to take part in this year's drive.
Yale's drives are part of the "Get in the Game. Save a Life." program, which started in 1992 at Villanova under the guidance of head football coach Andy Talley. That program, involving college athletic teams organizing drives on their campuses, has resulted in tens of thousands of potential donors being tested. Larry Ciotti, an assistant football coach at Yale and former head coach at Hand High School in Madison, Conn., is a friend of Talley's and brought the idea to Yale.
Talley recently partnered with the Be The Match Registry® to take his efforts to the national level. He has received commitments from dozens of college football programs. In each of the past three years, Yale has registered more potential donors than any other school in the program.
Yale's year-by-year performance:
- 704 registrants in 2009, and at least three donors so far
- 921 registrants in 2010, and at least one donor so far
- 869 registrants in 2011, and at least two donors so far
There are now more than 9.5 million people and nearly 165,000 umbilical cord blood units in the Be The Match Registry®, the largest and most racially and ethnically diverse registry of its kind in the world. Since the registry began operations in 1987, it has facilitated more than 50,000 transplants to give patients a second chance at life. Today, it facilitates more than 5,500 transplants a year.
Those interested in helping with the Mandi Schwartz Marrow Donor Registration Drive at Yale can contact Larry Ciotti with the Yale football team at email@example.com or (203) 671-9805.
Mandi Schwartz Marrow Donor Registration Drive at Yale:
- Directions to Yale University's Commons
- 2011 Drive:
Huge Turnout Again; Mandi Schwartz Drive Adds Nearly 900 to Be The Match Registry
- 2010 Drive:
Bulldogs Do It Again! More than 900 Register for Life-Saving Marrow Donor Test, Setting Another Record
- 2009 Drive:
Marrow Donor Testing Drive a Huge Success; Estimates Put Record-Breaking Participation at More than 700
Be The Match Registry®:
- Be The Match Registry® page: http://www.bethematchfoundation.org/goto/mandi
- Be The Match Registry® Website: www.bethematch.org
- Myths and facts about marrow donation: http://www.marrow.org/JOIN/Myths_%26_Facts_about_Marrow_Don/index.html
- Medical Guidelines for Potential Donors: http://www.marrow.org/JOIN/Med_Guidelines_Join/index.html
Mandi Schwartz:
- AOL News: Yale Athlete's Plight Gives Another Chance to Save Life
- More information: http://www.yalebulldogs.com/mandi
Report by Sam Rubin '95 (email@example.com), Yale Sports Publicity


text: On the way to Fennel Valley and the Battle Pyramid, Ash and friends stop for lunch. After they are done eating, Aipom tries to show Ash the flowers it gathered, but when Pikachu jumps on Ash's shoulder, Aipom gets jealous, grabs Ash's hat, and runs off. Ash, Pikachu, and Brock run off after it and wind up in a village where people are stretching. A boy named Hank explains that they are about to compete in a contest to decide who will be the king of their village for the next year. As the contest begins, Aipom comes by, takes the crown, and runs off into the woods, and everyone gives chase. In the woods Aipom puts the crown on and it gets stuck to her head! Now Ash must catch up with Aipom and remove the crown before the people of the village or Team Rocket get a hold of it!


text:
While you get psyched for the XPoNential Fest this weekend, check out some of these awesome shows happening tonight:
A hot new band from Chicago who call themselves Gold Motel have been playing together for three years creating vivacious indie pop sounds perfect for your summer playlist. Tonight they play at North Star Bar along with local singer/songwriter Lucy Stone, as well as Tailain Rayne and Dark Black. Tickets to this all ages show are $10, doors open at 7pm. Listen to Gold Motel's song "Leave You in Love" below.
The new dream pop project from Andy Molholt, Laser Background, is having its self-titled EP release party at Kung Fu Necktie tonight. Laser Background takes pieces from zooming laser sound effects to jazzy percussion to vocal tracks resembling Echo & The Bunnymen. Watch his video for "Weird Conscience" below. Supporting acts tonight include Arrah & The Ferns and Circadian Rhythms. This 21+ show is only $5 and starts at 8pm. Go here to get your tickets.
Over at World Cafe Live at the Queen, WXPN welcomes Grammy award winning brothers from New Orleans, the Rebirth Brass Band. The heavy funk group has also just announced that they will be going on tour with the Red Hot Chili Peppers starting in November. You can purchase tickets to their show in Wilmington tonight here.
At World Cafe Live Upstairs, singer/songwriter Mindy Smith's Closer Tour stops by, with an opening set from Rosi Golan. The show begins at 8pm, tickets are $18 in advanced and $20 day of show.
- Categorized Under:


text:
Summer is almost here and it's time to enjoy the outdoors! I love this outdoor game table that would be great for kids and adults.
This table is interchangeable for different games. You can play checkers, chess or even relax by yourself and play leapfrog solitaire. What a fun accessory for the back yard!


text:
Dozens of government workers in the East Bay are rushing to retire before Friday to avoid new rules that ban the practice of spiking pensions with unused leave time.
At least 85 Contra Costa County workers, including firefighters, Public Works officials and the county's chief planner, plan to jump ship in the coming days. Alameda County executives have not revealed how many they expect to go, but Sheriff Greg Ahern said four lieutenants, two sergeants and six deputies have already left his department and more will come forward soon.
"It has a huge impact for us," Ahern said. "They all felt they had more time to give the agency. This will impact us in overtime and replacing their institutional knowledge."
All are fleeing new rules imposed by Assembly Bill 197, a 2012 state law that ends the common practice of fattening pensions with unused vacation and other leave time.
For years, the Contra Costa County Employees' Retirement Association and the Alameda County Employees' Retirement Association allowed retiring workers to boost their annual pensions with "terminal pay" — a final cashing out of unused time.
The formula used to calculate how much retirees get in their public pension checks is based on the salaries workers make before they retire, but the final one-time payout inflated pension income by as much as 15 percent in Contra Costa County and a smaller amount in Alameda County.
AB197 banned that practice, but unions sued to stop it from being implemented. The unions argued that their workers had been led to believe they would get the higher pensions and that the new rules violated their contractual, vested rights.
Contra Costa Superior Judge David Flinn ruled in May that pension-spiking was always illegal and pension boards must follow the new state law, regardless of what the workers were told. The ruling affects workers whose retirements are managed by county-level boards in Alameda, Contra Costa and Merced counties, but the new policy has been delayed as the unions appeal.
On Monday, however, a state appeals court denied an attempt to block Flinn's ruling from being enforced as the appeals case proceeds. That means Thursday is the last day of work for anyone who wants to retire under the old system.
East Bay agencies are bracing themselves, though neither county expects a devastating loss of workers.
"When the new pension laws went into effect, back at the end of 2012, it was anticipated we would have a mass exodus," said Donna Ziegler, Alameda County's top lawyer. "It proved to be not as large a number as would be anticipated at the time."
Some who wanted to get out before the ban have retired over the past year, lessening the sudden impact, Ziegler said. How many will leave next week is unknown, she said. Alameda County pension board executive Vincent Brown could not be reached for comment.
In Contra Costa County, 85 of its workers informed managers before the Fourth of July holiday that they planned to retire, and more are expected to announce soon, said County Administrator David Twa.
"It's manageable. We have 9,500 employees. The question is, of course, which ones retire," Twa said.
One hard-hit department is Public Works, where many of the people who negotiate leases are retiring. Also expected to leave is Catherine Kutsuris, who directs Contra Costa County's Department of Conservation and Development. Kutsuris did not return multiple requests for comment.
Alameda County's sheriff said he is losing a top explosives expert with "decades of experience in that field."
"He's kind of broken up about leaving," Ahern said. "By leaving he would make the same amount of money retired as he would working."


text:
KA-BAR TDI Law Enforcement Folding Knife
KA-BAR TDI Law Enforcement Folding Knife
Ka-Bar Knives introduced the TDI Law Enforcement series years ago and they have been adding to it through the years. The TDI knives are designed as last-ditch weapons to be carried in one's boot or belt. These new models are the first folders in the series. We like the series and respect the design and intent of these weapons. These new models are certain to be useful and well made.
