text:
John S.
Vancouver, Canada, V6B2E8
Joined on February, 2014
Gender: Male
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Any day at any time
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Up to 45 minutes away for no additional charge
EducationBCIT, Graphic Design, 2006, Graduated with Honors
VCC, Provincial Instructors Diploma, 2005< Honors
Microsoft Office Specialist, 2007
ExperienceI have been tutoring in the Adobe software for over 8 years. Students included professionals, university students and ages range from 16 to 65. I also teach night classes in Photoshop and Photoshop Elements.
I love to teach and enjoy when my students are able to put to use the information provided.
I have a flexible schedule and fit the tutoring in between my teaching schedule. So, I have daytime, weekend and early evening availability.
HobbiesHobbies include Photography, hiking and writing.
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Photoshop, Photoshop Elements, InDesign, Illustrator, Word, Excel, PowerPoint
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Headscarf ban? CJEU say "yeah but no but yeah"
In the case of Achbita v G4S Secure Solutions (CJEU C-157/15) the Court of Justice of the European Union held that an internal rule of an undertaking which prohibits the visible wearing of any political, philosophical or religious sign does not constitute direct discrimination.
A was a Muslim, who was employed as a receptionist by G4S. When she was recruited there was an unwritten rule within G4S that prohibited employees from wearing visible signs of their political, philosophical or religious beliefs in the workplace. A informed her employer that she intended to wear an Islamic headscarf during working hours but G4S informed her that the visible wearing of political, philosophical or religious signs was contrary to the position of neutrality G4S adopted in its contracts with its customers. Subsequently G4S amended its workplace regulations to provide that: "employees are prohibited, in the workplace, from wearing any visible signs of their political, philosophical or religious beliefs and/or from engaging in any observance of such beliefs" ("the internal rule"). A was dismissed.
The CJEU made the somewhat obvious point that the internal rule was not direct discrimination, but could amount to indirect discrimination, if it was not justified. The Court held that the internal rule treated all employees in the same way by requiring them to dress neutrally. The internal rule did not introduce a difference of treatment that was directly based on religion or belief. The Court noted that it was not inconceivable that the national court might conclude that the internal rule introduced a difference of treatment that was indirectly based on religion or belief, if not objectively justified by a legitimate aim. The Court accepted that a policy of neutrality towards customers, if properly applied, was legitimate. When looking at whether the step taken was necessary and proportionate, the national court would have to consider whether the prohibition covered only G4S workers who interacted with customers, and whether it would have been possible for G4S to offer A a post not involving any visual contact with customers instead of dismissing her.
In the linked case of Bouganaoui and ADDH v Micropole Univers (CJEU C-188/15), B was dismissed from her role as a design engineer when a customer complained about her wearing an Islamic headscarf and B objected to being told not wear the headscarf in the future. The Court held that the willingness of an employer to take account of the wishes of a customer to no longer have the services provided by a worker wearing an Islamic headscarf could not be considered a genuine and determining occupational requirement.
Gillian Crew

subset: commoncrawl


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Paella is probably our most international dish but also the most mistreated. And I'm not talking only outside Spain, also here! It is unbelievable what some restaurants serve as 'paella valenciana'.
If you are in Madrid and you can't go to Valencia to eat one, at "Que si quieres arroz Catalina" you will be able to eat one of the best paellas in town, my absolute favourite!
They have a short menu with a wholesome selection of appetizers, some meat and seafood dishes and your 5 or 6 traditional rice dishes. They also have 2 set menus that include several appetizers where you only need to choose your paella, both good value for money.
Black rice, made with squid ink, will transport you to the sea after the first bite; 'arroz del senyoret' -gentlemen's paella- is perfect for those who don't want to get their hands dirty; and there are many others with meat, lobster, etc.


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The Ursuline order of nuns dates back to the sixteenth century when Angela Merici founded them in the northern italian town of Brescia in 1535. Its presence in Australia dates back to 1872, when twelve of their order travelled from England to Armidale in New South Wales, at the invitation of Elzear Torreggiani - Bishop of Armidale. Knowing full well the Ursulines commitment to providing quality, Catholic education to girls, he requested that they join him in his quest to spread the word and teach the young in remote New South Wales. Thus began their influence in Australia, which is particularly stong in New South Wales and south east Queensland.
Sources used to compile this entry: Kneipp, Pauline, This land of promise : the Ursuline Order in Australia, 1882-1982, University of New England, Armidale, N.S.W., 1982; 'History of the Ursuline Order in Australia', http://www.australianursulines.org.au/content.php/history#australia, [accessed 2009-06-10].


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Event box
Did you ever wonder why some students draw pictures in their notebooks, recopy their notes, rewrite course material as limericks, or tune out when your Powerpoint slides have illustrations? The way a student learns and engages with material has much to do with their overall learning style and the way you teach has much to do with your learning style preference. Today we will talk about different learning styles and how to reach students who engage with material differently than ourselves.
Monday, February 27, 2017
2:00pm - 3:00pm
Farber 2 Conference Room
Registration has closed.


text: NewsWokingham Pet of the Week: BobBob loves sunbathing and doesn't like cats ShareByAlan Bunce08:19, 21 MAY 2014Updated10:15, 21 MAY 2014NewsWokingham Pet of the Week: Bob ShareGet daily updates directly to your inbox+ SubscribeThank you for subscribing!Could not subscribe, try again laterInvalid EmailName: Bob Animal/breed: Welsh Terrier Owner's name: Michael Sumray From:Wokingham Likes/dislikes: Loves sunbathing and posing. Dislikes cats. Want to enter your pet? Click hereLike us on FacebookFollow us on TwitterDaily NewslettergetreadingFollow @getreadingSubscribe to our Daily newsletterEnter emailSubscribeMore OnWokingham


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File sharing is a fast and simple way to share
File sharing is really a quick and simple method to share files everywhere.
However, it is simple to get swept up and neglect limits on the file sharing we ordered.
Common walls you may come across:
1. Uploaded a file way too large
2. Uploaded too many files
3. Used far too much bandwidth
4. Uploaded too much all at one time
5. Ran out of totally free trial time
The best way to avoid all of these would be to commit a bit of money in a reputable service provider. For example, a quantity of premium dealers have numerous paid levels where you can strategically steer clear of these problems.
It is essential to watch out for these simply because they'll turn up at the worst time – right before Christmas, before sharing with a client, etc.
If you do run out of hosting in the nick of time, listed here are some options:
1. Go with an additional provider. Due to the web, it takes just minutes to be totally signed up with a premium service.
2. Email it. If it is much less than 10mbs, you might get away with emailing it.
3. Host it your self. In the event you own any websites, odds are you possess a generous amount of hosting you're not utilizing. Simple upload the file to your website utilizing your control panel or an FTP client like Filezilla
Our fileshare web site is developed to provide a lot a lot more details with regards to fileshare providers.


