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On July 23, the Ninth Circuit Court of Appeals upheld necessary protections for the endangered western population of Steller sea lions. The measures were put in place by the National Marine Fisheries Service in 2010 to reduce competition between large-scale commercial fisheries and endangered Steller sea lions. This population of sea lions has declined by more than 80 percent, and sharp declines continue in places with limited protection, like western Aleutian Islands. Oceana and Greenpeace, represented by Earthjustice, joined the federal government in successfully defending the regulations against legal attacks from the Seattle-based fishing industry and Alaskan state government. This victory will help ensure the recovery of this species and the continued health of our ocean's ecosystems.Read Press Release
The bottom trawl fisheries in the Gulf of Alaska will now have to avoid catching Chinook salmon as bycatch or risk closing their fisheries. A new rule, recommended by the North Pacific Fishery Management Council, establishes a limit on the number of Chinook salmon that can be killed as bycatch each year in the Central and Western Gulf of Alaska bottom trawl fisheries. If trawlers targeting rockfish, cod, and flatfish catch more than 7,500 Chinook salmon as bycatch they will have to stop fishing for the season. The rule also requires that all Chinook salmon caught by bottom trawlers be delivered to a processing facility, where observers will count the number of salmon and collect scientific data or biological samples.Read Press Release
The European Parliament approved major reforms to the Common Fishery Policy, a law that manages all European fisheries. Members overwhelmingly voted in favor of a comprehensive reform policy that includes amendments – many of which were drafted by Oceana – that require member states to fish all stocks at sustainable levels by 2015 and comply with a strong EU-wide discard ban, and puts an end to the practice of "discards", throwing dead unwanted fish back into the sea. Oceana campaigned for years to make sure that this once in a decade opportunity to reform the failed EU fisheries policy was not wasted.Read Press Release
The Chilean senate passed sweeping new regulations that establish a more robust, science based fisheries regulatory regimen. The new laws will close all 118 of Chile's seamounts to bottom trawling, impose science-based fishing quotas and drastically reduce the incidental capture and discard of unwanted species by improving monitoring on Chilean fishing vessels. Oceana has been pushing for all of these changes for years, and during the passage of this historic legislation our work was acknowledged by several senators as well as the Chilean Minister of the Economy.
After a long battle by Oceana and allies, a planned coal-fired thermoelectric power plant in Northern Chile known as Castilla, was rejected by the Chilean Supreme Court.
The Castilla plant was planned for the Punta Cachos region, just a few kilometers from important habitats for Humboldt penguins, sea turtles and one of Chile's few seagrass meadows. As part of its operations, the plant would have released warm water into the ocean, which could have affected the entire ecosystem.
The Chilean Government announced its intention to expand the Salas y Gómez marine reserve and to create a smaller reserve off the coast of Easter Island. The government also announced a plan to develop an assessment and status report of the main fisheries of Easter Island. The announcement follows several expeditions to the islands and years of campaigning by Oceana.
Read Press Release
The Chilean government announced a drastic reduction in the fishing quota for jack mackerel and other fisheries, starting in 2011. The decision came after Oceana sent the Minister of Economy a report analyzing the annual quota set for jack mackerel during the past 10 years.
The study, put together with data that Oceana obtained through Chile's Freedom of Information Act, shows that between 2003 and 2010 the National Fisheries Council set the annual quota for jack mackerel at higher catch limits than was recommended by the Institute for Fisheries Development. In fact, in 2009 the quota was 87 percent higher than what was recommended by the agency.
Following intense campaign work by Oceana, Turkey announced it will stop using drifnets in 2011. Oceana estimates that more than 500 vessels had been operating illegally in the Mediterranean, some with nets up to 12 miles long. In 2009, Oceana identified at least 30 Turkish vessels using driftnets in the Aegean and Mediterranean to target swordfish and bonito, and there are an estimated 70 to 150 vessels operating in the country.Read Press Release
The National Oceanic and Atmospheric Administration (NOAA) approved a plan to protect more than 23,000 square miles of known deep sea coral from North Carolina to Florida from destructive fishing gear. The plan, proposed by the South Atlantic Fishery Management Council in September 2009, will ban the use of bottom-damaging fishing gear in the largest known area of healthy deep sea coral ecosystems in the world, helping to ensure the productivity of commercial fisheries that depend on them.Read Press Release
The South Atlantic Fishery Management Council approved a plan to protect more than 23,000 square miles of known deep-sea coral from North Carolina to Florida from destructive fishing gear. Five years in the making, the vote will restrict the footprint of bottom trawls – one of the most nonselective fishing gears currently in use, capable of destroying thousand-year-old coral reefs and moving 18-ton rocks – and help to restore the long-term productivity of commercially valuable fish that take refuge in these rare corals.Read Press Release


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Eagles beat Southeastern Oklahoma State, Ouachita Baptist
ARKADELPHIA, Ark. (Feb. 16, 2013) – Oklahoma Christian's men's tennis team wrapped up a three-matches-in-three-days trip to Arkansas on Saturday afternoon with a 7-0 win against NCAA Division II No. 47-ranked Southeastern Oklahoma State.
OC (5-1) coasted to three doubles wins over the Savage Storm, with the Eagles' No. 2 team of Julio Pulido and Nicolas Auruccio and the No. 3 team of Josip Smoljan and Paulo Roessle both winning 8-0.
Only four of the six singles matches were played, and OC's Bruno Tiberti, Martin Poboril, Smoljan and Pulido won those in straight sets. Auruccio and Roessle didn't play singles, as the No. 5 and No. 6 position matches were cancelled.
In a match that ended late Friday, OC held off No. 29-ranked Ouachita Baptist (Ark.) thanks to wins by the Eagles' No. 4, 5 and 6 singles players.
OC led 2-1 after the doubles matches. Three of the singles matches went three sets, prolonging the match. Ouachita Baptist won two of them, with Marko Boskovic beating Tiberti 6-3, 4-6, 7-5 at the No. 1 position and Helge Knuth downing Poboril 3-6, 6-2, 7-5 at No. 2.
But at the No. 5 position, Auruccio won for OC, beating Teddy Anahel 6-3, 3-6, 6-2 to clinch the match for the Eagles.
Pulido beat Ouachita Baptist's Vitor Oliviera 6-3, 6-4 at No. 4 and Roessle downed OBU's Ricardo Bassani 6-4, 6-2 at No. 6 for the Eagles' other two singles points.


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I'm in the market for a new one. Of course, I would love to get an EIZO, but that seems to be slipping away price wise.
Several have commented negatively on the Dell Ultra sharps. In one panel uniformity test the 2410 showed a wide variation in intensity randomly across the screen.