They can be seen at www.knifecenter.com
Here is the information from Ka-Bar Knives: Continue Reading


text:
Red Thai salmon curry
Prep: 5 mins Cook: 10 mins
Make this as spicy as you like and experiment with different veg. It will soon become a last minute favourite
Nutrition and extra info
- Easily doubled / halved
Nutrition: per serving
- kcal326
- fat22g
- saturates9g
- carbs5g
- sugars4g
- fibre2g
- protein27g
- salt0.46g
Save to My Good Food
- 1 tsp vegetable or sunflower oil
Sunflower oil
A variety of oils can be used for baking. Sunflower is the one we use most often at Good Food as…
- 1 tbsp Thai red curry paste
- 1 onion, sliced
Onions are endlessly versatile and an essential ingredient in countless recipes. Native to Asia…
- 250ml reduced-fat coconut milk
Coconut milkko-ko-nut mill-k
Coconut milk is not the slightly opaque liquid that flows from a freshly opened coconut –…
- 500g skinless salmon fillet, cut into chunks
- 200g pack trimmed green bean
- coriander or basil, to serve
Heat the oil in a large pan, then add the curry paste. Stir in the onion, then cook gently for about 5 mins until softened. Pour in the coconut milk and bring to the boil. Reduce to a simmer, then add the salmon chunks and beans.
Leave to gently simmer for 5 mins until the fish flakes easily and the beans are tender. Scatter with the coriander or basil, and serve with plain rice.
Recipe Tip
Curry pasteThai curry paste can vary from fairly mild to very hot, depending on the brand. If you're using an authentic Thai brand, add 1 tsp first, then add more to taste.
You may also like
Comments, questions and tips
22nd May, 2016
I made this dish tonight for three of us and thoroughly enjoyed it. It's so simple to whip up and does't involve too much thought which is always my favourite sort of recipe! If I was to make it again I would alter the quantities slightly. I felt 200g of beans is too much so I would perhaps include half of this and maybe add a handful of some mange tout to add some variety. I also think the beans should go in a bit before the salmon as they were a little too al dente for my liking (personal preference). All in all a good recipe!
21st Jan, 2016
I found this recipe really helpful although everyone tends to find a way to 'tweek' it to their liking. I used this recipe although I used garlic and onion sizzling it in 1tbsp oil then added the red curry paste. Stirred it for several minutes, added the coconut milk and then added 2tsp ground curry, lemon juice, salt and black pepper to enhance the flavor but it was still bitter/bland. So the trick was to add 1 1/2 tbsp honey and it turned out semi-spicy, semi-sweet with the rest of the salmon cooking in low heat. Then I added chopped green onion and red peppers. It turned out really delicious!
27th Mar, 2015
I'm not sure how this is supposed to serve 4 as I used 250ml of full fat coconut milk with large handfuls of green beans, sugarsnap peas & baby sweetcorn, and 2 fillets of salmon. Even cooking the salmon separately by steaming it, By the time everything was cooked I only had enough to serve 2 moderate portions despite cooking the salmon separately. However it was delicious, I softened the onions for 10 minutes first then added a teaspoon of minced ginger and a large chopped garlic clove, then added a teaspoon of curry paste. Then once the coconut milk was simmering I added another teaspoon of paste to get the right amount of spice & flavour. Agree with people saying it needs a generous amount of lime juice! I also added some big splashes of light soy because I had no fish sauce. Yum.
21st Jan, 2015
A lot of reviewers said they thought this was bland but if you use reduced fat coconut milk and any old curry paste its going to be, well....bland. Lot of misconceptions about coconut milk, but its actually an important part of the paleo diet. Not in the reduced fat form though which is full of additives like guar gum. Use the full fat coconut milk, let it settle in the can and scoop off the top part to use in the curry, only add water if it needs it. If you want a really authentic curry paste you can buy the mythaicurry pastes online and they are superb. I love to use the little Thai pea aubergines in this but hard to find.
29th Aug, 2014
I've done this with salmon and chicken now. The salmon was my first attempt which was okay (the salmon was beautiful) but the second attempt with chicken was amazing! I used minced ginger, garlic and chilli flakes after frying the finely diced onions before adding the red thai paste, I think it added more depth and flavour to the paste. I added babycorn as I didn't think green beans was enough the first time then added the coconut milk and chicken. I added coriander a few minutes to the end of the pan and served with brown rice. I let my coconut milk reduce down which allowed time to cook the chicken thoroughly, I prefer it reduced so there isn't too much sauce. Will definitely be making this with either salmon or chicken in the future, it was lovely! It definitely needs seasoning though, for those saying it is bland it all relies on the thai paste but adding the extra ginger, garlic and chilli gives it a better flavour profile but still relies on the paste for overall taste.


text:
Abandoned And Forgotten Plants
Posted on February 28, 2012 by
РЕДАКЦИЯCopyright © 2006-2018 English
Russia The popular
blog about 1/6 part-
of the land.
Welcome and
stay comforted.
Главная контораCopyright © 2013 English-
Russia All the materials on this-
site are submitted by the read--
ers trough feedback form or-
acqulred thru the open sources-
like, but not limited to-
blogs.2leep.com, flickr.com etc


text:
UNEXPECTED TREASURE—Yard sales and garage sales are great locales for picking up items that can be sold or repurposed for home. The key is doing a little research. (Courtesy of TheWellOrganizedWoman.com)
by Michaela L. Duckett
For New Pittsburgh Courier
It's heating up outside. The warmer weather brings opportunities to enjoy many activities including baseball, picnics, beach time and, of course, garage sales. People are purging what they no longer need or want, and it's the ideal opportunity to turn their trash into your treasure.
With the explosive popularity of TV shows about unearthing historic memorabilia and valuable pieces of Americana, searching for knick-knacks and artifacts that make one-of-a-kind home decor has become a more popular pastime. But how do you know the difference between treasure and trash?
Larry Singleton, decor manager at Cracker Barrel Old Country Store Inc., is an expert when it comes to collecting historic relics. Singleton and his family have been collecting for more than 40 years, providing real American artifacts, memorabilia and signage to the more than 600 Cracker Barrel locations nationwide.
He recommends treasure-seekers to search for items that appeal to their interests, such as vintage advertisements, folk art or toys.
"When you have a personal interest in the item you're seeking, the hunt becomes that much more fun," he said.
He also says it's important to do your research.
"Familiarize yourself with what makes a piece authentic and what might indicate a reproduction," he said. "Research and learn as much as you can before you shop. Watch TV shows, search on the Internet and visit local collectors' stores. Discovering what's valuable and knowing what's currently in demand helps guide you in making that 'big discovery.'"
He also suggests keeping your phone handy to conduct on-the-spot research on similar items to compare prices and make sure you're getting the best deal.
Singleton said it's also important to find out the story behind each item.
"While some items might have plenty of monetary value, other historic relics might be valuable simply because of the story they tell," he said.
Perhaps you're not looking for treasures to sell but to take home. Historic artifacts and memorabilia can also yield pieces of decor that are more than just pretty but also serve as conversation pieces when guests visit your home.
From outdated odds and ends to forgotten furniture, there is a wealth of worthy items just waiting to be found, re-imagined and re-purposed. Here are a couple of tips on turning garage sale bargains into treasure:
Pretty in paint
Rusty metal, chipped paint and colors from another decade are all common sights for the garage sale shopper. But when you look beyond these imperfections —and at their spray paint potential—you'll soon find some diamonds in the rough.
Metal products such as tables, chairs, garden tools or even watering cans can receive an easy and instant update with spray paint, which is available in a variety of colors and finishes. Some offer rust protection. Others dry in less than 10 minutes so you won't have to worry about grass, leaves or other particles getting stuck in your fresh coat of paint.
Turn bland wood chairs, dusty and drab dressers or awful accessories into amazing furniture or accents with bold or bright and basic hues;
New uses for old things
The key to finding items at garage sales is to look at how they can be used in new and different ways. Don't view that dusty, broken typewriter or vintage camera as mechanical pieces you have to fix, but rather as interesting design elements to be admired on bookshelves and mantels.
Even old books can add a level of sophistication to your home. Grab a handful in coordinating colors to stack on a dresser or end table for instant eye appeal. Buy an old ladder and prop it against the wall to drape blankets. You can even spray paint an old coffee mug rack to create a fabulous jewelry organizer to hang all your favorite accessories. The possibilities are endless.
Follow @NewPghCourier on Twitter https://twitter.com/NewPghCourier
Like us at https://www.facebook.com/pages/New-Pittsburgh-Courier/143866755628836?ref=hl
Download our mobile app at http://www.appshopper.com/news/new-pittsburgh-courier


text:
Malcolm Gladwell. Unul dintre ganditorii si autorii mei preferati!