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|Publication number
|Publication type
|Publication date
|Nov 19, 1963
|Filing date
|Apr 14, 1959
|Priority date
|Apr 14, 1959
|Publication number
|Stanley S Cramer
|Original Assignee
|Stanley S Cramer
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (7), Referenced by (20), Classifications (6)
|External Links: USPTO, USPTO Assignment, Espacenet
Nov. 19, 1963 s. s. CRAMER 3,111,057
MEANS FOR PROVIDING VARIABLE LIGHTING EFFECTS Filed April 14, 1959 3 Sheets-Sheet 1 F l G. 3.
INVENTOR. STANLEY Sv CRAMER ATTORNEYS Nov. 19, 1963 MEANS FOR PROVIDING VARIABLE LIGHTING EFFECTS Filed April 14. 1959 s. s. CRAMER 3 Sheets-Sheet 2 AUDIO AMPLIFIER r LL\,\ \\l FEW A wmf 1!. I a: WIWT Q L m g '7 J N um F imm INVENTOR.
ATTORNEYS Nov. 19, 1963 s. s. CRAMER 3,111,057
MEANS FOR PROVIDING VARIABLE LIGHTING EFFECTS Filed April 14, 1959 3 Sheets-Sheet 3 m .M fi m o I M I N TR J N wm ms mm I A 2N w. 7 U1 V 4 A B M m w; m 1 is I &
m2 5 2. mo
N: ET m: m 8.5 om. N2 wt we, N2 7 02 IV, we
United States Patent 3,111,057 MEANS FQR PROVIDING VARIABLE LIGHTING EFFECTS- Stanley S. Qramer, Haddon Heights, NJ. (300 Madison St, Hollywood, Fla.) Filed Apr. 14, 1955, @er. No. 806,333 16 Claims. (Cl. 84-464) This invention relates to means for providing Variable lighting effects and has particular reference to the production of such effects in synchronism with music though the invention is applicable to the production of color effects without musical accompaniment.
Various proposals have been made for so-called color organs designed to produce color effects either with or without synchronized musical accompaniment. Generally, these attempts have involved either manually con trolled sources of colored light or sources of various colors controlled in intensity and in accordance with frequencies appearing in music, the intensity of illumination being a function of the amplitude of the frequency band corresponding to each color.
The general object of the present invention is to provide means of this general type involving various desirable features for the production of optimum aesthetic results.
In accordance with the invention what may be considered a background has located in front of it various lightocculting elements, the elements and background being illuminated by spaced color sources with theresult that the several sources thnow shadows on the background to provide umbral and penumbral areas which are devoid or deficient in light from one or more of the sources while being exposed more or less to light fromv one or more others. Under these conditions with a physically static system a play of variable colored areas is produced in pleasing fashion giving rise to a most unusual effect. Still further effects may be produced by imparting movements to the illuminated areas, most simply by movements of the light sources.
Another aspect of the invention has to do with what might be best described as inertial effects involving some what slow or lagging building up and fading out of colors. This end is desirably accomplished by using lamp sources of filament type in which the filaments are of such type as to heat or cool relatively slowly with variations of exciting current. The lags involved, however, are only of the order of fractions of a second but the results apparent to the eye involve soft changes of intensity which are particularly pleasing as contrasted with such changes as would tend to give what might aptly be described as a scintilating effect. For example, a series of percussion sounds, such as drum beats, do not appear when translated into color as sudden individual intensity changes dying out between the beats, but rather as step increases of color without substantial fading between beats as they follow each other at close intervals.
Further objects of the invention have to do with the attainment of the results indicated and relate to particular arrangements and apparatus for the production thereof.
The foregoing and other objects will become apparent from the following description read in conjunction with the accompanying drawings in which:
FIGURE 1 is a front elevation of a shadow box which may be provided in accordance with the invention in both small and large installations;
FIGURE 2 is a transverse section through the shadow box of FIGURE 1 on a plane which may be regarded as sloping upwardly toward the rear from a set of lamps providing illumination, there being also indicated in this 3,lll,57 Patented Nov. 19, 1963 figure in graphical fashion areas of illumination provided on the rear surface of the shadow box;
FIGURE 3 is a vertical section through the shadow box of FIGURE 1;
FIGURE 4 is a wiring diagram showing the nature of one form of electrical apparatus involved in securing the desired results;
FIGURE 5 is a wiring diagram showing another form of electrical apparatus which may be used and which involves thyratrons, said diagram including a desirable form of preamplifier; and
FIGURE 6 is a diagram showing a typical means which may be utilized for varying the lighting effects by imparting movements thereto.
As will be pointed out hereafter, the invention is applicable to many particular settings but for convenience will first be described with reference to a shadow box 2 which forms, in effect, a stage which may be associated with a phonograph, or the like. As shown, the box '2 has its front provided wtih a lower barrier 4 to shield from view a series of lamps, which barrier is surmounted by a proscenium arch 6, the box being otherwise enclosed by a wall 8 which may be curved to provide top, back and side surfaces as will be clear from FIGURES 1, 2 and 3. The inside surface of this wall may be merely white and smooth, or, if desired, it may have an irregular suitably artistic form. Located in front of this wall there are various light-occul-ting objects such as indicated at 10, I4 and 16 which may be mounted on pedestals such as 12, I8 and 20. These objects could be floral or tree arrangements, statuettes, or other devices at the disposal of the artist. The bases may be constructed with various degrees of transparency depending upon the wishes of the artist who may set up a pleasing arrangement.
Adjacent to the front barrier 4 are lamps 22, 24- and 26 which are disposed in one of the fashions later described. In a small installation there may be only three of these lamps which in the order of their numerals may provide red, green and blue illumination. In larger installations the lamps of the various hues may be multiplied though, as will become apparent, it is desirable that they should not be so multiplied as to provide substantially uniform illumination of the background taking into account the occulting elements which are involved.
Assuming that there are only the three sources 22, 24- and 26 illustrated which desirably have the individual basic colors which by addition lead to an approximation of white illumination, the situation provided is desirably the following:
Each lamp is so disposed that, with respect to the lightocculting objects such as It 14, and 16 and their bases, each lamp would throw a substantial shadow on the background of the shadow box. If the lamps constituted point sources there would be an umbra cast for each of these objects. More usually, however, the sources would not be point sources, being provided by filaments and reflectors providing sources of substantial area, so that each light-occulting object will provide a shadow having both umbral and penumbral portions. At the top of FIGURE 2 there are indicated graphically, disregarding penumbra, approximate shadows cast by the objects 10, 14 and 16 on the back Wall of the shadow box by the various lamps in the plane forming the section. In the graph 22A, the black portions indicate the shadows cast by the lamp 22, and in the graphs 24A and 26A, respectively, the black portions at 30 and 32 indicate the shadows cast respectively by the lamps 24 and 26. If it were assumed that all of the lamps were illuminated, it will be evident that the background in the vicinity of the plane indicated would involve areas some of which receive illumination from only one lamp, others of which receive illumination from combinations of the lamps, others of which receive illumination from all three of the lamps, and still others of which receive illumination from none of the lamps directly, though some illumination would generally occur due to reflections from other surfaces. For example, over the extent indicated at 34 illumination would be from lamp 22 only, the illumination from lamps 24 and 26 being cut off. Similiarl in the region indicated at 36 the illumination would be from lamp 26 only. In the region indicated at 38 the illmination would be from lamps Z2 and 2 In the central region directly behind the object there would be no illumination directly from any of the lamps. On the other hand, at the forward and end portions of the rear wall there would be areas of illumination from all of the lamps. Actually, of course, if the interior of the shadow box use a matte white surface there would be indirect illuminated from all of the lamps to some degree so that there would be no deep unilluminated shadows. Penumbral effects serve to soften the shadow edges. While the graphical illustration in FIGURE 2 of the areas of illumination provided on the rear surface of the shadow box is unidimensional, it will be evident that in reality the actual configuration of the shadowed regions corresponding to individual lamps will be two-dimensional and quite irregular in shapes if the objects such as 10, 14 and 16 are themselves irregular.
Considering the geometrical aspects of the arrangement which has just been described it will now be evident that even with a simple arrangement such as that shown there will be a very elaborate play of shapes and colors produced as the lamps 22, 24 and 26 vary in their intensity of illumination. As will become evident from the description of the electrical aspects of the apparatus hereafter, the intensities of illumination vary greatly and substantially individually with the result that due to addition of the colors in various proportions colors of substantially the entire spectrum will be produced with apparent changes of both colors and shapes in the illuminated areas on the back wall of the box. At some times one or the other of the colors will be predominant. Desirably, though not necessarily, the play of colors varies in synchronisrn with music.
Referring now to FIGURE 4, which shows one form of apparatus which may be used, music reproducing means are conventionalized as a record 4-0 with which is associated a conventional pickup 42, providing audio signals. These audio signals may, however, be produced in any other fashion such as from a wire or tape recorder, from a radio receiver, from film, or the like. The audio signals are desirably fed to a pair of amplifiers 44 and 4-8, the former being a conventional audio amplifier, which may be provided with automatic volume control, and which feeds its output to a loud speaker indicated at 4-6 to provide music in the region of the observer of the shadow box. More elaborately, a stereophonic type of sound reproducing system may be used. The second audio amplifier 48 may be of conventional type but is desirably not provided with automatic volume control since intensity changes are of particular interest in securing the desired visual effects.
The output from the audio amplifier 48 is fed to a set of rectifiers 50, 52. and 54, shown in the form of bridge rectifiers, which supply control for the respective lamps 26, 24 and 22. Filter arrangements indicated at 56, 58, 6t) and 62 are interposed between the amplifier and rectifiers to deliver to them selectively frequency bands which may be regarded as associated with the several colors. For example, the filter 56 provides a low frequency band to the rectifier 50 for control of the blue lamp 26. The filters 58 and 60 provide an intermediate frequency band to the rectifier 52 for control of the green lamp 24. The filters 58 and 62 provide a high frequency band to the rectifier 54 for control of the red lamp 22. Individual potentiometers 57, 61 and 63 serve for the control of the inputs to the several rectifiers to secure the most desirable proportioning. The frequency bands which are supplied to the rectifiers are not critical and it has been found that excellent results may be secured by causing the filter as to provide for control of the blue lamp 26 audio frequencies up to about 200 cycles per second, with the filters $3 and 6% providing for control of the green lamp 2% frequencies in the range from about 200 to 1,000 cycles per second, while the filter 58, 62 provides for control of the red lamp 122 frequencies ranging upwardly of 750 cycles per second, for example, up to about 3,000 cycles per second constituting a fair practical limit of good electrical intensity.