So, looking further, one shows up of which I have heard little: Asus PA246Q.
Strangely, their advertised dE value is Under 5! Even my old crt is better than that!
I also need good separation in the blacks, particularly around the values formerly known as zone 3. The crt is not good at all here.
I presume that calibrating the Asus will bring it closer than dE5, but I don't have any info.
Message was edited by: Hudechrome
As I've come to conclude, buying a monitor is risky business. Too many things hinge on good quality control, so maybe brand name does play a part. Some seem to take their reputation more seriously. But I've always thought of Asus as a "good" name.
I've ordered an HP 2475W for the credit note I got for the Dell failure. I'll report back when it arrives, but it may take a few weeks. None of the dealers in this area actually stock these things, they all have to be ordered, so there's no way to look before leaping.
I would prefer an Eizo too, but this particular dealer doesn't do Eizo. Too bad.
I have the dell 2410 for the last year and like it. when i bought mine,I had seen there were various revisions of it,so i made sure i got the latest revision.
While I'm certainly not a purist and not much of a numbers guy but FWIW I like Samsung. Have a 3yr old T260 @work and a trio of even older 21.5s @home. All still rock solid and calibrate nicely with my Spyder 3...
I did a bit of surfing and came up with this review on Amazon:
Second one down. It's long enough to actually get feedback.
Seems like Asus also has teething pains. Lots of reviews stating bad pixels, screen flashing etc.
Oh well.....
I use Samsung at work at times. Seems stable and has neutral gray scale.
I believe Samsung makes solid products. But they're the main supplier of PVA panels (as LG is for IPS panels), and use them in their own product line. It's precisely in the Zone III and II grays (yes, I used the zone system for a while!) that PVA panels are somewhat less reliable than IPS.
I worked with an Eizo with PVA panel for a long time, and it was an excellent monitor. But it was my uneasiness with those dark grays that led me to look for something else.
BTW, I hear Samsung is working on a new panel technology that is supposed to be at least as good as IPS.
It's a bit late to ask, but what size/shape monitor are you looking for?
I used 24" 16 x 10 (1920 x 1200) Sony monitors (giant beasts) for a long time before moving up to LCDs back in 2004. It's a nice, pleasing size.
I take it a bigger one is above budget? I've been seriously looking at the Dell U3011 myself, and every time I look I like what I see better and better. 16 x 10 at 2560 x 1600 and 0.2505mm pitch (101 pixels/inch). So far the thing I like the most in the ones I've seen is that the colors don't change per changes in the viewing angle.
That is in the price range of the Eizo Flexscan Sx 24" models, and frankly, given Dell's attitude about rainbowing dark panels, I won't go near it.
The other consideration is the way gray scale is handled. At the moment, it's front and center, as most monitors in the graphics class handle color very well.
An interesting site:
It is a huge disadvantage that we are unable to directly compare instrumrnts in that class, providing our own files for comparison. Even the distributor for Eizo or the source for Lacie, which is in Hillsboro near Intel, do not have showrooms.
Hudechrome wrote:
That is in the price range of the Eizo Flexscan Sx 24" models, and frankly, given Dell's attitude about rainbowing dark panels, I won't go near it.
It is a huge disadvantage that we are unable to directly compare instrumrnts in that class, providing our own files for comparison. Even the distributor for Eizo or the source for Lacie, which is in Hillsboro near Intel, do not have showrooms.
Well, I don't know how it is in other countries but in Canada Dell gives 30 days no question ask return policy for their high end monitors. This was the main reason I got Dell. I was very close to buy a Nec model but the fact that I have to buy it in order to see and can't return it if I don't like it, turned me away.
I've used Dell Ultras for three years without any issues. Calibrated with Monaco.
Most units from any manufacturer are probably perfectly OK. I think the main issue is that in this market segment (pro gear for critical work), prices escalate fast, because volume is relatively small. IPS panels are expensive to begin with, much more so than consumer/office TN panels, so with the low volume the only way to cut prices is to accept the C and D batches and loosen tolerances.
Eizo Color Edges and NEC PAs get the picks (and that's what you pay for) - while Dell, HP, Asus and the others get what's left, at a discount.
I think this explains why you see defects on a Dell U2410, which is after all a pretty expensive piece, that you never see on a cheap gaming or office screen. I have looked at a lot of cheap monitors, and I have never seen uneven color of this magnitude. Never, ever.
Here's Dell's official word on the U2410 (Chris M on the Dell forum):
All received captures were tested and are within manufacturer specifications for Color Gradation. Because this is a normal panel characteristic and not a hardware failure, exchanges will no longer be offered (...)
BTW, the U3011 isn't entirely free from problems either. One person went through three replacements, this time one side of the screen was yellow. Same answer from Dell/Chris M:
Dell monitors do not have 100% color uniformity specification. As long as the exact center point of any monitor meets x=0.313 and y=0.329 (6500K), it meets our specifications to the manufacturer. So, the center point may be 6500K, but the sides and corners may not which is why you may see that one side or corner is different than the others.
http://en.community.dell.com/support-forums/peripherals/f/3529/p/19396 929/19929076.aspx#19929076
I am now awaiting the HP LP2475W with almost zen-like calm. I don't expect much. The price tag is a little higher than the U2410, and it uses a different panel version, so hopefully it will be usable. In any case it was the only real option I had.
In catching up on posts this past week or so I thought I would add some thoughs to your useful posting about monitors.
"IPS panels are expensive to begin with, much more so than consumer/office TN panels" .
This is probably a good place to start. If one looks at the fundamentals that influence cost there is no reason for IPS panels to be significantly more expensive. Currently they are more expensive, but not by very much and that is primarly related to the economics of low volume production and that will change with time. Consider already that the new Kindle Fire, frequently cited for its surprisingly low price, has a 7" IPS panel. It should also be mentioned, though probably evident to most, that the LC panel price for a high quality monitor, such as is being discussed in this thread, is just a fraction of the price of a complete monitor. This is especially true for monitors engineered for high color uniformity (low Delta E) as that comes from adaptive (to a particular panel) electronics in the monitor and not raw performance of the panel. The number of LC process parameters that have to line up to have uniform color across a large display is staggering. By and large it does not happen.
Consider the main comparative costs that go into an IPS LC panel.
LC display panels are all manufactured from 2 pieces of "mother glass" and after complete processing the mother glass is cut up into numerous displays. The fundamental cost of LC panel manufacturing is the cost to process a piece of mother glass. If N displays come out of each mother glass, then each panel's cost is 1/Nth the fundamental cost - approximately. Thus the single most expensive thing you can do is to increase your monitor cost is to say you want a larger display. Each new generation factory handles larger mother glass - that is the main reason prices have been decreasing. Additionally, as in semiconductor manufacturing, there is a yield impact to increasing panel (or Si die) size since every manufacturing system has some number of defects per unit area. Increase the area and defects go up and the corresponding yield goes down.