N-o sa spun ca daca nu l-ati citit pe Gladwell este ca si cum n-ati fi citit nimic, dar o sa spun ca, daca nu i-ati citit articolele si cartile, ati pierdut foarte mult. Dar, nu-i nimic, niciodata nu e prea tarziu! :)
Pentru ca articolul de mai jos este unul care va ajuta sa intelegeti mai bine cu ce ma ocup si ce vreau sa transmit prin intermediul acestui blog si pentru ca articolul nu exista tradus in limba romana, am hotarat sa il postez in forma lui originala, importat chiar de pe site-ul lui Gladwell. Cititi-l! Merita!
P.S. Cartile lui Malcolm Gladwell au fost traduse in limba romana de catre Editura Publica
August 5, 2002
Can you read people's thoughts
just by looking at them?
Some years ago, John Yarbrough was working patrol for the Los Angeles County Sheriff's Department. It was about two in the morning. He and his partner were in the Willowbrook section of South Central Los Angeles, and they pulled over a sports car. "Dark, nighttime, average stop," Yarbrough recalls. "Patrol for me was like going hunting. At that time of night in the area I was working, there was a lot of criminal activity, and hardly anyone had a driver's license. Almost everyone had something intoxicating in the car. We stopped drunk drivers all the time. You're hunting for guns or lots of dope, or suspects wanted for major things. You look at someone and you get an instinctive reaction. And the longer you've been working the stronger that instinctive reaction is."
Yarbrough was driving, and in a two-man patrol car the procedure is for the driver to make the approach and the officer on the passenger side to provide backup. He opened the door and stepped out onto the street, walking toward the vehicle with his weapon drawn. Suddenly, a man jumped out of the passenger side and pointed a gun directly at him. The two of them froze, separated by no more than a few yards. "There was a tree behind him, to his right," Yarbrough recalls. "He was about seventeen. He had the gun in his right hand. He was on the curb side. I was on the other side, facing him. It was just a matter of who was going to shoot first. I remember it clear as day. But for some reason I didn't shoot him." Yarbrough is an ex-marine with close-cropped graying hair and a small mustache, and he speaks in measured tones. "Is he a danger? Sure. He's standing there with a gun, and what person in his right mind does that facing a uniformed armed policeman? If you looked at it logically, I should have shot him. But logic had nothing to do with it. Something just didn't feel right. It was a gut reaction not to shoot-- a hunch that at that exact moment he was not an imminent threat to me." So Yarbrough stopped, and, sure enough, so did the kid. He pointed a gun at an armed policeman on a dark street in South Central L.A., and then backed down.
Yarbrough retired last year from the sheriff's department after almost thirty years, sixteen of which were in homicide. He now lives in western Arizona, in a small, immaculate house overlooking the Colorado River, with pictures of John Wayne, Charles Bronson, Clint Eastwood, and Dale Earnhardt on the wall. He has a policeman's watchfulness: while he listens to you, his eyes alight on your face, and then they follow your hands, if you move them, and the areas to your immediate left and right-- and then back again, in a steady cycle. He grew up in an affluent household in the San Fernando Valley, the son of two doctors, and he is intensely analytical: he is the sort to take a problem and break it down, working it over slowly and patiently in his mind, and the incident in Willowbrook is one of those problems. Policemen shoot people who point guns directly at them at two in the morning. But something he saw held him back, something that ninety-nine people out of a hundred wouldn't have seen.
Many years later, Yarbrough met with a team of psychologists who were conducting training sessions for law enforcement. They sat beside him in a darkened room and showed him a series of videotapes of people who were either lying or telling the truth. He had to say who was doing what. One tape showed people talking about their views on the death penalty and on smoking in public. Another featured a series of nurses who were all talking about a nature film they were supposedly watching, even though some of them were actually watching grisly documentary footage about burn victims and amputees. It may sound as if the tests should have been easy, because we all think we can tell whether someone is lying. But these were not the obvious fibs of a child, or the prevarications of people whose habits and tendencies we know well. These were strangers who were motivated to deceive, and the task of spotting the liars turns out to be fantastically difficult. There is just too much information--words, intonation, gestures, eyes, mouth--and it is impossible to know how the various cues should be weighted, or how to put them all together, and in any case it's all happening so quickly that you can't even follow what you think you ought to follow. The tests have been given to policemen, customs officers, judges, trial lawyers, and psychotherapists, as well as to officers from the F.B.I., the C.I.A., the D.E.A., and the Bureau of Alcohol, Tobacco, and Firearms-- people one would have thought would be good at spotting lies. On average, they score fifty per cent, which is to say that they would have done just as well if they hadn't watched the tapes at all and just guessed. But every now and again-- roughly one time in a thousand--someone scores off the charts. A Texas Ranger named David Maxwell did extremely well, for example, as did an ex-A.T.F. agent named J.J. Newberry, a few therapists, an arbitrator, a vice cop-- and John Yarbrough, which suggests that what happened in Willowbrook may have been more than a fluke or a lucky guess. Something in our faces signals whether we're going to shoot, say, or whether we're lying about the film we just saw. Most of us aren't very good at spotting it. But a handful of people are virtuosos. What do they see that we miss?
All of us, a thousand times a day, read faces. When someone says "I love you," we look into that person's eyes to judge his or her sincerity. When we meet someone new, we often pick up on subtle signals, so that, even though he or she may have talked in a normal and friendly manner, afterward we say, "I don't think he liked me," or "I don't think she's very happy." We easily parse complex distinctions in facial expression. If you saw me grinning, for example, with my eyes twinkling, you'd say I was amused. But that's not the only way we interpret a smile. If you saw me nod and smile exaggeratedly, with the corners of my lips tightened, you would take it that I had been teased and was responding sarcastically. If I made eye contact with someone, gave a small smile and then looked down and averted my gaze, you would think I was flirting. If I followed a remark with an abrupt smile and then nodded, or tilted my head sideways, you might conclude that I had just said something a little harsh, and wanted to take the edge off it. You wouldn't need to hear anything I was saying in order to reach these conclusions. The face is such an extraordinarily efficient instrument of communication that there must be rules that govern the way we interpret facial expressions. But what are those rules? And are they the same for everyone?
In the nineteen-sixties, a young San Francisco psychologist named Paul Ekman began to study facial expression, and he discovered that no one knew the answers to those questions. Ekman went to see Margaret Mead, climbing the stairs to her tower office at the American Museum of Natural History. He had an idea. What if he travelled around the world to find out whether people from different cultures agreed on the meaning of different facial expressions? Mead, he recalls, "looked at me as if I were crazy." Like most social scientists of her day, she believed that expression was culturally determined-- that we simply used our faces according to a set of learned social conventions. Charles Darwin had discussed the face in his later writings; in his 1872 book, "The Expression of the Emotions in Man and Animals," he argued that all mammals show emotion reliably in their faces. But in the nineteen-sixties academic psychologists were more interested in motivation and cognition than in emotion or its expression. Ekman was undaunted; he began travelling to places like Japan, Brazil, and Argentina, carrying photographs of men and women making a variety of distinctive faces. Everywhere he went, people agreed on what those expressions meant. But what if people in the developed world had all picked up the same cultural rules from watching the same movies and television shows? So Ekman set out again, this time making his way through the jungles of Papua New Guinea, to the most remote villages, and he found that the tribesmen there had no problem interpreting the expressions, either. This may not sound like much of a breakthrough. But in the scientific climate of the time it was a revelation. Ekman had established that expressions were the universal products of evolution. There were fundamental lessons to be learned from the face, if you knew where to look.