Control of the lamps is effected through the use of saturable reactors which may be readily made capable of control of large powers with low input powers from the rectifiers. The saturable reactor 64 associated with the control of lamp 26 may be described in some detail. The reactor itself may be conventional and is provided with a control coil 66 receiving direct current from the rectifier 50. The core leg carrying the coil 66 carries a second coil 68 through which a bias current may be caused to flow from direct current supply terminals 72 under control of a variable resistance 70. This arrangement is to provide some minimum flow of current through the lamp 26. Supply of current to the lamp 26 is from the alternating current supply terminals 74 and 76, for example, at 110 volts, the current from the terminal 76 being divided between coils '78 and 84- which are connected through the respective rectifiers 30 and 86 to the same lamp terminal 82. This arrangement provides a full wave to the lamp but segregates the positive and negative half cycles in the saturable reactor windings to prevent asymmetric polarizing effects. As will be evident from FIGURE 4, the saturable reactors 88 and 90 associated with the respective lamps 24 and 22 contain windings having the arrangements just described.
The audio signals from the amplifier 43 will variably effect illumination of the lamps in dependence upon their frequency contents. A signal having a major low frequency component will produce illumination of the blue lamp 26 to a considerably greater extent than illumination from the lamps 22 and 2d, and so on. As has already been noted, the lamps are desirably of types having relatively heavy filaments such as involve some time lag in heating upon the onset of current and likewise some time lag in cooling upon interruption of current. This is highly desirable for themost pleasing effects since then the changes in illumination are relatively gradual, leading in particular to step-like changes in intensity with repetitions of signals such as those resulting from percussion instruments. With adjustments of the potentiometers 57, 61 and 63 and of the variable resistances 70 the ranges of illumination changes may be brought to the most desirable values and if desired changes may be made depending upon the type of rnusic or other audio signals which are fed to the lamp controls.
There may, however, be provided additionally scintilating effects using one or more lamps of low. thermal inertia which may be energized by signals of relatively steep wave fronts in addition to the color effects already described.
An alternative circuit of the control of colored lamps is illustrated in FIGURE 5 which also shows a pream plifier which may be used in advance of the thyratrons and following audio amplification.
The audio signals which are to provide the variable illumination of the lamps are introduced at the terminals W, from a conventional audio amplifier corresponding to 48 of FIGURE 4, to provide an input to the transistor preamplifier indicated at 94. This desirably comprises a power transistor connected in a common emitter type of circuit. Output is provided through an impedance matching transformer 96. The preamplifier has special characteristics for its intended purpose and these involve the power supply so that that will now be de scribed. A large capacitor 8 connects the emitter to the input terminal companion .to that connected to the transistor base. It will be assumed that the terminals 92 are connected for direct current flow through the secondary of an impedance matching transformer to provide a direct current connection. A pair of resistors 100 and 102 in series with each other shunt the capacitor 98. Alternating power supply terminals are indicated at 1114- and may be connected to the usual 110 volt, 6O cycle line. A resistor 106 is connected to one of these terminals and between its end and the other terminal there is connected a diode 108 arranged to pass the half cycle which is not utilized to provide the transistor power. Beyond this is the rectifier 110* followed by the parallel arrangement of a resistor 112 and a large capacitor 114 to provide a direct current supply. The negative terminal of this supply is connected through the series arrangement of resistors 116 and 118 to the left hand end of the resistor 109, while the positive terminal of this supply is connected to the junction of the resistors 1011 and 102. The junction between resistors 116 and :118 is connected through line 120 to one terminal of the primary of transformer 96, the other terminal of which is connected to the transistor collector.
Whereas for high fidelity reproduction a preamplifier used for sound purposes is desirably linear, that is not the case here. The proper and desirable control of illumination by audio frequencies in accordance with the present invention involves the necessity for compressing the range of control very substantially as compared with the range of audio intensities from which the control is derived. At the same time, visual changes in illumination should follow variations in low intensity audio si nals. From an overall standpoint, starting with original audio frequency signals of low intensity, variations of these in the low intensity range should produce perceptible changes in illumination, whereas as intensity of the original signals increases, the variations of intensity should become proportionately less. Stated from the standpoint of amplifiers in general, the amplification with increase of input signal intensity should go into a saturation region. In the case of the use of a transistor stage such as that just described, using, for example, a power transistor of the 2N301 type the desired situation may be produced by utilizing, in particular, resistors 116, 118, 1% and 102 as illustrated to provide a limiting action on the maximum currents which may flow through the transistor elements during operation. While different transistors with inherently different characteristics will, naturally, require different circuit constants, the transistor of type 2N30l just mentioned may have resistors of approximate values as follows to secure the desired conditions of operation: resistor 192, two ohms; resistor 1%, twenty-seven ohms; resistor 118, forty-seven hundred ohms; resistor 116, one ohm. These values are consistent with a capacitor at 98 having a capacity of five hundred microfarads. The resistor 11% using the nominal 110 volt alternating current supply may have a resistance of one thousaind ohms. The choice of rectitying diodes 1118 and 114 is rather arbitrary, but for example, they may be of the type 1N9'1. Considering the characteristics of the transistor. and the circuit arrangement described, it will become evident that whereas the amplification for low intensity signals is high, the amplification progressively decreases as the input signals become more intense, the operation passing into a saturation region with highly intense signals so that variations in these have decreased effect on the output. The foregoing is required not merely for asthetic efiect, with which, however, it is thoroughly consistent, but because the illuminating system will accept only a relatively small range of signal variation as compared with the very large range involved in ordinary music.
The signals are delivered from the secondary of transformer 96 to the resistance 122 of a potentiometer, the adjustable contact 124 of which may be shifted to control the volume. This contact is connected through resistor 126 to one input line 128 of the several thyratron control circuits, the other input line being indicated at 130.
For the several color channels there are provided the frequency selective filters 132, 134 and 136 which correspond in function to the filters already described in connection with FIGURE 4. The filter 132 is provided to have a peaked response in a lower frequency band for control of blue illumination; the second filter 134 provides peaking at somewhat higher frequencies for control of the green illumination; the filter at 136 provides peaking at still higher frequencies for control of the red illumination. The bands involved may be as discussed above. While simple filters are indicated at 132, 134 and 136, it will be evident that they may be respectively replaced by equivalent filters well known in the art. For present purposes, however, broad pass bands may exist and consequently elaborate filters are quite unnecessary.
The respective filters feed thyratron control circuits 133, 144) and 142, respectively. Since these are identical in construction, only one need be detailed and described, and for this purpose that at 14%) has been chosen in FIGURE 5. The input from the filter is rectified by a diode 144, and the rectified signal is fed to a filter circuit comprising the arrangement of choke 146 and capacitors 1458 and 150. However, while this in one sense a filter, the values of its elements are not chosen as they would be to secure a pure DC. supply as in a conventional power supply, but are chosen to have a relatively low time constant so that the direct output of the filter will nevertheless vary substantially in response to quick changes in audio intensity. For example, choice is made so that quite perceptible changes in output will be individually indicative of a series of eighth notes. What the filter does, therefore, is merely substantially remove the ripple resulting from rectification of the audio frequency input.
The capacitor 159 is followed by a network which includes the resistors 152 and 154, arranged as illustrated, in conjunction with the capacitor 156, the lower terminal of which returns to the adjustable contact 158 of a potentiometer 161). A thyratron 162 chosen in accord ance with the power which must be controlled in the lamps associated therewith, has its control grid connected to the junction of resistor 154 and capacitor 156. The corresponding thyratrons in the other control circuits are indicated at 164 and 1166.
Considering further the thyratron 162, its filament (or eater, depending on its type) is provided with current from the portion of the secondary of transformer 158 which is provided with current from the commercial alternating current supply line. Another portion 172 of the secondary Winding is arranged to provide alternating bias of the thyratron control grid, and for this purpose is connected to one end of the potentiometer resistance 1%. A connection between the adjustable potentiometer contact 153 and one terminal of the filament or heater includes a resistance 174, and this and the associated network serve to provide an alternating bias potential which is shifted out of phase with the anode potential of the thyratron to provide variable periods of firing in accordance with conventional thyratron control practices. The thyratrons used are desirably of the type involving negative grid control, i.e., arranged to fire when the grid is negative with respect to the cathode.
By the use of the input circuitry described, high stability of operation of the thyratron may be secured consistently with rapid response to variations in the audio signals.
The primary of the transformer 168 is connected across the lines 176 and 173 extending to the power supply input terminals 18%), the main switch 182 being interposed. To make the same unit suitable for control of quite different intensities of illumination, it is desirable to supply current to the thyratron anodes through an alternative switching arrangement indicated at 1%, which provides, alternatively, either the line voltage or a higher voltage provided by connection to the secondary of a transformer 192, the arrangement illustrated being such that low voltage is supplied when the switch 1% is in its left hand position and higher voltage when it is in its right hand position. To provide the usual delay in application of high voltage to the thyratrons after current is first supplied to their cathodes, there is interposed in the anode supply circuit a time delay relay comprising the switch element 194 and the heater element 1%, such an arrangement being conventional.
The respective thyratrons supply current through lamps indicated at 184, 186 and 188. While in each case a single lamp is shown, it will be evident that other lamps may be paralleled with these, the number of lamps and their current requirements being correlated with the use of suitable thyratrons.
The operation of the lamps selectively at the different frequencies and in accordance with intensities of input signals is generally similar to that described in more detail above with reference to FIGURE 4, though in connection with the circuit shown in FIGURE 5 there enters the matter of operation of the preamplifier which compresses the signals as already described. The intensities of illumination depend upon the magnitude of the positive signals supplied to the thyratron grids, firing taking place earlier in the positive half cycles of the anodes as the positive signals increase. Adjustment is made at potentiometer tea in the case of each control circuit so that, under ordinary operation, the respective lamps are just on the point of being visibly illuminated upon receipt of the weakest signals. This, of course, requires that the thyratrons should fire even in the absence of signals so that at such times threshold currents will fiow through the lamps to bring them to the verge of visible illumination. Adjustment for this purpose is provided by the potentiometer contact 158. By this same adjustment there may be provided accentuation of each color with reference to the others.