The current sate of things is that well engineered monitors using either IPS or VA panels can perform equally well - it takes a pro to "see" the difference and those differences occurr under conditions in which a designer/photographer typically does not work. Both types of monitors are expensive because of the engineering and the low volume. The future hold promise for IPS monitors as they have better electro-optical performance supporting 10-bit color and, eventually, lower prices. Finally, given the current state of the technology, for high performance/cost ratio for one's studio consider a small great monitor (say 24") and one or more additional monitors for the non critical parts of your work.
This is very interesting, Paulo, and exactly the kind of background information that is hard to come by through the "normal" channels. In fact I had secretly hoped that this thread would stay afloat for a while, to shed some more light on the underlying mechanisms.
What started me on this whole thing was a seemingly simple question: How much do I have to pay for a monitor I can rely on? I wasn't asking for perfection, just predictability. Naively, I assumed that price/quality was a linear relationship, and that by studying the specifications it would be possible to determine the sweet spot.
Not so. It turns out that specifications mean nothing in themselves. What matters is how those specifications are met. In other words, quality control and tolerances. This is what you really pay for, and moreover, this is what it's really worth paying for.
Not to beat a dead horse, but receiving a $550 monitor and discovering that it was a worthless piece of junk was a shock to me. It never even occurred to me that such a thing would be possible. And an even bigger blow was the manufacturer coolly shrugging the whole thing off (as in what do you expect for $550?) And this from a highly respected, leading brand. The whole experience was so mind-blowing that I had to find an explanation. The one I've come up with so far is the same as yours, Paulo: low volume. Time in production is another that I hadn't thought of, but it makes sense.
The lesson to be learned from all this is to be extremely critical of where you place your priorities. What is essential, and what can you do without? For me it boils down to three things:
1. Predictable contrast and gamma response once calibrated. This translates to good viewing angles: minimal shift across the screen, or as you change viewing position.
2. Screen uniformity. Uneven brightness is bad enough, but uneven color renders the screen unusable.
3. Color depth. A true 8-bit screen should ideally show all 256 levels clearly distinguishable, with no banding (adjacent levels melting into each other). 10-bit is even better of course, offering 1024 levels. To bring cost down, many screens use 6-bit plus frame rate control. Intermediate levels are achieved by rapidly "flashing" neighboring levels. In theory this works well, but in practice it's difficult to achieve the necessary precision level. The result is visible banding.
The problem is that the specifications tell you next to nothing about any of these (although panel techology more or less determines the viewing angles). All you have to go on is the price. You have to assume that you get what you pay for.
The thing that seems the least important is size. I'd rather have a good 22" than a bad 27". And as you say, for the same price you should get a huge increase in quality.
BTW I cancelled the order for the hp. I don't want to risk the same story all over again. I finally managed to get my money back from the dealer, and at the same time decided to lay som more cash on the table, so I'm currently looking at Eizo again. The ColorEdges are probably still just out of reach, so I don't know what I'll end up with. In the meantime, the "low-end" Eizo EV2335 tided me over nicely. But I still want something better.
The cost od Si for both AMD and Intel is about the same, but viva la difference! (or is there?).
So far as Eizo, if you want to go that way. look at the Flexscan SX models. They are just a cut under the Color Edge, but at a much better price point..
FWIW, I find that, except for the curious problem of the tainted edge colors of a particular brand, the basic color differences are minor, for what I do. But the big difference is in the grayscale capabilities, as is/was the case for printers. So my final decision will be based on that.
Correction: I paid the equivalent of $800 for the U2410, not 550. That's just the exchange rate, I don't know what the actual US price is. But we need to keep the correct perspective.
There is more to this than meets the eye. For reasons I won't go in to, this weekend I did a complete re-installation of both OS's on my system. New HD and all. After weathering all the update stuff, I had to re-install the i1 software then re-calibrate.
You would have thought I have a new (or at least, newer) monitor. Previously, the best I could do with luminance was about 43cd/m^2 and maintain color accuracy but not shadow detail in either a color or more importantly, B&W. I've had this for some time, as witnessed by the excellent separation of the same values in the print, which I chalked up to a plethora of reasons.. But this time, with room to spare, I am up to 65cd, with color dE of 1.75. That is a decrease from 1.1 or less but frankly, it looks better and better tracks color variations between print and screen.
If I have to trace it to one thing it is likely to be that updating the i1 software when I downloaded the Win 7 version, but without running the updated against the earlier one I cannot say for certain. I can push all the RGB guns like never before, and no artifacts like pink edges on menus do not show up.
So, before trashing your monitor for failing presentations, be absolutely certain that your system is optimal. It takes some doing and frankly, if there was a better way than complete re-install, I would do it, but my investigations over the problem leading to mandatory re-install got no significant answers.
Hmmm, now I am Lawrence and not Hudechrome but with only 55 posts. Well, so be it.
Now the log -in says Hudechrome.
Message was edited by: Hudechrome
...But I still want something better.
It sounds like you have done your due diligence in preparing to buy a monitor.
Specificantions do mean something, but you have to make sure you understand the specification and how it is determined. Display producers are notorious for specsmanship. Most reputable panel manufacturers do meet their specs, though you can be pretty sure the panels do not exceed those specs. The monitor producers have a somewhat poorer reputation, though still pretty good. The key issue with the specs are that you i) have to understand the spec & how it is measured and ii) make sure that the characteristic that you care about HAS a specification - you cannot just assume.
The sweet spot may exist for high volume products. When you get to things like uniformity, stability and other measures of high quality I am not sure that there are obvious winners. Your best bet is going with monitor producers who service a professional base like NEC and Eizo (and others). From them you can pare down your requirements (smaller size, 8 bits not 10 bits, built in calibration vs external calibration, .....) and hope something within your range exists. I think your decision to cancel the HP monitor was a good one.
Sometimes you can get very good info on competing displays by checking with a provider of display & color solutions, say Chromix as one example, and tell them what you are looking for and they usually know what is wrong with monitors that compete with the ones they sell. They can also give you a realistic price point for the features you indicate you want. Unfortunatley, today if you want color uniformity all over the panel you are going to have to pay (the monitor maker) for it since the panels do not inherently come that way.
"and they usually know what is wrong with monitors that compete with the ones they sell".....
But they won't likely tell you what's wrong with the ones they do sell.
True enough! Usually.
So it also helps to check with a few places to get a balanced opinion.