Paul Ekman is now in his sixties. He is clean-shaven, with closely set eyes and thick, prominent eyebrows, and although he is of medium build, he seems much larger than he is: there is something stubborn and substantial in his demeanor. He grew up in Newark, the son of a pediatrician, and entered the University of Chicago at fifteen. He speaks deliberately: before he laughs, he pauses slightly, as if waiting for permission. He is the sort to make lists, and number his arguments. His academic writing has an orderly logic to it; by the end of an Ekman essay, each stray objection and problem has been gathered up and catalogued. In the mid-sixties, Ekman set up a lab in a ramshackle Victorian house at the University of California at San Francisco, where he holds a professorship. If the face was part of a physiological system, he reasoned, the system could be learned. He set out to teach himself. He treated the face as an adventurer would a foreign land, exploring its every crevice and contour. He assembled a videotape library of people's facial expressions, which soon filled three rooms in his lab, and studied them to the point where he could look at a face and pick up a flicker of emotion that might last no more than a fraction of a second. Ekman created the lying tests. He filmed the nurses talking about the movie they were watching and the movie they weren't watching. Working with Maureen O'Sullivan, a psychologist from the University of San Francisco, and other colleagues, he located people who had a reputation for being uncannily perceptive, and put them to the test, and that's how Yarbrough and the other high-scorers were identified. O'Sullivan and Ekman call this study of gifted face readers the Diogenes Project, after the Greek philosopher of antiquity who used to wander around Athens with a lantern, peering into people's faces as he searched for an honest man. Ekman has taken the most vaporous of sensations-- the hunch you have about someone else-- and sought to give them definition. Most of us don't trust our hunches, because we don't know where they came from. We think they can't be explained. But what if they can?
Paul Ekman got his start in the face-reading business because of a man named Silvan Tomkins, and Silvan Tomkins may have been the best face reader there ever was. Tomkins was from Philadelphia, the son of a dentist from Russia. He was short, and slightly thick around the middle, with a wild mane of white hair and huge black plastic-rimmed glasses. He taught psychology at Princeton and Rutgers, and was the author of "Affect, Imagery, Consciousness," a four-volume work so dense that its readers were evenly divided between those who understood it and thought it was brilliant and those who did not understand it and thought it was brilliant. He was a legendary talker. At the end of a cocktail party, fifteen people would sit, rapt, at Tomkins's feet, and someone would say, "One more question!" and they would all sit there for another hour and a half, as Tomkins held forth on, say, comic books, a television sitcom, the biology of emotion, his problem with Kant, and his enthusiasm for the latest fad diets, all enfolded into one extended riff. During the Depression, in the midst of his doctoral studies at Harvard, he worked as a handicapper for a horse-racing syndicate, and was so successful that he lived lavishly on Manhattan's Upper East Side. At the track, where he sat in the stands for hours, staring at the horses through binoculars, he was known as the Professor. "He had a system for predicting how a horse would do based on what horse was on either side of him, based on their emotional relationship," Ekman said. If a male horse, for instance, had lost to a mare in his first or second year, he would be ruined if he went to the gate with a mare next to him in the lineup. (Or something like that-- no one really knew for certain.) Tomkins felt that emotion was the code to life, and that with enough attention to particulars the code could be cracked. He thought this about the horses, and, more important, he thought this about the human face.
Tomkins, it was said, could walk into a post office, go over to the "Wanted" posters, and, just by looking at mug shots, tell you what crimes the various fugitives had committed. "He would watch the show "To Tell the Truth,' and without fault he could always pick the person who was lying and who his confederates were," his son, Mark, recalls. "He actually wrote the producer at one point to say it was too easy, and the man invited him to come to New York, go backstage, and show his stuff." Virginia Demos, who teaches psychology at Harvard, recalls having long conversations with Tomkins. "We would sit and talk on the phone, and he would turn the sound down as Jesse Jackson was talking to Michael Dukakis, at the Democratic National Convention. And he would read the faces and give his predictions on what would happen. It was profound."
Ekman's most memorable encounter with Tomkins took place in the late sixties. Ekman had just tracked down a hundred thousand feet of film that had been shot by the virologist Carleton Gajdusek in the remote jungles of Papua New Guinea. Some of the footage was of a tribe called the South Fore, who were a peaceful and friendly people. The rest was of the Kukukuku, who were hostile and murderous and who had a homosexual ritual where pre-adolescent boys were required to serve as courtesans for the male elders of the tribe. Ekman was still working on the problem of whether human facial expressions were universal, and the Gajdusek film was invaluable. For six months, Ekman and his collaborator, Wallace Friesen, sorted through the footage. They cut extraneous scenes, focussing just on closeups of the faces of the tribesmen, and when the editing was finished Ekman called in Tomkins.
The two men, protégé and mentor, sat at the back of the room, as faces flickered across the screen. Ekman had told Tomkins nothing about the tribes involved; all identifying context had been edited out. Tomkins looked on intently, peering through his glasses. At the end, he went up to the screen and pointed to the faces of the South Fore. "These are a sweet, gentle people, very indulgent, very peaceful," he said. Then he pointed to the faces of the Kukukuku. "This other group is violent, and there is lots of evidence to suggest homosexuality." Even today, a third of a century later, Ekman cannot get over what Tomkins did. "My God! I vividly remember saying, "Silvan, how on earth are you doing that?' " Ekman recalls. "And he went up to the screen and, while we played the film backward, in slow motion, he pointed out the particular bulges and wrinkles in the face that he was using to make his judgment. That's when I realized, "I've got to unpack the face.' It was a gold mine of information that everyone had ignored. This guy could see it, and if he could see it, maybe everyone else could, too."
Ekman and Friesen decided that they needed to create a taxonomy of facial expressions, so day after day they sat across from each other and began to make every conceivable face they could. Soon, though, they realized that their efforts weren't enough. "I met an anthropologist, Wade Seaford, told him what I was doing, and he said, 'Do you have this movement?'" --and here Ekman contracted what's called the triangularis, which is the muscle that depresses the corners of the lips, forming an arc of distaste-- "and it wasn't in my system, because I had never seen it before. I had built a system not on what the face can do but on what I had seen. I was devastated. So I came back and said, 'I've got to learn the anatomy.' " Friesen and Ekman then combed through medical textbooks that outlined each of the facial muscles, and identified every distinct muscular movement that the face could make. There were forty-three such movements. Ekman and Friesen called them "action units." Then they sat across from each other again, and began manipulating each action unit in turn, first locating the muscle in their mind and then concentrating on isolating it, watching each other closely as they did, checking their movements in a mirror, making notes of how the wrinkle patterns on their faces would change with each muscle movement, and videotaping the movement for their records. On the few occasions when they couldn't make a particular movement, they went next door to the U.C.S.F. anatomy department, where a surgeon they knew would stick them with a needle and electrically stimulate the recalcitrant muscle. "That wasn't pleasant at all," Ekman recalls. When each of those action units had been mastered, Ekman and Friesen began working action units in combination, layering one movement on top of another. The entire process took seven years. "There are three hundred combinations of two muscles," Ekman says. "If you add in a third, you get over four thousand. We took it up to five muscles, which is over ten thousand visible facial configurations." Most of those ten thousand facial expressions don't mean anything, of course. They are the kind of nonsense faces that children make. But, by working through each action-unit combination, Ekman and Friesen identified about three thousand that did seem to mean something, until they had catalogued the essential repertoire of human emotion.
On a recent afternoon, Ekman sat in his office at U.C.S.F., in what is known as the Human Interaction Laboratory, a standard academic's lair of books and files, with photographs of his two heroes, Tomkins and Darwin, on the wall. He leaned forward slightly, placing his hands on his knees, and began running through the action-unit configurations he had learned so long ago. "Everybody can do action unit four," he began. He lowered his brow, using his depressor glabellae, depressor supercilli, and corrugator. "Almost everyone can do A.U. nine." He wrinkled his nose, using his levator labii superioris, alaeque nasi. "Everybody can do five." He contracted his levator palpebrae superioris, raising his upper eyelid.
I was trying to follow along with him, and he looked up at me. "You've got a very good five," he said generously. "The more deeply set your eyes are, the harder it is to see the five. Then there's seven." He squinted. "Twelve." He flashed a smile, activating the zygomatic major. The inner parts of his eyebrows shot up. "That's A.U. ---- distress, anguish." Then he used his frontalis, pars lateralis, to raise the outer half of his eyebrows. "That's A.U. two. It's also very hard, but it's worthless. It's not part of anything except Kabuki theatre. Twenty-three is one of my favorites. It's the narrowing of the red margin of the lips. Very reliable anger sign. It's very hard to do voluntarily." He narrowed his lips. "Moving one ear at a time is still the hardest thing to do. I have to really concentrate. It takes everything I've got." He laughed. "This is something my daughter always wanted me to do for her friends. Here we go." He wiggled his left ear, then his right ear. Ekman does not appear to have a particularly expressive face. He has the demeanor of a psychoanalyst, watchful and impassive, and his ability to transform his face so easily and quickly was astonishing. "There is one I can't do," he went on. "It's A.U. thirty-nine. Fortunately, one of my postdocs can do it. A.U. thirty-eight is dilating the nostrils. Thirty-nine is the opposite. It's the muscle that pulls them down." He shook his head and looked at me again. "Oooh! You've got a fantastic thirty-nine. That's one of the best I've ever seen. It's genetic. There should be other members of your family who have this heretofore unknown talent. You've got it, you've got it." He laughed again. "You're in a position to flash it at people. See, you should try that in a singles bar!"