FIGURE 6 illustrates a mechanical arrangement which may be used to provide slow variations of the colored shadow patterns which may be produced. This may take various detailed forms, but as shown in FIGURE 6 comprises a platform mounted on a vertical pivot 2% and arranged to be oscillated about a vertical axis by a link 2% connected to a crank pin 206 driven by a motor 2% which may be of a type incorporating gearing between its rotor and output shaft so as to drive the latter at a relatively slow rate. Lamps 21% to produce illumination in the various colors as heretofore described are mounted on the platform 2%. The arrangement to the extent so far described may be used alone, and in such case the variable positionings of the lamps upon oscillation of the platform 2% will provide changes in the umbral and penumbral areas so that in a shadow box arrangement or the like as previously described there will be a continuously chang ing pattern of the illumination on which pattern there are, of course, produced the variations in color and intensity such as previously discussed. is at a slow rate, considerably slower than the beats of the music. For example, a complete oscillation occurring in a period of several seconds has been found quite desirable. In such case, considering the patterns produced by the music itself there is little evidence of the superimposed cycle of oscillation of the lamps. Rather, the effect on the observer is merely that of continuous changing of the patterns produced, and there may be in some instances an apparent slow swaying of the objects such as trees or the like which cast the shadows and are themselves variably illuminated.
Still further effects may be produced if spaced above the lamps there is a screen or mask such as 214 provided Desirably the oscillation with variously arranged openings such as 216 which in themselves control the areas illuminated by the lamps. Desirably, the screen or mask is provided in a position a relatively short distance above the lamps so that only very diffused images of the openings 216 will be cast. The illuminated areas thus resulting will shift around during the oscillation of the platform Zlltl and coupled with the variations of angles of the rays from the lamps with respect to the shadow-casting object intricate and continuously varying patterns result.
The uses of the invention may be greatly varied. As has been pointed out, it is desirable that the lamps and light-occulting means should be so arranged that well defined light areas and shadows are produced on the surface which is viewed. it more than individual sources for the various colors are used, they should desirably be located in conjunction with shadow casting means to take this into account, particularly if the invention is applied to large enclosures such as ball rooms, skating rinks, or the like. In such cases the light-occulting means may take th form of masks located in the vicinity of the lamps to throw shadows. However, irregularities in the surface of the area to be colored may be provided to secure the desired shadow regions. Thus there may successfully be used considerable numbers of lamps of each of the different colors in order to illuminate a large area of walls, ceilings, or floors, without giving rise to a condition in which very large extended areas would be illuminated in all of the colors with the resulting production of rather uninteresting effects. Conventional theater stages or motion picture screens may, of course, provide the areas to be illuminated. Small shadow boxes of the type described herein may be provided in conjunction with radio receivers, television receivers, or phonograph reproducers, including coin operated music reproducing devices.
It may be noted that a relatively small shadow box of the type described may be used for producing color effects which may be photographed with accompanying recording of sound, the resulting photographic film being then used in conventional motion picture theater projectors to provide large scale color effects in conjunction with music during, for example, preshow or intermission periods.
While the invention is particularly applicable to the production of color effects in synchronism with audible music, it will be evident that the color eitects may be produced from records which may be scored independently of audible music, or which may be scored in association with music but solely for color effects. For example, a magnetic tape may be provided with two associated channels one of which provides music and the other of which provides color effects only, synchronizing with the music, but with the color eifects not dependent upon the frequency components of the music, the color effect channel carrying sound signals, i.e., of different frequencies, which, in themselves, may not be pleasing to the car.
It will be evident that the invention may be applied in numerous fashions within the scopes of the appended claims.
What is claimed is:
1. in combination, an extended surface, at least three lamps having filaments of high thermal inertia, said lamps respectively providing red, green and blue illumination, means mountin said lamps in spaced relationship relative to each other and to project illumination on a common extended area of said surface, a plurality of spaced objects between said area and said lamps arranged to obstruct rays from said lamps and disposed to provide a plurality of subareas disposed throughout said area to receive, selectively, direct illumination from individual lamps only, from combinations of said lamps and from none of said lamps, means providing an audio frequency electrical output, selective filtering means providing from said output low, intermediate and high frequency outputs, and means controlled respectively by the last mentioned outputs to control individually the illumination from said lamps.
2. The combination according to claim 1 in which the red illumination is controlled by said high frequency output, the green illumination is controlled by the intermediate frequency output, and the blue illumination is controlled by the low frequency output.
3. The combination according to claim 1 in which the means providing an audio frequency output comprises a reproducer and an amplifier receiving an input from the reproducer.
4. The combination according to claim 3 including a second amplifier receiving an input from the reproducer and providing an output of sound audible to observers of said extended area.
5. The combination according to claim 4 in which said second amplifier has automatic volume control while the first mentioned amplifier does not have such control.
6. The combination according to claim 1 in which the last mentioned means comprises saturable reactors for control of currents to said lamps and rectifiers receiving said outputs and providing direct controlling currents to said saturable reactors.
7. In combination, at least three lamps having filaments of high thermal inertia, said lamps providing red, green and blue illumination, means mounting said lamps in spaced relationship relative to each other and to project illumination in a common region, means in said common region disposed to provide adjacent areas to receive, selectively, direct illumination from individual lamps only and from combinations of said lamps, means providing an audio frequency electrical output, selective filtering means providing from said output low, intermediate and high frequency outputs, and means controlled respectively by the last mentioned outputs to control individually the illumination from said lamps.
8. The combination according to claim 7 in which the red illumination is controlled by said high frequency output, the green illumination is controlled by the intermediate frequency output, and the blue illumination is controlled by the low frequency output.
9. The combination according to claim 7 in which the means providing an audio frequency output comprises a reproducer and an amplifier receiving an input from the reproducer.
10. The combination according to claim 9 including a second amplifier receiving an input from the reproducer and providing an output of sound audible to observers of said extended area.
11. The combination according to claim 10 in which said second amplifier has automatic volume control while the first mentioned amplifier does not have such control.
12. The combination according to claim 7 in which the last mentioned means comprises saturable reactors for control of currents to said lamps and rectifiers receiving said outputs and providing direct controlling currents to said saturable reactors.
13. The combination according to claim 1 in which the last mentioned means comprises thyratrons for control of currents to said lamps and rectifiers receiving said outputs and providing direct controlling currents to said thyratrons.
14. The combination according to claim 7 in which the last mentioned means comprises thyratrons for control of currents to said lamps and rectifiers receiving said outputs and providing direct controlling currents to said thyratrons.
15. The combination according to claim 1 including means for continuously varying at a slow rate positions of at least one of said lamps.
16. The combination according to claim 7 including means for continuously varying at a slow rate positions of at least one of said lamps.
References Cited in the file of this patent UNITED STATES PATENTS 1,946,026 Lewis et al Feb. 6, 1934 1,977,997 Patterson Oct. 23, 1934 2,016,467 Von Tall Oct. 8, 1935 2,063,232 Eremeeif Mar. '10, 1936 2,131,934 Burchiield Oct. 4, 1938 2,275,283 Burchfield Mar. 3, 1942 2,673,923 William Mar. 30, 1954
|Cited Patent
|Filing date
|Publication date
|May 6, 1929
|Feb 6, 1934
|Color producing device
|Apr 25, 1931
|Oct 23, 1934
|Rca Corp
|Control system
|Feb 25, 1932
|Oct 8, 1935
|Toll Eric Von
|Means for illuminating stages and other objects
|Sep 24, 1934
|Mar 10, 1936
|Ivan Eremeeff
|Electronic sound producing system
|Mar 9, 1936
|Oct 4, 1938
|Robert D Burchfield
|Visual interpretation of electrical currents
|Feb 8, 1941
|Mar 3, 1942
|Burchfield Robert D
|Electrical current control and visual interpretation of electrical current
|Dec 3, 1947
|Mar 30, 1954
|Duro Test Corp
|Means for producing colored light beams
|Citing Patent
|Filing date
|Publication date
|May 15, 1964
|Nov 2, 1965
|Earl Gordanier
|Apparatus for projected light effects
|Apr 12, 1963
|Mar 15, 1966
|Irons Dale M
|Sound responsive light system
|Jan 6, 1964
|Mar 22, 1966
|Wed Entpr Inc
|Audio frequency-responsive lighting display
|Dec 3, 1964
|Mar 7, 1967
|Orvil F Shallenberger
|Apparatus for displaying colored light
|Aug 11, 1965
|Jul 23, 1968
|Display device having light spot projected on screen illuminated by plural colored beams
|Oct 10, 1972
|Oct 29, 1974
|Smith R
|Display system for musical tones
|Jan 29, 1981
|Dec 14, 1982
|Lam Anthony C
|Light display device with travelling balls and compound rotation
|Oct 25, 2001
|Nov 22, 2005
|Color Kinetics, Incorporated
|Methods and apparatus for controlling illumination
|Nov 4, 2003
|Jan 9, 2007
|Color Kinetics Incorporated
|Multicolored LED lighting method and apparatus
|Jun 21, 2001
|Jun 5, 2007
|Color Kinetics Incorporated
|Method and apparatus for controlling a lighting system in response to an audio input
|Mar 26, 2004
|Sep 25, 2007
|Color Kinetics Incorporated
|Multicolored lighting method and apparatus
|Nov 16, 2004
|Nov 18, 2008
|Philips Solid-State Lighting Solutions, Inc.
|Marketplace illumination methods and apparatus
|Jul 10, 2007
|Dec 9, 2008
|Philips Solid-State Lighting Solutions, Inc.
|Multicolored LED lighting method and apparatus
|Jan 22, 2007
|Aug 11, 2009
|Philips Solid-State Lighting Solutions, Inc.
|Methods and apparatus for generating and modulating white light illumination conditions
|Apr 26, 2007
|Oct 6, 2009
|Philips Solid-State Lighting Solutions, Inc.
|Organic light emitting diode methods and apparatus
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|Jun 14, 2011
|Philips Solid-State Lighting Solutions, Inc.
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|Oct 4, 2011
|Mattel, Inc.
|Doll with two conductor tethered remote control
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|Dec 27, 2011
|Wells Kenneth A
|Method of and apparatus for controlling a source of light in accordance with variations in a source of sound
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|Mar 28, 2002
|Dowling Kevin J.
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|Nov 5, 2007
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|Doll with two conductor tethered remote control
|U.S. Classification
|International Classification
|Cooperative Classification
|European Classification