Paulo Skylar wrote:
if you want color uniformity all over the panel you are going to have to pay (...) since the panels do not inherently come that way.
That's where I was naive. I thought that was a given, sine qua non so to speak...but apparently not.
So to anyone else in the market for a new monitor: Don't take anything for granted. If at all possible visit a showroom and see for yourself (after carefully setting up a list of what specifically to look for). But in these days of online shopping that may not be possible.
Buying LCD panels is like buying lumber. If you want straight, true 2x4's, you inspect the shipment, select the pieces you want and send the rest back. Now the guy getting the leftovers probably will complain about the poor quality of his shipment, which will consist of a far greater percentage of twisted 2x4's, but hey, he got it at a discount!.
(Everything I needed to know about Q.C. I got from my Dad, a great finish carpenter)
Hah! That's what I wanted, the monitor equivalent of a good straight 2x4. You can learn a lot from good carpenters...
Interesting analogy becasue I had thought of using a related one.
If you build furniture and want to get some good boards (timbers) you might think at at 8 USD/bdFt you would get some very good material. This is usually not true since the really good logs have all been purchased, at high price, for veneer making. While annoying for the traditional woodworker, it is ecologically a much better use of the log.
The good logs have been purchased, at high prices, and shipped to Japan China.
Does anyone have any comments on the LG 22" LED IPS Monitor. Best Buys has them at a reasonable price, just wondering what everyones thoughts are on LED monitors
LED is just marketing hype, it doesn't make any practical difference. A monitor can be wide gamut or standard gamut regardless of backlight technology. And it doesn't do anything for backlight uniformity.
There is a "new wave" of small, relatively inexpensive IPS monitors. Aside from screen uniformity, I believe the main risk with these monitors is posterization/banding, because most of them are not true 8-bit panels. Instead they are 6-bit plus frame rate control (a sort of dithering).
The best advice I can give is to see for yourself, if that's possible.
One essentail difference is power requirements. A number of LED units show a power need which is less than the conventional units, some by a factor of 3 more.
http://www.generaldigital.com/products/led_backlights/led_backlights_f or_lcds.htm
There is an interesting discussion of the ways that LED's are implemented, and the trade-offs.
As you can see, it's far from marketing hype.
LED backlit displays can have a better color gamut, in addition to running cooler.
Those with white LEDs tend to be similar to using fluorescent lamps for the backlight. But those with RGB leds can adjust the white point more efficiently, and give much more saturated colors while still using less power.
OK, point(s) taken. I've got nothing against LED, I have one . I just haven't seen any real differences in terms of display quality.
Yes, the dispay uniformity that you may be looking for is not solved by LED backlighting - but it may help in the future.
LED backlighting is indeed a real and substantial development in LC monitors as other have already suggested. It enables thinner, lighter, more rugged, longer lasting monitors. It also eliminates high voltage and the inverter that produces it from the monitor. Over the life of a large screen LCD television the LED backlight represents about a 50 % power savings. The color gamut and the saturation are also improved.
Like many other developments how things get implemented varies with manufacturers. the LEDs can be placed along one or more of the four sides OR arranged in a low density array. LEDs are high frequency devices whereas CFLs are only practical as continuous light sources. TV manufacturers have already offered units taking advantage of this by dynamically varying the backlight to pump up their instantaneous contrast ratio - increasing the back illumination during high key scenes in a movie, for example, and decreasing the illumination for night scenes.
With array LEDS once can do the same, within certain limits, for a static image. That is control the illumination spatially as contrasted with the temporal example just mentioned. One can imagine some level brightness uniformity correction of a monitor using this approach.
"Instead they are 6-bit plus frame rate control (a sort of dithering)."
With regard to frame rate control (FRC), this is not a fundamentally bad approach - it depends how it is implemented and I have seen some impressive examples. The basic notion, however, is that it is a temporal modulation to produce tones between those offered by voltage control and Not a spatial technique such as you suggest - Some use both FRC and dither or error diffusion. I cannot be certain about this, but I believe that Eizo uses a touch of FRC in their high end monitors. This is not to gain 8 equivalent drive bits from 6, but to control the tones available from the 8-bit drivers they use. ..... OK, maybe strickly speaking it is a way of getting somewhat more bits than 8. Your original advice is spot on - LOOK at a display before you buy. Things as elementary as how smooth or diffuse the front surface treatment is can make you love or hate a display.
All incredibly interesting comments... Thanks, guys!
One thing that hasn't been mentioned is longevity...
Back at the end of 2003 and in early 2004 I bought the two monitors I'm currently using: 20" Dell Ultrasharp 2001 FP (20" diagonal 4:3 ratio) displays with 1600 x 1200 pixels. Back then they cost me $900 and $600 respectively (I didn't buy them at the same time).
And here they are working almost as well as the day I bought them. Uniformity is good, though not perfect, and there are no bad pixels.
I had thought they were starting to go bad, as some dark blotches had started to appear near the top-left edges (not complete failure, but just a darkening of the display in kind of an analog way), but a few weeks back we had a nice, cool day (air in the low 60s F, which is cool for Florida) and I had the windows in my office open. It got cool in here, and I happened to notice the dark blotching was almost gone... This got me to thinking maybe the problem could be heat related, so I both blew and vacuumed out these two displays through the slots in the back panels, and lo and behold now they look much better even when the room is at the normal 75 F. Heat was simply accumulating because of dust build-up.
I probably shouldn't write this, because I've heard Murphy reads these forums, but I've never had a lick of trouble with these two monitors in daily (long) use for what, 7 years now...
Do new models - e.g., higher-end units - still have the potential for this kind of longevity? I hope so.
My guess is that the current crop of monitors are more likely to have lifetimes equal to or greater than the one's you have experienced. I do not have any data at my finger tips to support this.
The LC panel stability and resistance to analog deterioration is strong and modern process control makes it even more so. The drivers and related contacts (thousands of them) which attach to the LC array are well protected these days from static and other over-voltage conditions, the voltages are low and the few hundred MHz clock rates are no big deal these days.
The big improvement is in the back light as your units had cold fluorescent lamps (CFL) and todays monitors have LEDs - really, no comparison. My guess is that the darkening condition you described is almost certainly due to the backlight. CFL's are run at a point of high efficiency for obvious reasons. If you plot the efficiency versus temperature you will find the operating point is on a moderately broad maximum. Lower the temperature, or increase it, from the design point and your light output goes down. CFLs can also experience a darkening of the bulb interior with time especially near the cooler end points of the tube.
Statistically speaking, longevity of new LC monitors should be high. You will need a monitor manufacturer with good manufacturing control, however, to realize it on your monitor.