Ekman then began to layer one action unit on top of another, in order to compose the more complicated facial expressions that we generally recognize as emotions. Happiness, for instance, is essentially A.U. six and twelve-- contracting the muscles that raise the cheek (orbicularis oculi, pars orbitalis) in combination with the zygomatic major, which pulls up the corners of the lips. Fear is A.U. one, two and four, or, more fully, one, two, four, five, and twenty, with or without action units twenty-five, twenty-six, or twenty-seven. That is: the inner brow raiser (frontalis, pars medialis) plus the outer brow raiser (frontalis, pars lateralis) plus the brow-lowering depressor supercilli plus the levator palpebrae superioris (which raises the upper lid), plus the risorius (which stretches the lips), the parting of the lips (depressor labii), and the masseter (which drops the jaw). Disgust? That's mostly A.U. nine, the wrinkling of the nose (levator labii superioris, alaeque nasi), but it can sometimes be ten, and in either case may be combined with A.U. fifteen or sixteen or seventeen.
Ekman and Friesen ultimately assembled all these combinations--and the rules for reading and interpreting them-- into the Facial Action Coding System, or FACS, and wrote them up in a five-hundred-page binder. It is a strangely riveting document, full of details like the possible movements of the lips (elongate, de-elongate, narrow, widen, flatten, protrude, tighten and stretch); the four different changes of the skin between the eyes and the cheeks (bulges, bags, pouches, and lines); or the critical distinctions between infraorbital furrows and the nasolabial furrow. Researchers have employed the system to study everything from schizophrenia to heart disease; it has even been put to use by computer animators at Pixar ("Toy Story"), andat DreamWorks ("Shrek"). FACS takes weeks to master in its entirety, and only five hundred people around the world have been certified to use it in research. But for those who have, the experience of looking at others is forever changed. They learn to read the face the way that people like John Yarbrough did intuitively. Ekman compares it to the way you start to hear a symphony once you've been trained to read music: an experience that used to wash over you becomes particularized and nuanced.
Ekman recalls the first time he saw Bill Clinton, during the 1992 Democratic primaries. "I was watching his facial expressions, and I said to my wife, 'This is Peck's Bad Boy,' " Ekman says. "This is a guy who wants to be caught with his hand in the cookie jar, and have us love him for it anyway. There was this expression that's one of his favorites. It's that hand-in-the-cookie-jar, love-me-Mommy-because-I'm-a-rascal look. It's A.U. twelve, fifteen, seventeen, and twenty-four, with an eye roll." Ekman paused, then reconstructed that particular sequence of expressions on his face. He contracted his zygomatic major, A.U. twelve, in a classic smile, then tugged the corners of his lips down with his triangularis, A.U. fifteen. He flexed the mentalis, A.U. seventeen, which raises the chin, slightly pressed his lips together in A.U. twenty-four, and finally rolled his eyes--and it was as if Slick Willie himself were suddenly in the room. "I knew someone who was on his communications staff. So I contacted him. I said, 'Look, Clinton's got this way of rolling his eyes along with a certain expression, and what it conveys is "I'm a bad boy." I don't think it's a good thing. I could teach him how not to do that in two to three hours.' And he said, 'Well, we can't take the risk that he's known to be seeing an expert on lying.' I think it's a great tragedy, because . . ." Ekman's voice trailed off. It was clear that he rather liked Clinton, and that he wanted Clinton's trademark expression to have been no more than a meaningless facial tic. Ekman shrugged. "Unfortunately, I guess, he needed to get caught--and he got caught."
Early in his career, Paul Ekman filmed forty psychiatric patients, including a woman named Mary, a forty-two-year-old housewife. She had attempted suicide three times, and survived the last attempt--an overdose of pills--only because someone found her in time and rushed her to the hospital. Her children had left home and her husband was inattentive, and she was depressed. When she first went to the hospital, she simply sat and cried, but she seemed to respond well to therapy. After three weeks, she told her doctor that she was feeling much better and wanted a weekend pass to see her family. The doctor agreed, but just before Mary was to leave the hospital she confessed that the real reason she wanted to go on weekend leave was so that she could make another suicide attempt. Several years later, a group of young psychiatrists asked Ekman how they could tell when suicidal patients were lying. He didn't know, but, remembering Mary, he decided to try to find out. If the face really was a reliable guide to emotion, shouldn't he be able to look back on the film and tell that she was lying? Ekman and Friesen began to analyze the film for clues. They played it over and over for dozens of hours, examining in slow motion every gesture and expression. Finally, they saw it. As Mary's doctor asked her about her plans for the future, a look of utter despair flashed across her face so quickly that it was almost imperceptible.
Ekman calls that kind of fleeting look a "microexpression," and one cannot understand why John Yarbrough did what he did on that night in South Central without also understanding the particular role and significance of microexpressions. Many facial expressions can be made voluntarily. If I' m trying to look stern as I give you a tongue-lashing, I'll have no difficulty doing so, and you' ll have no difficulty interpreting my glare. But our faces are also governed by a separate, involuntary system. We know this because stroke victims who suffer damage to what is known as the pyramidal neural system will laugh at a joke, but they cannot smile if you ask them to. At the same time, patients with damage to another part of the brain have the opposite problem. They can smile on demand, but if you tell them a joke they can't laugh. Similarly, few of us can voluntarily do A.U. one, the sadness sign. (A notable exception, Ekman points out, is Woody Allen, who uses his frontalis, pars medialis, to create his trademark look of comic distress.) Yet we raise our inner eyebrows all the time, without thinking, when we are unhappy. Watch a baby just as he or she starts to cry, and you'll often see the frontalis, pars medialis, shoot up, as if it were on a string.
Perhaps the most famous involuntary expression is what Ekman has dubbed the Duchenne smile, in honor of the nineteenth-century French neurologist Guillaume Duchenne, who first attempted to document the workings of the muscles of the face with the camera. If I ask you to smile, you' ll flex your zygomatic major. By contrast, if you smile spontaneously, in the presence of genuine emotion, you' ll not only flex your zygomatic but also tighten the orbicularis oculi, pars orbitalis, which is the muscle that encircles the eye. It is almost impossible to tighten the orbicularis oculi, pars lateralis, on demand, and it is equally difficult to stop it from tightening when we smile at something genuinely pleasurable. This kind of smile "does not obey the will," Duchenne wrote. "Its absence unmasks the false friend." When we experience a basic emotion, a corresponding message is automatically sent to the muscles of the face. That message may linger on the face for just a fraction of a second, or be detectable only if you attached electrical sensors to the face, but It's always there. Silvan Tomkins once began a lecture by bellowing, "The face is like the penis!" and this is what he meant--that the face has, to a large extent, a mind of its own. This doesn't mean we have no control over our faces. We can use our voluntary muscular system to try to suppress those involuntary responses. But, often, some little part of that suppressed emotion--the sense that I' m really unhappy, even though I deny it--leaks out. Our voluntary expressive system is the way we intentionally signal our emotions. But our involuntary expressive system is in many ways even more important: it is the way we have been equipped by evolution to signal our authentic feelings.
"You must have had the experience where somebody comments on your expression and you didn't know you were making it,"Ekman says. "Somebody tells you, "What are you getting upset about?' "Why are you smirking?' You can hear your voice, but you can't see your face. If we knew what was on our face, we would be better at concealing it. But that wouldn't necessarily be a good thing. Imagine if there were a switch that all of us had, to turn off the expressions on our face at will. If babies had that switch, we wouldn't know what they were feeling. They' d be in trouble. You could make an argument, if you wanted to, that the system evolved so that parents would be able to take care of kids. Or imagine if you were married to someone with a switch? It would be impossible. I don't think mating and infatuation and friendships and closeness would occur if our faces didn't work that way."