text:
, Kuala Lumpur Malaysia (PressExposure) July 11, 2008 -- The Financial Crime Forum in conjunction with The Chief Officers' Network announce the holding of "Sanctions in Action," an international Forum / Seminar for businesses in all sectors of trade and financial services. The Forum will be held in Kuala Lumpur on 30 - 31 October 2008.
Sanctions affect all businesses, but very few know it.
Any business trading with a party who is subject to sanctions can be prosecuted, either in its own country or abroad and even find that its assets including cash in its bank can be frozen by a peremptory process by its own or a foreign government.
Sanctions are politically motivated and used as an instrument of foreign policy or trade related, largely for protectionist reasons.
Sanctions are created by supra-national bodies such as the United Nations and the European Union or by national governments - including your own.
If a person breaches sanctions applicable to him, he faces jail and / or a fine. If a company breaches sanctions, it faces large fines and prosecution for its officers.
Sanctions can include travel restrictions on members of governments and those connected with them, blocks on dealing with entities with close links to governments and even restrictions on the nature or or volume of trade that residents of one country are permitted to do with another.
And if you bust sanctions, it is highly likely that your bankers are under a duty to report you to authorities - often not even in your own country.
In short, the question of sanctions is mission-critical for businesses of all types.
Sanctions in Action will provide businesses from all over the world with the opportunity to hear from representatives of sanctions-making bodies such as The US State Department and the European Union, from some of those affected by sanctions such as Iran and from businesses for which compliance with sanctions law is part of their normal business activity such as international banks.
Experts will be on hand to answer your specific sanctions questions in short pre-arranged meetings.
Notes for editors:
Websites: http://www.financialcrimeforum.com http://www.chiefofficers.net
Telephone: +6 03 2078 9152 Fax: +6 03 2078 9151
The Financial Crime Forum and The Chief Officers' Network are establishments of The Anti Money Laundering Network (www.antimoneylaundering.net) which is an international group of companies.
The Group's global response centre is in Kuala Lumpur.
e-mail contact via the Group website at http://www.antimoneylaundering.net