This is an aside, but one other benefit of the LEDs monitors is that they have no need of a high voltage inverter as the CFLs did. There were several pretty good monitors made which were great except that the manufacturers used cheap inverters which produced an audible complex tone, which would drive you nuts. No way you would see that on a spec sheet - you had to see and hear the display to determine it that monitor was for you.
I'd hold on to them for as long as possible. A good monitor is very hard to find these days.
When I have nothing better to do, I search the net looking for peoples' monitor experiences in various forums (my god, there are many forums...). In general, IPS monitors seem very susceptible to uneven color, so much so that I've decided to stay away for now. Dell, HP, Asus, LG, all the mainstream brands. And Apple: one guy had walked into an Apple store and checked all the iMacs and Cinema Displays against a neutral desktop. They all had uneven color, every single one.
Only two brands seem to go clear: NEC and Eizo. NEC seems to be in very high regard among professionals in the US, mainly because most of them seem to consider Eizo overpriced for no real reason. In Europe the two are similarly priced model for model, so it may be different here. Certainly, the NEC Spectraview calibrating software seems very good.
I took the Dell money, added some, and ordered an Eizo Flexscan S2243W. It should arrive one of these days. Yes, it has a PVA panel, which is ironic in a way because I came from a PVA Eizo (older model) determined to get an IPS monitor. But with what seems to be the current state of affairs regarding IPS, I just don't have the nerve. Anyway, I think I've found a trick to tame the PVA "black crush". I threw the Easy-Pix calibrator into the bargain, which will be very interesting to compare with Color Eyes Display Pro. The interesting bit is that Easy-pix allows calibrating to the 10-bit monitor LUT.
And I have the "low-end" Eizo EV2335 IPS to check against. It's good, but I suspect this is one of the 6 bit + FRC panels. There is a little bit of banding in the shadows.
As for LED, I can get environmental with the best of them (currently working on a book about endangered orchid species). In the context here, however, I'm only concerned with image quality. I can certainly see the point in both RGB LED (as opposed to the common white LED) and LED arrays (as opposed to single side with diffuser). But at present both of these are very expensive and found only in extreme high end units, one of which is the hp Dreamcolor. But eventually/hopefully it will drift down into the mainstream segment.
After reading the last comments today, I went off to look at the LED situation. Strangely, Eizo seems to be holding back. Dreamcolor, although expensive, is still less expensive than high end Eizos, most of which do not use LED's at all.
It's easy to spot the monitors using led...look at the power consumption. Full power for Eizo is around 100W for standard illumination whereas leds run 35W max. (It's not a guarantee, of course!)
A factor to consider is exactly how the led's are powered series or parallel? In series, one led goes out and you lose a bunch more.
Still another factor, for which I have no references, is what happens to separation values when the screen is dimmed to say, 80 cd/m^2? If the calibration is speced at a percent of full scale, reducing the brightness brings you into an area where that actual percentage is larger than the full scale number value ( 3% of 100 is +/- 3 units, so at a lower value, like 1/5 brightness=20, will still be +/- 3 units, returning in an error of 3/20 or 15%!)
Calibrating to low luminance levels (less than around 90 cd/m²) is not recommended with CCFL, precisely for that reason. During my brief struggle with the Dell U2410 I found out that zero brightness setting in the OSD corresponded to about 110 - 120 cd/m².
LED is supposed to behave better in that regard. According to Eizo, the EV2335 can be adjusted all the way down to 3 cd/m².
So coming from CRT, where 80 - 90 is the norm, LED might be an easier transition.
I would also recommend the NEC SpectraView Reference series, I recently bought a 271 (27inch 2560x1440) – my only gripe would be the cost around £1600 in the UK. Originally I was looking at either an NEC 241 or a LaCie 324i, both similar price at £1200. Finally decided on the NEC due to the zero pixel defect guarantee, but by the time I decided the 241 was out of stock so took the plunge and ordered the 271.
I had been using a SpyderPro 3 to calibrate my old monitor and the sensor works well with NEC's SpectraView calibration software. That's one point to consider when splashing out on a high end monitor – some include the calibration hardware/software also. There is a customised sensor available from NEC so I may replace the SpyderPro in the future.
When my new PC arrives with its FirePro V5900 graphics card I will see how well the 10 bit colour works on the SpectraView.


text:
Medina Journal-Register — Communities across the North hosted sendoffs for their soldiers 150 years ago.
Having an actual descendant of one of those soldiers on hand Saturday morning made Medina's reenacted sendoff a bit more unique.
Mary Zimmerman Robinson, great-great-granddaughter of Captain Erwin Ambrose Bowen, dressed the part and presented her predecessor's doppleganger with Bowen's actual sword from the era.
Robinson said she met Simon Taylor, the man who portrayed Bowen, a couple years ago.
"He embodies him," she said of Taylor and her great-great-grandfather.
Robinson led a small contingent of the "Ladies of Medina" during the sword ceremony. She said she felt as if Bowen's spirit was with them during the ceremony, and it nearly rendered her speechless.
Taylor agreed.
"It's not often that you get such a complete backstory with what happened, the words that were spoken, the exact route taken, and the same sword," he explained of the reenactment.
"It really made it a different experience."
Taylor, a native of England, said the chance to meet with Robinson and learn about Bowen offered another benefit. He learned Bowen and the men of Medina Company D of the 28th New York Volunteer Infantry Regiment used the Harding field manual for infantry men.
"There's always a question wherever you go about which drill manual they used," Taylor said. "To find one with the Medina Voluneers logo in it? Wow."
Many of Robinson's family heirlooms from Bowen's time were on display during the Civil War Encampment at the GCC-Medina Campus Center over the weekend. Her Civil War interest was easily explained, having a relative who fought in it.
But Taylor's? He said there are Civil War reenactments in England, and he joined his relatives for one once, liked it, and has done it ever since.
That was 23 years ago.
Now, the Palmyra resident participates in several reenactments a year. However, he said Saturday's events, from the parade to the reenactment, left him "blown away."
He said, "When we turned on to Main Street and I saw the amount of spectators who were watching the parade, I was shocked. It's very obvious this community cares about its history."