Ekman slipped a tape taken from the O.J. Simpson trial into the VCR. It was of Kato Kaelin, Simpson's shaggy-haired house guest, being examined by Marcia Clark, one of the prosecutors in the case. Kaelin sits in the witness box, with his trademark vacant look. Clark asks a hostile question. Kaelin leans forward and answers softly. "Did you see that?" Ekman asked me. I saw nothing, just Kato being Kato-- harmless and passive. Ekman stopped the tape, rewound it, and played it back in slow motion. On the screen, Kaelin moved forward to answer the question, and in that fraction of a second his face was utterly transformed. His nose wrinkled, as he flexed his levator labii superioris, alaeque nasi. His teeth were bared, his brows lowered. "It was almost totally A.U. nine," Ekman said. "It's disgust, with anger there as well, and the clue to that is that when your eyebrows go down, typically your eyes are not as open as they are here. The raised upper eyelid is a component of anger, not disgust. It's very quick." Ekman stopped the tape and played it again, peering at the screen. "You know, he looks like a snarling dog."
Ekman said that there was nothing magical about his ability to pick up an emotion that fleeting. It was simply a matter of practice. "I could show you forty examples, and you could pick it up. I have a training tape, and people love it. They start it, and they can't see any of these expressions. Thirty-five minutes later, they can see them all. What that says is that this is an accessible skill."
Ekman showed another clip, this one from a press conference given by Kim Philby in 1955. Philby had not yet been revealed as a Soviet spy, but two of his colleagues, Donald Maclean and Guy Burgess, had just defected to the Soviet Union. Philby is wearing a dark suit and a white shirt. His hair is straight and parted to the left. His face has the hauteur of privilege.
"Mr. Philby," he is asked. "Mr. Macmillan, the foreign secretary, said there was no evidence that you were the so-called third man who allegedly tipped off Burgess and Maclean. Are you satisfied with that clearance that he gave you?"
Philby answers confidently, in the plummy tones of the English upper class. "Yes, I am."
"Well, if there was a third man, were you in fact the third man?"
"No," Philby says, just as forcefully. "I was not."
Ekman rewound the tape, and replayed it in slow motion. "Look at this," he said, pointing to the screen. "Twice, after being asked serious questions about whether he's committed treason, he's going to smirk. He looks like the cat who ate the canary." The expression was too brief to see normally. But at quarter speed it was painted on his face--the lips pressed together in a look of pure smugness. "He's enjoying himself, isn't he?" Ekman went on. "I call this--duping delight-- the thrill you get from fooling other people." Ekman started the VCR up again. "There's another thing he does." On the screen, Philby was answering another question. "In the second place, the Burgess-Maclean affair has raised issues of great"-- he pauses-- "delicacy." Ekman went back to the pause, and froze the tape. "Here it is,"he said. "A very subtle microexpression of distress or unhappiness. It's only in the eyebrows-- in fact, just in one eyebrow." Sure enough, Philby's right inner eyebrow was raised in an unmistakable A.U. one. "It's very brief," Ekman said. "He's not doing it voluntarily. And it totally contradicts all his confidence and assertiveness. It comes when he's talking about Burgess and Maclean, whom he had tipped off. It's a hot spot that suggests, 'You shouldn't trust what you hear.' "
A decade ago, Ekman joined forces with J. J. Newberry--the ex-A.T.F. agent who is one of the high-scorers in the Diogenes Project-- to put together a program for educating law-enforcement officials around the world in the techniques of interviewing and lie detection. In recent months, they have flown to Washington, D.C., to assist the C.I.A. and the F.B.I. in counter-terrorism training. At the same time, the Defense Advanced Research Projects Agency (DARPA) has asked Ekman and his former student Mark Frank, now at Rutgers, to develop experimental scenarios for studying deception that would be relevant to counter-terrorism. The objective is to teach people to look for discrepancies between what is said and what is signalled--to pick up on the difference between Philby's crisp denials and his fleeting anguish. It's a completely different approach from the shouting cop we see on TV and in the movies, who threatens the suspect and sweeps all of the papers and coffee cups off the battered desk. The Hollywood interrogation is an exercise in intimidation, and its point is to force the suspect to tell you what you need to know. It does not take much to see the limitations of this strategy. It depends for its success on the coöperation of the suspect--when, of course, the suspect's involuntary communication may be just as critical. And it privileges the voice over the face, when the voice and the face are equally significant channels in the same system.
Ekman received his most memorable lesson in this truth when he and Friesen first began working on expressions of anger and distress. "It was weeks before one of us finally admitted feeling terrible after a session where we' d been making one of those faces all day," Friesen says. "Then the other realized that he'd been feeling poorly, too, so we began to keep track." They then went back and began monitoring their body during particular facial movements. "Say you do A.U. one, raising the inner eyebrows, and six, raising the cheeks, and fifteen, the lowering of the corner of the lips," Ekman said, and then did all three. "What we discovered is that that expression alone is sufficient to create marked changes in the autonomic nervous system. When this first occurred, we were stunned. We weren't expecting this at all. And it happened to both of us. We felt terrible . What we were generating was sadness, anguish. And when I lower my brows, which is four, and raise the upper eyelid, which is five, and narrow the eyelids, which is seven, and press the lips together, which is twenty-four, I' m generating anger. My heartbeat will go up ten to twelve beats. My hands will get hot. As I do it, I can't disconnect from the system. It's very unpleasant, very unpleasant."
Ekman, Friesen, and another colleague, Robert Levenson, who teaches at Berkeley, published a study of this effect in Science. They monitored the bodily indices of anger, sadness, and fear--heart rate and body temperature--in two groups. The first group was instructed to remember and relive a particularly stressful experience. The other was told to simply produce a series of facial movements, as instructed by Ekman-- to "assume the position," as they say in acting class. The second group, the people who were pretending, showed the same physiological responses as the first. A few years later, a German team of psychologists published a similar study. They had a group of subjects look at cartoons, either while holding a pen between their lips--an action that made it impossible to contract either of the two major smiling muscles, the risorius and the zygomatic major-- or while holding a pen clenched between their teeth, which had the opposite effect and forced them to smile. The people with the pen between their teeth found the cartoons much funnier. Emotion doesn't just go from the inside out. It goes from the outside in. What's more, neither the subjects "assuming the position" nor the people with pens in their teeth knew they were making expressions of emotion. In the facial-feedback system, an expression you do not even know that you have can create an emotion you did not choose to feel.
It is hard to talk to anyone who knows FACS without this point coming up again and again. Face-reading depends not just on seeing facial expressions but also on taking them seriously. One reason most of us--like the TV cop-- do not closely attend to the face is that we view its evidence as secondary, as an adjunct to what we believe to be real emotion. But there's nothing secondary about the face, and surely this realization is what set John Yarbrough apart on the night that the boy in the sports car came at him with a gun. It's not just that he saw a microexpression that the rest of us would have missed. It's that he took what he saw so seriously that he was able to overcome every self-protective instinct in his body, and hold his fire.
Yarbrough has a friend in the L.A. County Sheriff's Department, Sergeant Bob Harms, who works in narcotics in Palmdale. Harms is a member of the Diogenes Project as well, but the two men come across very differently. Harms is bigger than Yarbrough, taller and broader in the chest, with soft brown eyes and dark, thick hair. Yarbrough is restoring a Corvette and wears Rush Limbaugh ties, and he says that if he hadn't been a cop he would have liked to stay in the Marines. Harms came out of college wanting to be a commercial artist; now he plans to open a bed-and-breakfast in Vermont with his wife when he retires. On the day we met, Harms was wearing a pair of jean shorts and a short-sleeved patterned shirt. His badge was hidden inside his shirt. He takes notes not on a yellow legal pad, which he considers unnecessarily intimidating to witnesses, but on a powder-blue one. "I always get teased because I'm the touchy-feely one," Harms said. "John Yarbrough is very analytical. He thinks before he speaks. There is a lot going on inside his head. He's constantly thinking four or five steps ahead, then formulating whatever his answers are going to be. That's not how I do my interviews. I have a conversation. It's not "Where were you on Friday night?' Because that's the way we normally communicate. I never say, "I'm Sergeant Harms.' I always start by saying, "I'm Bob Harms, and I'm here to talk to you about your case,' and the first thing I do is smile."
The sensation of talking to the two men, however, is surprisingly similar. Normal conversation is like a game of tennis: you talk and I listen, you listen and I talk, and we feel scrutinized by our conversational partner only when the ball is in our court. But Yarbrough and Harms never stop watching, even when they're doing the talking. Yarbrough would comment on my conversational style, noting where I held my hands as I talked, or how long I would wait out a lull in the conversation. At one point, he stood up and soundlessly moved to the door-- which he could have seen only in his peripheral vision--opening it just before a visitor rang the doorbell. Harms gave the impression that he was deeply interested in me. It wasn't empathy. It was a kind of powerful curiosity. "I remember once, when I was in prison custody, I used to shake prisoners' hands," Harms said. "The deputies thought I was crazy. But I wanted to see what happened, because that's what these men are starving for, some dignity and respect."