text:
Ganbare Goemon: Kirakira Douchuu
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You can submit new cheats for this game and help our users gain an edge.
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You can submit a problem report for any non-working or fake code in the lists above.


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text: Here's my situation: I live in a fairly rural area, and while we're lucky to have cable and DSL, we're probably never going to get anything faster like FIOS. We can't even get high-definition TV through our cable provider because there just aren't enough people (read, potential subscribers) for the companies to recoup the massive investment that would be needed to build the infrastructure to support these technologies. This means that, with regards to the Internet, I'm likely to be stuck on DSL, which isn't terrible, but I'd like to get something faster if it ever becomes available. So now that LTE is rolling out, I'm wondering if it would be worth it to ditch my DSL and pay Verizon for the ability to tether using their 4G network (when and if it ever arrives here.) For those who have used 4G networks, I'd like to know what kind of speeds you're getting and how much faster it would be compared to a wired DSL connection.


text: Baan Fah Rim Haad is a very nice housing estate located in Jomtien just off of Second Road. The houses are well built and the village is well maintained. Its location provides easy access to local markets, the beach and various routes into Pattaya. Coastal Real Estate offers houses for sale and rent in this fine development.


text:
5 Martin Street Freshwater 4870 QLD
Freshwater Cottage - Full of Character and Charm - Mid $400K's
Fresh on the market. Positioned in one of Cairns most sought after suburbs this high-set Queenslander oozes with character and charm whilst being surrounded by lush leafy gardens.
Featuring 2 bedrooms plus office/3rd bedroom and stunning bathroom lined with beautiful mosaic tiles. Generous sized kitchen which flows through to the rear balcony and overlooks the child and animal friendly backyard, perfect for entertaining friends and family. Character casement windows, warm polished timber floorboards throughout and ample storage underneath are all wonderful bonuses to this truly stunning home. Enjoy the serene mountainous outlook from the second beautiful timber decking located at the rear of the property where you can enjoy a tranquil afternoon with a glass of wine or hot cup of tea. Take advantage of Freshwaters fantastic village atmosphere and friendly locals when only a short stroll to the Freshwater State School, Bumble Bee's Child Care Centre, Limberlost plant nursery, cafes and restaurants.
Properties like this are truly as rare as hens teeth and rarely come onto the market. Priced at Mid $400K's do not miss out on this fantastic opportunity to live in the breathtaking suburb of Freshwater at an affordable price.
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RE/MAX Real Estate Services Cairns
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I Listen to Ambient Music
Personal Stories, Advice, and Support 169 People
Myspace To Slow? Time For A Change...The new Myspace site is awful. It runs very slow on my PC and I turn my Mac on only to make music, not surf the net. What is more, they got rid of slideshows, so that is very bad for me! I also have many other sites with my music (like soundcloud) and others which I manage and...
bojanix 31-35 0 Dec 23, 2010
Original Ambient MusicHi All, I Listen to and create ambient electronic music follow this link to have a listen http://www.midilanmusic.co.uk Ambient, atmospheric synthesizers, melodic rhythmns, breathy sounds, punchy electronic beats, haunting pianos and rich orchestral voices make up the heart...
Mindrift 46-50, M 1 Response 0 Nov 4, 2009
Ambient? Oh YesWhere i come from, nobody knows ambient. Commercial and rock is all that exists here ( ok maybe classical and jazz as well but..nothing out of the big categories ) It's so boring, i can never talk about it with anyone. I also love drones. Now try to explain to someone who's...
It's All I Listen toI didn't really notice for a long time, but I love listening to anything that's considered ambient. I find myself relaxing to soundtracks from Silent Hill, or anything with Kaki King and a lap steel. Sometimes I even listen to it at the gym..
firealarmist 18-21, M 1 Response 2 Oct 12, 2008
Click,whirrrbubblebubblebubble swoooosh blip shwooohm bubububububble I'll call it art. I meant to do that I like functional music.
dubkebab 46-50, M 2 Responses 1 Nov 28, 2009
This is a masterpiece.It makes you feel as if you're in some surreal parallel universe.
ThePowerbroker 22-25, M 1 Feb 27, 2016
I Listen, But I Also Create...Just short version. I compose ambient and experimental sounds. Back in 2006 the guy from China - Zen Lu - contacted me and we created a prroject called ChoP (China - Poland). We wanted to exchange our thoughts and crerate music that combines western and eastern part of the world...
bojanix 31-35 0 Sep 14, 2010
I Get Atmospheres/vibes From MusicMany composers and artists whom I listen to create certain sounds that seem to be interpreted by the subconscious, instinctual area of my brain as pointing towards: an emotion/feeling; an idea; a place from my childhood; some future event in which I will be intricately involved...
TheBlueBeach 22-25, M 0 Sep 7, 2009
It is the sound of raw emotion.I've completely stopped listening to other types of music in favor of Ambient and harpsichord concertos.
Chirieleison 22-25, M 2 Oct 15, 2015
Original Ambient MusicHi All, I Listen to and create ambient electronic music follow this link to have a listen http://www.midilanmusic.co.uk Ambient, atmospheric synthesizers, melodic rhythmns, breathy sounds, punchy electronic beats, haunting pianos and rich orchestral voices make up the heart...
Mindrift 46-50, M 1 Response 0 Nov 4, 2009
I love moody music and often find myselflistening to slower ambient music from movies and video games that I like. That's what my Youtube favorites consists of.
Syzygy11 31-35, M 0 Feb 16, 2014
I Love When A Movie Or Video Game Gets The Music Righti find that most ambeint music that i have found and now listen to comes from a movie or video game. i love moody music that manages to actually evokes emotions and feelins without having any lyrics.
EdgeCrusher 26-30, M 1 Apr 1, 2011
Loved James Bernards album Atmospherics,was a winner after a big rave. This is probably my fave tune on the whole album. youtube.com/watch?v=7RoZmFM_kSw just don't mistake him for the other James Bernard that did music for Hammer horror films. I made that mistake on acid one night and stuff went very downhill until...
tr606 36-40 1 Feb 22, 2015
What Ambience/ Ambient Music Does To Me.So i recently got back into ambient music, n i gotta say, it completly reflects my mood when high. Yes, yes i know that drugs arent supposed to help you feel complete, but they do when combined with music like this:) I feel not as many people say as "floating in the clouds...
johnkb 18-21, M 2 Responses 0 Apr 15, 2011


text: In what is described as the first affordable educational book of its kind, Conrad (electrical and computer engineering, U. of North Carolina-Charlotte) introduces robotics and embedded systems. He includes clear directions for making the Stiquito robot introduced in 1992, a list of parts suppliers, and glossary. The kit includes the microcontroller board and other hardware necessary (excluding batteries and tools) for building the insect-like robot that can walk with two different gaits. The International Electrical and Electronic Engineering (IEEE) Computer Society, which helped produce the book, offers Web site support for this project. Annotation ©2004 Book News, Inc., Portland, OR