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text: Editing PubSubJS vs. jQuery custom events This edit will create a new revision. Your details (optional) Name Email (won't be displayed; might be used for Gravatar) URL Test case details Title * Published (uncheck if you want to fiddle around before making the page public) Description (in case you feel further explanation is needed)(Markdown syntax is allowed) An attempt at showing that [PubSubJS](http://roderick.dk/blog/2010/10/12/introducing-pubsubjs-a-library-for-doing-publish-subscribe-in-javascript/) is faster than using jQuery custom evens for [publish/subscribe](http://en.wikipedia.org/wiki/Publish/subscribe) style messaging. It's certainly not as rich in features, and I am happy with that. [Introducing PubSubJS](http://roderick.dk/blog/2010/10/12/introducing-pubsubjs-a-library-for-doing-publish-subscribe-in-javascript/) Are you a spammer? (just answer the question) Preparation code Preparation code HTML (this will be inserted in the <body> of a valid HTML5 document in standards mode) (useful when testing DOM operations or including libraries) <script src="//ajax.googleapis.com/ajax/libs/jquery/1/jquery.min.js"></script> <script src="https://raw.github.com/mroderick/PubSubJS/master/src/pubsub.js"></script> <script> var callback1 = function() {}; var callback2 = function() {}; var payload = { somekey: 'some value' }; var body; // let's use jQuery.ready to make sure that the DOM is ready, // before trying to work with it jQuery(function() { // we'll use the body element to exchange messages for jQuery // if using deeper nested elements, jQuery will be slower, as custom events bubble body = $('body'); // subscribe our callback1 function to the custom event for jQuery, only once body.bind('my-event', callback1); // subscribe our callback2 function to the message for PubSub PubSub.subscribe('my-event', callback2) }); </script> Include JavaScript libraries as follows: <script src="//cdn.ext/library.js"></script> Define setup for all tests (variables, functions, arrays or other objects that will be used in the tests) (runs before each clocked test loop, outside of the timed code region) (e.g. define local test variables, reset global variables, clear canvas, etc.) (see FAQ) Define teardown for all tests (runs after each clocked test loop, outside of the timed code region) (see FAQ) Code snippets to compare Test 1 Title Async (check if this is an asynchronous test) Code body.trigger('my-event', payload); Test 2 Title Async (check if this is an asynchronous test) Code PubSub.publish('my-event', payload); Test 3 Title Async (check if this is an asynchronous test) Code PubSub.publish('my-event', payload, true);


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Golden Tulip Mamaia is locaded right on the beach in North side of Mamaia at only a few meters from the sea , being the first hotel on the Romanian Riviera destinated for all types of guests(families, events, business , etc) to spend an unforgettable and confortable vacation or meeting.
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An emailed statement this morning from Sgt. Steven Jarrett, a spokesman with the Alabama Department of Public Safety, said one driver in the accident had been airlifted from the scene. Further details about the crash will not be released until Tuesday, Jarrett said.
A state trooper at the scene said the accident happened around 4 a.m., but declined to release further information.
Debris and parts of four commercial trucks, including one flipped onto its side, littered the eastbound lanes of I-20 about a mile east of Exit 199 around 9:30 a.m. Although much of the damage had been moved off the road, state troopers and other law enforcement officials had almost a mile of the highway blocked to traffic as crews continued to clean the road.
Despite an earlier statement from the Alabama Department of Public Safety that officials hoped one lane of traffic would be open by 4 p.m., eastbound traffic was still being redirected at Exit 199 through Heflin into the evening.
By 7:30 p.m. today, state troopers had opened one lane of traffic.
Jarrett said troopers will continue to keep one lane closed until cleanup is complete. He added that at some point ,the lane closure will swap from the fast lane to the slow lane to allow clean-up on the emergency shoulder side of I-20 eastbound.
Traffic through downtown Heflin remained busy during the closure of the lanes, with several commercial trucks using Alabama 78 and Alabama 46 to return to the interstate at exit 205 east of the city.
Sandra Smith, a manager at Marie's Bar-B-Que restaurant on Almon Street where traffic was being redirected, said a heavy stream of vehicles had been passing by since opening at 8 a.m.
"Our parking lot can't accommodate commercial trucks, so we actually haven't seen a lot of customers," Smith said this afternoon. "I think people are just trying to figure out where they're going."
Two accidents occurred in Heflin today after the crash on I-20. At around 7 a.m., there was a wreck involving two commercial trucks on Alabama 46 about 3 miles from I-20's Exit 205. No one was injured.
Around 2:30 p.m. a Ford pickup truck and a Chevy pickup truck collided head-on outside of an Alabama Power office on Ross Street. One driver was taken to a local hospital.
Heflin police were assisting officials at the scene of the I-20 crash this morning, but only state troopers remained cleaning the blocked highway late this afternoon.
Staff writer Laura Camper: 256-235-3545. On Twitter @LCamper_Star.
Staff writer Brian Anderson: 256-235-3546. On Twitter @BAnderson_Star.


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JINZHONG CITY, China, July 2, 2012 -- Former James Madison All-America basketball player Dawn Evans (Clarksville, Tenn./Northeast) was one of the leading scorers for the U.S. All-Star Team in its game against the Chinese National Team Monday night.
China got off to a hot shooting start to take an early lead and coasted to a 99-74 victory over the NetScouts Basketball USA All-Stars before a crowd of 3,022.
Evans (JMU '11), the former Dukes' point guard, tallied 11 points for the United States and was one of three players to score in double figures. Former Arizona State player Becca Tobin led the American team with 12 points, and Louisville alumna Becky Burke also scored 11 points.
Monday's contest was the first of a three-game series called the 2012 Longrich Cup Sino-American Pre-Olympic Challenge. On Tuesday Team China posted a 100-82 win over the USA team.
In Monday's game, Team China pulled away early, connecting on 13 of 16 shots in the first quarter, finding open spots in the USA defense and using the team's height to score in close. China has six players on their roster 6-6 or taller, and 6-7 lefty Chen Nan showed a nice mid-range touch and shot 9-of-11 to score 18 points. Team China led 30-16 after the first quarter.
The USA All-Stars made a nice comeback in the second quarter, cutting the deficit to nine points on several occasions helped by aggressive play by Evans and the inside scoring of Tobin. Team China led 53-40 at halftime.
Ma Zengyu led Team China with 26 points on 9-for-13 shooting while Miao Lijie contributed 11 points and nine assists.
The trip is scheduled for June 26 through July 11.
Evans led JMU to the Colonial Athletic Association title in both 2010 and 2011 and is the Dukes' and the CAA's all-time leading scorer (2,667 points). She was the 2011 CAA Player of the Year and the 2011 CAA Tournament Most Outstanding Player. Evans earned Associated Press All-America Honorable Mention in 2010 and 2011.
Earlier this year Evans played in Vienna, Austria, for the Flying Foxes and signed a training camp contract with the Women's National Basketball Association's Connecticut Sun. She trained with the Sun in April and May but was not selected for the Sun's 2012 roster.