Some of what sets Yarbrough and Harms and the other face readers apart is no doubt innate. But the fact that people can be taught so easily to recognize microexpressions, and can learn FACS, suggests that we all have at least the potential capacity for this kind of perception. Among those who do very well at face-reading, tellingly, are some aphasics, such as stroke victims who have lost the ability to understand language. Collaborating with Ekman on a paper that was recently published in Nature, the psychologist Nancy Etcoff, of Massachusetts General Hospital, described how a group of aphasics trounced a group of undergraduates at M.I.T. on the nurses tape. Robbed of the power to understand speech, the stroke victims had apparently been forced to become far more sensitive to the information written on people's faces. "They are compensating for the loss in one channel through these other channels," Etcoff says. "We could hypothesize that there is some kind of rewiring in the brain, but I don't think we need that explanation. They simply exercise these skills much more than we do." Ekman has also done work showing that some abused children are particularly good at reading faces as well: like the aphasics in the study, they developed "interpretive strategies"--in their case, so they could predict the behavior of their volatile parents.
What appears to be a kind of magical, effortless intuition about faces, then, may not really be effortless and magical at all. This kind of intuition is a product of desire and effort. Silvan Tomkins took a sabbatical from Princeton when his son Mark was born, and stayed in his house on the Jersey Shore, staring into his son's face, long and hard, picking up the patterns of emotion--the cycles of interest, joy, sadness, and anger--that flash across an infant's face in the first few months of life. He taught himself the logic of the furrows and the wrinkles and the creases, the subtle differences between the pre-smile and the pre-cry face. Later, he put together a library of thousands of photographs of human faces, in every conceivable expression. He developed something called the Picture Arrangement Test, which was his version of the Rorschach blot: a patient would look at a series of pictures and be asked to arrange them in a sequence and then tell a story based on what he saw. The psychologist was supposed to interpret the meaning of the story, but Tomkins would watch a videotape of the patient with the sound off, and by studying the expressions on the patient's face teach himself to predict what the story was. Face-reading, for those who have mastered it, becomes a kind of compulsion; it becomes hard to be satisfied with the level and quality of information that most of us glean from normal social encounters. "Whenever we get together," Harms says of spending time with other face readers, "we debrief each other. We're constantly talking about cases, or some of these videotapes of Ekman's, and we say, "I missed that, did you get that?' Maybe there's an emotion attached there. We're always trying to place things, and replaying interviews in our head."
This is surely why the majority of us don't do well at reading faces: we feel no need to make that extra effort. People fail at the nurses tape, Ekman says, because they end up just listening to the words. That's why, when Tomkins was starting out in his quest to understand the face, he always watched television with the sound turned off. "We are such creatures of language that what we hear takes precedence over what is supposed to be our primary channel of communication, the visual channel," he once said. "Even though the visual channel provides such enormous information, the fact is that the voice preëmpts the individual's attention, so that he cannot really see the face while he listens." We prefer that way of dealing with the world because it does not challenge the ordinary boundaries of human relationships. Ekman, in one of his essays, writes of what he learned from the legendary sociologist Erving Goffman. Goffman said that part of what it means to be civilized is not to "steal" information that is not freely given to us. When someone picks his nose or cleans his ears, out of unthinking habit, we look away. Ekman writes that for Goffman the spoken word is "the acknowledged information, the information for which the person who states it is willing to take responsibility," and he goes on:
When the secretary who is miserable about a fight with her husband the previous night answers, "Just fine," when her boss asks, "How are you this morning?"--that false message may be the one relevant to the boss's interactions with her. It tells him that she is going to do her job. The true message--that she is miserable--he may not care to know about at all as long as she does not intend to let it impair her job performance.
What would the boss gain by reading the subtle and contradictory microexpressions on his secretary's face? It would be an invasion of her privacy and an act of disrespect. More than that, it would entail an obligation. He would be obliged to do something, or say something, or feel something that might otherwise be avoided entirely. To see what is intended to be hidden, or, at least, what is usually missed, opens up a world of uncomfortable possibilities. This is the hard part of being a face reader. People like that have more faith in their hunches than the rest of us do. But faith is not certainty. Sometimes, on a routine traffic stop late at night, you end up finding out that your hunch was right. But at other times you'll never know. And you can't even explain it properly, because what can you say? You did something the rest of us would never have done, based on something the rest of us would never have seen.
"I was working in West Hollywood once, in the nineteen-eighties," Harms said. "I was with a partner, Scott. I was driving. I had just recently come off the prostitution team, and we spotted a man in drag. He was on Sunset, and I didn't recognize him. At that time, Sunset was normally for females. So it was kind of odd. It was a cold night in January. There was an all-night restaurant on Sunset called Ben Franks, so I asked my partner to roll down the window and ask the guy if he was going to Ben Franks-- just to get a reaction. And the guy immediately keys on Scott, and he's got an overcoat on, and he's all bundled up, and he starts walking over to the car. It had been raining so much that the sewers in West Hollywood had backed up, and one of the manhole covers had been cordoned off because it was pumping out water. The guy comes over to the squad car, and he's walking right through that. He's fixated on Scott. So we asked him what he was doing. He says, "I was out for a walk.' And then he says, "I have something to show you.'"
Later, after the incident was over, Harms and his partner learned that the man had been going around Hollywood making serious threats, that he was unstable and had just attempted suicide, that he was in all likelihood about to erupt. A departmental inquiry into the incident would affirm that Harms and his partner had been in danger: the man was armed with a makeshift flamethrower, and what he had in mind, evidently, was to turn the inside of the squad car into an inferno. But at the time all Harms had was a hunch, a sense from the situation and the man's behavior and what he glimpsed inside the man's coat and on the man's face-- something that was the opposite of whatever John Yarbrough saw in the face of the boy in Willowbrook. Harms pulled out his gun and shot the man through the open window. "Scott looked at me and was, like, "What did you do?' because he didn't perceive any danger," Harms said. "But I did."


text: QMEB MAG AD Tara TyrrellJune 15, 2015 0 Share Share Tweet 0 Share Share Tweet Tara Tyrrell You may also read!Industry fears Queensland could be 'conned' by $21B mining project May 24, 2019 30 0 CommentsBy: Richard SzaboAn industry body is concerned the Queensland Government's decision to fast-track approval for a $21 billion mine could putRead More...Chinese proponent walks away from $6.7B mine in North Queensland May 23, 2019 58 0 CommentsBy: Richard SzaboAn Asia-backed mining company has stopped seeking approval for its $6.7 billion project in Queensland's Galilee Basin. A subsidiaryRead More...Palaszczuk 'really sorry' Labor let the industry down, promises to make up for it May 22, 2019 45 0 CommentsBy: Richard SzaboQueensland's top bureaucrat has admitted the ruling party made a mistake on assessing a $21 billion mining project inRead More... Leave a reply: Cancel Reply Your email address will not be published. Notify me of new posts by email.


text:
Panotools::Script::Line::Variable - Panotools optimisation variables
One or more parameters for optimisation form a 'v' line
Please note: the 'v'-line must come after the the 'i'-lines. Optimization variables are listed together with the image number starting at 0. There can be several v-lines.
y0 Optimize yaw in image 0
p1 Optimize pitch in image 1
r2 Optimize roll in image 2
v0 Optimize field of view in image 0
a2 Optimize lens correction parameter 'a' in image 2
X1 Optimize x-coordinate of image 1, only for PTStereo
Y2 Optimize y-coordinate of image 2, only for PTStereo
Z6 Optimize z-coordinate of image 6, only for PTStereo
TrX3 Optimise x-coordinate of image 3, mosaic/translation mode
TrY2 Optimise y-coordinate of image 2, mosaic/translation mode
TrZ1 Optimise z-coordinate of image 1, mosaic/translation mode
Tpp1 Optimise pitch of picture plane of image 1, mosaic/translation mode
Tpy1 Optimise yaw of picture plane of image 1, mosaic/translation mode
Additionally, photometric optimisation uses the same system. although this is a secondary process and not simultaneous with geometric optimisation:
Eev0 Optimise Exposure (Eev) for image 0
Er1 Optimise red multiplier for image 1
Eb1 Optimise blue multiplier for image 1
Ra0 Optimise EMoR camera response for image 0
Rb0 note usually all EMoR parameters are optimised at the same time
Va0 Optimise Vignetting 'Va' parameter for image 0, note usually only Vb, Vc, Vd are optimised
Vb0 Optimise Vignetting 'Vb' parameter for image 0
Vc0 Optimise Vignetting 'Vc' parameter for image 0
Vd0 Optimise Vignetting 'Vd' parameter for image 0
Vx1 Optimise Vignetting centre x-position for image 1
Vy1 Optimise Vignetting centre y-position for image 1
If a image has a parameter linked to another image only need to optimize the master.