text:
L.T. – Vocals, Guitars, Keyboards
Real name: Tim Grose AKA "Lord Tim"
Birthday & Birthplace: April 2nd in Broken Hill, Australia
Instrument: Lead Vocals, Guitars and Keyboards.
Other instruments played: Bass and pretty ordinary (read: BAD!) drums these days!
Influences (playing): George Lynch (Dokken, Lynch Mob, Tooth And Nail), Vito Bratta (White Lion), Tony Macalpine, Gary Moore, Adrian Smith (Iron Maiden), Pete Lesperance (Harem Scarem).
Influences (singing): Geoff Tate (Queensryche), Bruce Dickinson (Iron Maiden), Michael Kiske (ex-Helloween), Tony Martin (Black Sabbath), Don Dokken (Dokken), John Farnham.
Influences (song-writing): Judas Priest, Iron Maiden, Helloween, (old) Metallica, Slayer, Duran Duran, Pseudo Echo, Koo De Tah, Blind Guardian, Kreator, Gamma Ray, Dokken, Queensryche, Leatherwolf, Kim Wilde, Pat Benatar.
What bands were you in prior to LORD? Dungeon, obviously, and few bedroom bands that never did anything at all.
What is the best thing about being in LORD? Being able to play and record music that I enjoy with world-class musicians, seeing parts of Australia and the world, and sharing the stage with bands I love – not just as a fan but as a peer. It's a great feeling to tour and make albums with your heroes.
What is the worst thing? Lots. Putting everything else second to get the job done – money, relationships, family, etc. The amount of hours spent travelling from show to show. Having to second-guess and censor everything you say or else someone will either take offense or take it out of context and use it against you. Tall-poppy syndrome with some so-called "fans". Irrelevant pissing contests with other bands. Dealing with morons, show-ponies and liars in the music industry. Lack of a real industry infrastructure to actually get paid for the amount of work you put in – even a minimum wage job pays more than a relatively successful "underground" musician; if you didn't love it, there's no way you'd want to do it.
Have you been involved in any other projects whilst in LORD? Many (and I'm including Dungeon in this): guitars and co-songwriting for a techno project called Edrenalin which was signed to a major label and had songs included on hit TV shows (thanks for the royalties over the years, guys!), a weird-ass project called The Skinners, guest guitars and bass for thrash band Fury, guest vocals for Ilium and Mark Furtner's FROMBEYOND project, my own personal side project Clarity, various projects with LORD's ex drummer TY doing everything from orchestration to keyboards to bass and guitar in project like Grey Waters, Austere, Germ, Woods Of Desolation, etc., many different instruments and vocals on the Arnie O Connections album, guest guitars for thrash/death band Serenity Defiled, co-writing many J-pop songs with TY for major Japanese artists, and a multitude of guest appearances for artists such as Dark Order, Chris Brooks, Tania Moran, Taberah, Empires Of Eden, Electrik Dynamite, Argument Soul (JP), and many more. Yep, I've been busy!
How long have you been playing? I've been singing (sort of) since about 1985 but didn't seriously take it up until Dungeon started in late 1989, playing guitar since 1987.
What gear do you currently use? Main guitar: ESP Horizon 27. Backup: ESP M-II. Line6 POD X-3, Shure wireless system, Dean Markley Blue Steel strings (.009 – .046), DSL custom straps, Jim Dunlop picks (.88mm).
Is your current instrument the one you started on? Oddly enough, guitar and vocals were the last things I took up! I started off wanting to be a singer but was too shy to actually do it until I was forced into the situation years later, then I took up keyboards, then drums, then bass, then guitar. Somehow, guitar ended up as my main instrument and then vocals.
What prompted you to start playing? Vocals – watching Simon Le Bon in Duran Duran's 'The Reflex' clip, believe it or not! I thought he looked so cool, I wanted to do that too! That got me into a lot of 80s pop bands and I just started singing along with them… then I discovered Queensryche! Wow! Guitar – interestingly enough, I just found out I could play one night when I borrowed a friend's guitar (same thing happened with drums and keyboards too) and I sort of figured out a few songs from one of the bedroom bands I was trying to form in lieu of having a guitarist who could actually play (*grin*)… It was probably really Brian Canham from Pseudo Echo that made me really want to play when I first heard the solo in 'Try' from their 'Love An Adventure' album. Once again, then I discovered Queensryche and Dokken and everything changed forever! 🙂
What is your most memorable gig? There's been a few… Dungeon's first gig in early 1990 – partly 'cos we were absolutely shitting ourselves (it was the first time I'd ever sung live!) and partly 'cos of the amazing, unexpected reaction we got from the crowd, Dungeon's first show in Japan in May 2003, the entire Megadeth tour throughout Europe in 2005 and especially the final Dungeon show – very emotional night. The entire Queensryche Australian tour support was something really special to me as well.
What is something about yourself that would surprise people who don't really know you yet? Despite the fact that I can play a few different instruments and I'm a pretty damn good typist (I can type heaps faster than I can write, in fact!), I am a total, uncoordinated klutz! I can't drive or swim so if you want to kill me, get me to drive a car along the side of a swimming pool! HAHA! I'm surprisingly a fairly competent cook, and contrary to what a lot of people believe, I'm not that guy you see on stage when I'm not performing – I like to keep to myself.
Do you have a personal website? Catch me on Facebook.
Have you got any hobbies outside of LORD? It's odd calling the stuff I do outside of the band hobbies because everything I do has a link to work somehow, even if I do enjoy it. I do a lot of video production with with Dusk Music Video Production which includes a lot of photography too (although if I can call anything a hobby I do for myself, it would be that). I'm a big tech guy, so you'll find me doing something with computers, Android devices, studio gear. I run a studio called SLS Studios that LORD has used to record our last few albums, so you'll find me in there recording other bands or my own projects. I used to enjoy reading but I rarely have time for that these days. Is sleeping a hobby?
- Foods: Mexican (proper Mexican – I'm very picky about this!), Indian (same as this!), lamb loin chops, Japanese and I'm a cheese freak – love me a good cheese platter!
- Drinks: Alcoholic: Rekorderlig strawberry-lime cider, Gentleman Jack, Beam's Rye (Yellow Label), and don't get me started on cowboy shots – I can't stop once I start. Non-alcoholic: diet Coke (I prefer the taste – go figure), and properly brewed well-made coffee. I'm as much as a coffee snob as I am cheese freak.
- Movies / TV shows: Movies: All of the Star Wars movies (more or less – dumb parts notwithstanding in the prequels), the later Star Trek movies, Lord Of The Rings, Toxic Avenger, Return Of The Killer Tomatoes, Back To The Future trilogy, Superman Returns, Spaceballs & any silly 'spoof' movie, X-men series, The Naked Gun series, any good scary movie (The Exorcist, Poltergeist, etc.). TV: Doctor Who (new series especially, and spin-offs), Southpark, The Simpsons, Family Guy, Drawn Together, Scrubs, House, Whose Line Is It Anyway, Life On Mars (UK), Ashes To Ashes and cooking shows.
- Books: Anything from the Dragonlance series (especially the first 6 books, and The Legend Of Huma), The Death Gate Cycle (by Weis & Hickman) and all of Matthew Riley's books – that guy is amazing and an Aussie too!
- Bands: Everything I listed so far as influences, plus Kreator, John Williams, Hans Zimmer, Murray Gold, Dio, WASP, Megadeth, King Diamond, Alice Cooper, Vixen, Soilwork, Tania Moran, X Japan, Icehouse, Kids In The Kitchen, Go West… lots more.
- Sports: Haven't followed any sports for ages. I have a soft-spot for underground Aussie pro-wrestling and V8 Supercars.
- Websites: Mostly forums discussing software I use (Cakewalk SONAR, Sony Vegas, XDA Developers) and fan sites for things like Doctor Who, etc. Of course, you'll also find me on our own Ultimate Metal forum, Facebook and various metal forums around the web.
Any other information you wish to divulge? It frustrates me that being in a moderately well-known band that you need to think of the political ramifications of everything you say, so when you have a very politically incorrect sense of humour it sucks having to remember that your joke could close some doors to some big opportunities. Related to that, I may joke about it a lot but I do have a big problem with racists, bigots, homophobes, people who hurt kids, animals or the elderly and stupid people in general. I'm a proud geek. Very quiet and introverted when I'm not being "that guy from LORD" and really don't enjoy being in front of a camera or the centre of attention when I'm not on stage. If you haven't worked it out yet, the "Lord Tim" thing is most definitely self-deprecating humour. 😉
Final comments: You made it to the end, well done! TL;DR version: I enjoy a lot of stuff, always busy and I'm not that guy on stage when I'm not on stage. I also very much appreciate the support that everyone has shown me over my career. If there's one thing that keeps me going back out there, it's you guys. So thank you! 🙂


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Demonstrators may be asked to leave St. Paul's in London
St. Paul's Cathedral raises doubts over protesters
Local churches in Joplin help to rebuild houses with "Extreme Makeover: Home Edition"
TV makeover show to build 7 homes in Joplin
Afghanistan lack in religious liberty
Watchdog group laments lack of religious liberty in Afghanistan
< Obama Proposes Infrastructure Investments
Mar 29, 2013 06:58
Category: General News
Category: General News
North Korea On Standby To Strike U.S. After U.S./South Korea Military Drill
SEOUL, South Korea (AP) — North Korean leader Kim Jong Un has ordered his forces on standby to strike the U.S. mainland, South Korea, Guam and Hawaii. State media say Kim "convened an urgent operation meeting" of senior generals just after midnight and signed a rocket preparation plan. The North is fuming after just yesterday, U.S. nuclear-capable B-2 bombers dropped dummy munitions in joint military drills with South Korea.