USA Statistics
Katie Bussey (Montana State): 0 points, 0 rebounds, 1 assist
Ashley Corral (USC): 7 points, 1 rebound, 4 assists, 2 steals
Dawn Evans (James Madison): 11 points, 2 rebounds, 2 steals
Jence Rhoads (Vanderbilt): 6 points, 1 rebound, 2 assists, 1 steal
Briana Gilbreath (USC): 8 points, 0 rebounds, 1 assist, 1 block
Brittany Carter (Memphis): 4 points, 2 rebounds, 2 blocks
Becky Burke (Louisville): 11 points, 3-for-4 three-pointers
Kristina Santiago (Cal Poly): 7 points, 2 rebounds, 1 block
Amanda Johnson (Oregon): 4 points, 4 rebounds, 1 steal
Kali Bennett (Arizona State): 0 points, 2 rebounds, 1 steal
Becca Tobin (Arizona State): 12 points (6-for-7 FG), 3 rebounds, 1 block, 1 steal
Cierra Brevard (Florida State): 4 points, 4 rebounds


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TALLAHASSEE -- Florida State's board of trustees has announced it will be holding a special meeting Friday morning via conference call to discuss the contracts of university personnel. The board is expected to discuss ways it can work around new state laws and begin hiring assistant football coaches.
An announcement for the special meeting was posted to the board of trustees website Thursday. On the agenda is a single line-item about university personnel contracts.
According to a report from the Tallahassee Democrat, the trustee board will discuss methods it can take to get around new laws restricting the amount of severance pay an employee from a state university can receive.
The law, which was approved April 20 by Governor Rick Scott says that those employees cannot receive more than 20 weeks of severance pay from the university that had employed them.
This is apparently a reason FSU has had trouble hiring assistant coaches in recent weeks.
About three weeks ago, defensive coordinator Mark Stoops announced he was leaving to become the head coach at Kentucky. Last week, defensive ends coach D.J. Eliot left, as well, joining Stoops as the Wildcats' new defensive coordinator. Earlier this week, running backs coach and special teams coordinator Eddie Gran left to become the offensive coordinator at Cincinnati.
Head coach Jimbo Fisher has to replace all of them, with Stoops' vacancy being open the longest. There is a chance he could have at least two other positions to fill in the coming weeks as assistants Dameyune Craig and James Coley also are reportedly flirting with other jobs.
In order to help expedite the process of paying assistant coaches, FSU's board of trustees is expected to discuss the formation of a special group that could administer the funds and not fall underneath the bill's regulations. The bill stipulates payments made by the university to the employee. All coaches receive base salaries from the university itself. Bonuses come from the external group Seminole Boosters, Inc.
The University of Florida pays coaches through its athletic association, a separate organization that doesn't fall specifically under the university's financial umbrella.
To read the full bill signed earlier this year by Scott, click here.
Email me at email@example.com, and follow on Twitter at @os_coleyharvey.


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Experimental filmmaker Carolee Schneemann added a museum piece of her own—a happening (remember them?) which took place on stage during an intermission. Nominally draped in a white sheet, Ms. Schneemann swept onto the stage carrying a bucket of Rocky Mountain dirt, rubbed it all over her soon nude body, and then, as the inevitable hush fell over the crowd, reached into her vagina and began to pull out a very long scroll. What she read from the scroll, pulling it out as she went, was a dialogue between an artist (feminine) and a structuralist filmmaker (masculine).
"Carolee didn't tell me what she had planned," said festival co-founder and co-director Tom Luddy. "And, of course, it caused quite a stir."
Schneemann, a legendary figure in experimental performance since the 1960s, will return to the festival with Breaking the Frame, Marielle Nitoslawska's documentary about her life and work. She spoke with the Film Watch about her 1977 performance, titled "Interior Scroll."
Film Watch: What led you to do this piece? I understand you decided when you were in Telluride.
Carolee Schneemann: I was distressed by the flier for the event. It had a pseudo naked man with his raincoat open and no genitals. It put me in an odd state because I considered it jokey and prurient, adolescent, completely inappropriate for a theme related to the erotic. It was about shame and self-censorship. … And the title "The Erotic Woman." There is no one erotic woman. The program needed to suggest a multiplicity, something not so narrow. As a woman, I can't represent all erotic women.
And film itself is conceptually static, so apart from the erotic it was supposed to be about. The audience seemed so static, so undisrupted.
I didn't think about it in advance. I didn't want to do it … (but) I felt fiercely that there had to be a living, visceral, expressive body and that I would allow mine to take that position. I felt there was an unquestioning conservatism surrounding the films. That's why I decided to make an action. (I turned) the concept of film into a scroll—interior knowledge—extruding from the erotic, the forbidden, the taboo: the vagina.
Watch: What happened that night?
Schneemann: At some point I went to the creek and got a bucket of mud. After the films were introduced and shown, I came out wrapped in a sheet, painting myself using brushes with mud so that the body became articulate, somewhere between an actual body and a painted form. I extracted the scroll, slowly unrolled the scroll and read it.
Watch: What was the reaction?
Schneemann: The reaction was both ecstatic and disturbed. Agnés Varda (the French film director) was enraged and went all over town speaking badly about this event and about me. The bartenders in town were waiting to see this lascivious woman. That night, Tom Luddy's wife and Bill Pence's wife separated from the husbands to protest my free speech. They wouldn't sleep with their husbands, as in Greek mythology.
I didn't imagine the (performance) would be taken as something so aggressive and so disruptive to the moral values that I believed we were there to reconsider and reevaluate.
Watch: I imagine it will be amazing to return after 35 years, especially with Breaking the Frame.
Schneemann: Marielle Nitoslawska's film is ardent, structured, nuanced, passionate and completely insightful for the consideration of my work. I'm so happy about that. It will change everything. The male filmmakers, my contemporaries and often friends--they never considered my films to be films. Brakhage would say, oh they are something else. Breaking the Frame gives an appropriate entrance to the range of work. We'll be celebrating that in Telluride.
Canada, 2012, 100m
Director: Marielle Nitoslawska
Featuring: Carolee Schneemann


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A Companion to Latin American Philosophy
576 pages
December 2009, Wiley-Blackwell
- Represents the most comprehensive survey of historical and contemporary Latin American philosophy available today
- Comprises a specially commissioned collection of essays, many of them written by Latin American authors
- Examines the history of Latin American philosophy and its current issues, traces the development of the discipline, and offers biographical sketches of key Latin American thinkers
- Showcases the diversity of approaches, issues, and styles that characterize the field
Table of Contents.
Part I: Historical Perspectives.