text:
|2012-05-21, 02:36
|Link #31103
Senior Member
Join Date: Aug 2011
Don't get me wrong, the voice actors are not bad, I've heard them in better roles, but apparently they are severely miscast.
Who would've thought that Monica Rial would fit Houki? Monica Rial normally does characters who have a high pitched tone. But when I looked at her work as Miria from Claymore and Jo from Burst Angel, I thought otherwise because those characters have deep voices that she surprisingly did well.
With that, I expected Monica Rial to do Houki's voice like she did with Miria from Claymore or Jo from Burst Angel. But unfortunately, she did not...
Alright, let's get back on the map here. I'm wondering something about Rin's cannons, what is the effective range?
|2012-05-21, 07:21
|Link #31105
I am no one
Join Date: Apr 2010
Location: Inside your head
That happened with me when I forgot to update my flash.
@ Jak
Because it's listed as short to medium range, I expect it to be less than 1.2 km, and that's generous, because it's an air pressure cannon (spray hose on crack). And the longer range it shot, the less damage it deliver because of blooming effect.
Ergo, it's still destructive at roughly 200-300 meter, enough to break any I.S. barrier and eat through SP like mad. Rin's cannon always been used in this range brackets.
|2012-05-21, 08:06
|Link #31106
That one guy
Join Date: Nov 2011
How inhuman is it to create a superhuman race where there was only one surviving effort of the experiments. then you turn that one specimen as the EVE of said new breed of superhuman but all she amounts to is a factory for living weapons.
|2012-05-21, 08:21
|Link #31109
I am no one
Join Date: Apr 2010
Location: Inside your head
The difference is Blue-Orange morality don't know the values that we used normally.
For example, damn near everyone from Deviluke in To-Love-Ru is having Blue-Orange mindset. We have a snobbish, selfish, shameless princess with a warmongering, genocidal father. And no, they're not evil in traditional sense, just that their code of morality is different in that region. Einst from SRW series as well, given that they're resident Eldridge.
OTOH complete monster example is usually a human character who knew what's wrong and right and yet do it anyway. Big Bads in SRW are mostly like this, as they're human/descended form human and has learned the values of humanity.
As for the later? It got worse?
|2012-05-21, 08:31
|Link #31111
I am no one
Join Date: Apr 2010
Location: Inside your head
^ Lol it was the inverse of mine
It's less evil and more like paranoid extremist, he got a point, but the way he makes his point is less than desirable.
An antagonist, after all, didn't need to be evil.
|2012-05-21, 08:38
|Link #31112
That one guy
Join Date: Nov 2011
Oh... I guess it's the former then.
More like I didn't give the details
There are actually two of them. the second was born from amother attempt at creating the superhumans from scratch wuth only one survivor again. However this second could create more stable offspring. The first one was mentally unstable anyway and her children weren't consistent, normally born with defects. so she was put into storage.
Unlike what you may assume, they didn't really give birth traditionally. Egg cells were extracted from them amd cultured in incubation tanks or their blood was used to convert other living thigs into a similar race. They only ever gave birth a few times and those were just test tube babies injected into their wombs. Unlike their children who undergo acceleratwd aging pocesses, they are sealed in tanks that retard aging to such and extent that they are biologically 12 but chronologically 20 at least.
They also share mindlink with all their children so what thir off spring know and perceive they can too. So despite being sedated and kept in containment tanks their whole existence they can still perceive bits and pieces of a world outside.
|2012-05-21, 08:49
|Link #31114
I am no one
Join Date: Apr 2010
Location: Inside your head
If I want to be cynical, I'll side with Gerard and do "Durrrrrrrrrrrrr" about Inami's statement
Still, my point still stand, Gerard is worse than even the feminist by virtue of using brute force on relatively innocent targets.
@ Demi
Damn it, that sound EXACTLY the same as the origin of certain pair of sibling in my story!
Sigh, I guess it's really hard to think something really new... something that other people won't pull off incidentally
EDIT: BTW, the last part sounds exactly like Eras' explanation for Ichika's clones.
|2012-05-21, 09:04
|Link #31116
Titans Test Team Pilot
Join Date: Feb 2008
Location: The Elysium
|2012-05-21, 09:17
|Link #31117
That one guy
Join Date: Nov 2011
Their race is actually techno organic hence the crazy circumstances. The EVEs can actually revive someone however that person should have died very recently(like less than 30 minutes) and they must have a strong will. By using their blood to convert the corpse into a techno organic being, the whole body gets a jump start but the psyche's survival is utterly up to the one being converted.
@zero: I always assumed you and eras were using advanced musculature and psionics.
|2012-05-21, 18:46
|Link #31120
Senior Member
Join Date: Aug 2011
Fanfic spotted.
IS Academy Year Two: Wings
|fanfic ideas, fanfiction, ff.net, harem, is fanfic, warning fanfic spoilers, wincest
|Thread Tools


text:
ICHLPCIB(4) NetBSD/x86 Kernel Interfaces Manual ICHLPCIB(4) NAME ichlpcib -- Intel ICH LPC Interface Bridge SYNOPSIS ichlpcib* at pci? dev ? function ? fwhrng* at ichlpcib? hpet0 at ichlpcib? isa0 at ichlpcib? gpio* at ichlpcib? DESCRIPTION The ichlpcib driver supports the Intel ICH LPC Interface Bridges on com- patible chipsets. Supported functions include: · Watchdog timer. The watchdog timer may be configured for a 2 seconds (on ICH6 or newer) and 4 seconds (on ICH5 or older) min period and for a 39 seconds (on ICH5 or older) or 613 seconds max period (on ICH6 or newer). · Power Management timer. A 24-bit timer available to be used by the timecounters framework. · SpeedStep. In some older systems the SpeedStep function is also available, and can be used to switch between high and low frequency (to reduce power consumption) via the machdep.speedstep_state sysctl(8) node. A value of 0 will use the low frequency (low power) and a 1 will enable the high frequency (full power). · General Purpose Input/Output. The ICH provides up to 64 I/O pins which can be accessed through the gpio(4) framework. SEE ALSO est(4), fwhrng(4), gpio(4), hpet(4), ioapic(4), sysctl(8), wdogctl(8) Intel Corporation, Intel I/O Controller Hub 6 (ICH6) Family, http://www.intel.com/assets/pdf/datasheet/301473.pdf, January, 2005. Intel Corporation, Intel I/O Controller Hub 7 (ICH7) Family, http://www.intel.com/Assets/PDF/datasheet/307013.pdf, April, 2007. Intel Corporation, Intel I/O Controller Hub 8 (ICH8) Family, http://www.intel.com/assets/pdf/datasheet/313056.pdf, May, 2007. Intel Corporation, Using the Intel ICH Family Watchdog Timer (WDT), ftp://download.intel.com/design/chipsets/applnots/29227301.pdf, September, 2002. HISTORY The ichlpcib driver first appeared in NetBSD 3.0. AUTHORS The ichlpcib driver was written by Minoura Makoto and Matthew R. Green. NetBSD 7.1.2 March 18, 2011 NetBSD 7.1.2
You can also request any man page by name and (optionally) by section:


text:
Nestle USA is recalling some of its Nesquik chocolate powder mix because of a possible salmonella risk.
The food maker said that the Nesquik involved was in 10.9-, 21.8- and 40.7-ounce canisters produced in early October and sold across the country.
Nestle said it is issuing the recall after its ingredient supplier, Omaya Inc., recalled some of the calcium carbonate used in the product because of possible salmonella contamination. The company said there have been no reported illnesses associated with the product.
Salmonella can cause diarrhea, abdominal cramps and fever. It can be life-threatening in infants, the elderly, pregnant women and those with weakened immune systems.
-- L.A. Times