1. Pre-Columbian Philosophies (James Maffie, Colorado State University).
2. The Rights of the American Indians (Bernardo J. Canteñs, Moravian College).
3. Colonial Thought (Luis Fernando Restrepo, University of Arkansas, Fayetteville).
4. The Emergence and Transformation of Positivism (Meri L. Clark, Western New England College).
5. Early Critics of Positivism (Oscar Martí, California State University, Northridge).
6. The Anti-Positivist Movement in Mexico (Guillermo Hurtado, Universidad Nacional Autónoma de México).
7. Darwinism (Adriana Novoa, University of South Florida and Alex Levine, University of South Florida).
8. Krausism (Claus Dierksmeier, Stonehill College).
9. 'Normal' Philosophy (William Cooper, Baylor University).
10. Ortega y Gasset's Heritage in Latin America (Manuel Garrido, Retired).
11. Phenomenology (Nythamar de Oliveira, Pontifical Catholic University).
12. Marxism (Renzo Llorente, Saint Louis University, Madrid Campus).
13. Liberation Philosophy (David Ignatius Gandolfo, Furman University).
14. Analytic Philosophy (Diana I. Pérez, Universidad Nacional de Buenos Aires and Gustavo Ortiz Millán, Universidad Nacional Autónoma de México).
Part II: Current Issues.
15. Paraconsistent Logic (Newton da Costa,Federal University of Santa Catarina, Brazil and Otávio Bueno, University of Miami).
16. Language and Colonization (Ilan Stavans,Amherst College).
17. Ethnic-Group Terms (Susana Nuccetelli, St. Cloud State University and Rod Stewart, Austin College).
18. Identity and Philosophy (Jorge J. E. Gracia,University of Buffalo).
19. Latinos on Race and Ethnicity (Alcoff, Corlett, and Gracia (Lawrence Blum, University of Massachusetts, Boston).
20. Mestizaje and Hispanic Identity (Gregory Velazco y Trianosky, California State University, Northridge).
21. Liberation in Theology, Philosophy, and Pedagogy (Iván Márquez, Bentley University).
22. Philosophy, Postcoloniality, and Postmodernity (Ofelia Schutte, University of South Florida).
23. Globalization and Latin American Thought (A. Pablo Iannone, Central Connecticut State University).
Part III: Disciplinary Developments.
24. Latin American Philosophy (Susana Nuccetelli).
25. Contemporary Ethics and Political Philosophy (Eduardo Rivera-López, Universidad Torcuato Di Tella).
26. Philosophy of Science (Alberto Cordero, City University of New York).
27.PPhilosophy and Latin American Literature (Jesús Aguilar, Rochester Institute of Technology).
28. Feminist Philosophy (Ofelia Schutte, University of South Florida and María Luisa Femenías, Universidad Nacional de la Plata, Argentina).
29. Teaching Philosophy (María Cristina González, Universidad Nacional de Rosario, Argentina and Nora Stigol, Universidad Nacional de La Plata, Argentina).
30. Cultural Studies (Arturo Arias, University of Texas, Austin).
31. Deontic Logic and Legal Philosophy (Pablo Navarro, Universidad Nacional del Sur, Bahía Blanca, and Blas Pascal University, Argentina)
32. Metaphysics (Liza Skidelsky, Universidad Nacional de Buenos Aires and National Council of Scientific and Technical Research (CONICET), Argentina).
33. Epistemology (Eleonora Cresto,National Council of Scientific and Technical Research (CONICET), Argentina).
34. Formal Epistemology and Logic (Horacio Arló-Costa, Carnegie Mellon University and Eduardo Fermé, University of Madeira, Portugal).
Part IV: Biographical Sketches.
35. Some Great Figures (Gregory D. Gilson, University of Texas-Pan American and Gregory Pappas, Texas A & M University).
36. From Philosophy to Physics and Back (Mario Bunge, McGill University, Canada).
Ofelia Schutte is Professor of Philosophy at the University of South Florida, Tampa. She is the author of Cultural Identity and Social Liberation in Latin American Thought (1993), Beyond Nihilism: Nietzsche without Masks (1984), and numerous articles on feminist theory, Latin American thought, and continental philosophy. A former Fulbright Senior Research Fellow to Mexico, her work has appeared in Hypatia: A Journal of Feminist Philosophy, Journal of Social Philosophy, Philosophy Today, and The Philosophical Forum, among other journals and edited collections.
Otávio Bueno is Professor of Philosophy at the University of Miami, Florida. His work in philosophy of science, philosophy of mathematics and philosophy of logic has been published in Noûs, Mind, Philosophy of Science, Synthese, Journal of Philosophical Logic, British Journal for the Philosophy of Science, Erkenntnis, Studies in History and Philosophy of Science, and Analysis, among other journals and collections. He is a subject area co-editor in Latin American and Iberian Philosophy for the Stanford Encyclopedia of Philosophy.
"A welcome addition to the growing body of literature on Latin American philosophy. Highly recommended. Upper-level undergraduates through researchers/faculty; general readers." (Choice, 1 March 2011)"This outstanding work is a thorough presentation of the main topics of Latin American Philosophy from colonial times to the present. The authors adeptly combine discussions of historical aspects with issues of contemporary importance, and also describe developments in the philosophical disciplines in Latin America. Beyond its usefulness for the study of philosophy, the book has much to offer anyone interested in Latin American history, literature, or political and social ideas."
—J.C. Torchia Estrada, Philosophy Contributing Editor, Handbook of Latin American Studies
"The most comprehensive guide to Latin American philosophy to date. It covers an astonishing range of issues from pre-Columbian times to the present in highly informative essays. This is a work destined to last."
—Iván Jaksic, Stanford University
A Companion to Latin American Philosophy (US $225.95)
-and- A Companion to Bioethics, 2nd Edition (US $48.95)
Total List Price: US $274.90
Discounted Price: US $206.17 (Save: US $68.73)


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- Sarah Osterman Myers pursued studies at Mercyhurst College and the University of Nebraska Lincoln before transferring to Columbia College Chicago to study journalism and dance. As a writer, Ms. Myers is interested in the arts/culture world and has published work in ECHO Magazine and Today's Chicago Woman. As a dancer, she's open to all types of movement experiences and has performed with Laboratory Dancers and Mucca Pazza.
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The Facebook API is a platform for building applications that are available to the members of the social network of Facebook. The API allows applications to use the social connections and profile information to make applications more involving, and to publish activities to the news feed and profile pages of Facebook, subject to individual users privacy settings. With the API, users can add social context to their applications by utilizing profile, friend, Page, group, photo, and event data. The API uses RESTful protocol and responses are localized and in XML format.
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EFPA is just amazing I would strongly recommend it guys! http://labs.gurron.com/projects.php?proj=efpa
Is there a way for me to upload pictures of someone, and be able to find out who they are on facebook?
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