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Convention relative to the Treatment of Prisoners of War. Geneva, 27 July 1929.
Part III : Captivity #Section V : Relations between prisoners of war and the authorities #Chapter 3 : Penal sanctions with regard to prisoners of war #I. General provisions - Art. 50.
Art. 50. Escaped prisoners of war who are re-captured before they have been able to rejoin their own armed forces or to leave the territory occupied by the armed forces which captured them shall be liable only to disciplinary punishment.
Prisoners who, after succeeding in rejoining their armed forces or in leaving the territory occupied by the armed forces which captured them, are again taken prisoner shall not be liable to any punishment for their previous escape.
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2005 Silverado Stuck in Park
I just finished changing my transmission oil and filter on my 2005 Silverado, 5.3L engine, 4L60-E automatic transmission. I also drained the oil from the torque convertor. After topping off the fluid level I started the truck up and moved the shifter lever through all the gears. Then I shut it off and removed the jack stands and wheel chokes and started the truck back up and attempted to back up. The truck would not go. I then shifted into drive and once again it would not go. I then put it in neutral and attempted to push the vehicle and it would not budge. It acts like the brakes are on. The emergency brakes are not on. What is the problem????
1 Answer
By draining the torque converter the transmission will take 8 to 10 quarts of oil. You have to run the motor and shift the trany threw the gears to circulate the oil. Initially, only add 3 quarts before starting the motor. Check fluid level as you are adding trany fluid, foot on the brake and shifting threw the gears. Check level while motor is running, park, or neutral.
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by Sarah Fazeli
I watched my father split a man open, crack his ribs in half and hook them apart; the cage of bones, its wide sides, like hands opening to receive communion. He had burned through the tusks of the man's chest until he lay eviscerated, a splatted Frankenstein on the hard metal table, the bloodied paper gown.
"Look, Sarah," my father said, pointing to the fat, palm-shaped blob in the center of it all, "That's it." It looked nothing more than raw chicken.
Together we peer inside the open bowl of the man. My father reaches in, and strokes the quiet heart, cold in its ice bath. Freezing in order to live.
"Watch this," he says.
But when he pulls it up it is not the heart at all, not the raw chicken looking thing, but a bird that bursts forth from that place. It flies out of my father's warm hand–my father: surgeon, madman, magician, priest. The bird breaks into tens and twenties and they flutter and fly around the room, all feathers and wings, cries and calls echoing through the sterile box of the O.R.
I look down again.
The heart is there, inside the man. My father puts his index and middle finger together, and holds them one inch away from the organ. "Watch this, Sarah," he says. Like a maestro waiting for just the right count, he waits (two, three…) then taps.
"Beat!" he commands the heart. And it does.
"That's the human heart," he says to me. "That's all it knows how to do."


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Gartenpension Fischl, Mörbisch am See
Based on 22 Reviews
Gartenpension Fischl Overview
In a quiet location in the centre of Mörbisch, Gartenpension Fischl is 3 km from Lake Neusiedl and the Seebühne Festival Stage. It offers free bicycle hire and free Wi-Fi.
Hotel facilities
- Airport transportation
- Breakfast service
- Check-in time ends 7:00 PM
- Check-in time starts 2:00 PM
- Check-out by noon
- Free parking nearby
- Garden
- Internet access - wireless
- Massage
- Pets accepted
- Safe-deposit box at front desk
- Tennis on site
- Terrace
- Wheelchair accessible
Room facilities
- Cable/satellite television channels
- Clock radio
- Complimentary toiletries
- Desk
- Direct-dial phone
- Hair dryer
- Hair dryer (on request)
- In-room safe
- Patio
- Phone
- Private bathroom
- Shower only
- Shower/bathtub combination
- Television
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text:
Find a Jobor Internship
Excerpted from the Spain Career Guide
To answer job advertisements in Spain, an applicant should always provide a résumé/CV (curriculum vitae). It will usually be specified within the job advertisement whether the candidate needs to submit a cover letter as well. If there is no specification, then it is advisable to provide both the CV and a cover letter. It is also a good idea to include a high-quality, professional photo with the CV.
It is common in Spain to include a cover letter when submitting a résumé/CV, but handwritten letters are no longer acceptable. Typically, cover letters are written using the most common word processing software so every recruiter will be able to open it upon electronic receipt. Nevertheless, due to the diversity of word processing formats and software editions, it is better to send the cover letter as a PDF file to guarantee that every user will be able to open your file. The length of cover letters may vary with the job offer's level of specificity and required experience. However, it is advisable to present cover letters that do not exceed one page in length.
There are many ways to design a résumé/CV. Nevertheless, it is advisable to keep a conservative format and adjust the CV depending on the job offer requirements to highlight the information most relevant to the position. Typically, a CV will have six main parts: personal information, education, professional experience, skills, languages and interests. Education and professional experience should be in reverse chronological order, listing the most recent work experiences first.
Professional experience can be listed before education for experienced workers. It is best to keep education first for young candidates.
The CV should be written in the same language used for the job offer.
You'll find more advice and cover letter and resume samples in the complete Spain Guide.


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Most of users download different browser extensions to make the web search easier. Sometimes browser add-ons are properly useful and can please their users with valuable finds. But sometimes extensions can be downloaded together with multifarious unknown programs making users be surprised with the new installed browser add-on. If you have the same problem and you need to remove the ads with the unwanted software that generates them, so we will tell you what to do. In this article you can find several effective ways that will help you to remove Volaro from your computer.
Install Volaro Removal Tool:
- Removes all elements generated by Volaro.
- Can solve browser problems and protect browser settings.
- Has System and Network Guards, so you can forget about malware.
What is Volaro?
Volaro is an extension for browser that may be downloaded by a user, but also can be a bundled software to freeware. Volaro demonstrates numerous promotional information in the form of irksome pop-ups. Some users are not pleased with its work or are surprised that it is installed at all. So, Volaro is one of the unwanted browser extensions that should be eliminated from the PC.
Ways of Volaro removal
1. Install Volaro Removal Tool:
2. Uninstall Volaro from Control Panel:
- Click Start button
- Select Control Panel
- Find and highlight the annoying program and select Uninstall
3. Uninstall Volaro manually:
- No information
- No information
- No information
Remove Volaro from browsers
Delete Volaro from Firefox:
- Help=>Troubleshooting Information
- Reset Firefox
- Finish
Eliminate Volaro from IE:
- Run inetcpl.cpl
- Advanced=>Reset
- Delete Personal Settings=>Reset=>Close
Remove Volaro from Google Chrome:
- C:\Users\"your username"\AppData\Local\Google\Chrome\Application\User Data
- Rename Default folder to Default2
- Open Google Chrome
Get rid of Volaro from Opera:
- Do not open Opera
- Remove Profile and Cache folders in:
- C:\Users\User_Name\AppData\Roaming\Opera Software\Opera Stable
- C:\Users\User_Name\AppData\Local\Opera Software\Opera Stable
- Open Opera
Remove Volaro from Safari:
- Open your browser
- Settings->Reset Safari
- Reset
Why is Volaro dangerous?
Every user should understand that all the browser extensions including Volaro, no matter if they are functional, are the vulnerabilities for a browser where they are installed. The browser vendors release update patches regularly, due to which the safety of the browser is perfect. The existence of any browser add-on can put the browser security at stake. And, as a consequence, some online offenders can use your computer or thieve your private information.
If you cannot picture your computer without add-ons, then I advise to install add-ons from well-known software vendors only, probably it will help you to keep your system safe. But you should know that it is better not to download any extensions at all. It is important to know that every installed extension has already got the approval to use your sensetive data that you report when complete a form online. The information, including your telephone number, your name, your email, etc.) can be delivered to some public relations. Be prudent installing and using any browser add-ons and do not look for them, if there is not a true need in it.
Volaro, as an advertising add-on, is more perilous, because Volaro is a promotional add-on that installs some other dangerous objects. Is there any assurance that the advertising information is 100% true? Surely, no. So, you should not believe the ads and its conditions. Also you should not click the links of the demonstrated promotions for they can be malicious and so, as a result, you can get a real computer threat in your system.
Are Manual Removal Instructions Safe?
You should understand that manual removal instructions that delete Volaro from browsers are completely safe and you can use them not being afraid that you damage your PC. I should say that the instructions are very effective, so you will reach the aim: the extension will be deleted together will all its manifestations. It is an easy method as well; it yields only to the automatic method of removal.
Nevertheless removal way that instruct you to eliminate the files and registry items is the most dangerous one. If you take chances to use this way of removal, then you should bear in mind only one ordinary principle: do not forget to produce the backup of the registry. Also this removal should be executed just by the user that realizes what and why he has to eliminate. If you will remove some files or registry keys and values that do not belong to Volaro, then your computer will not start next time. Experts will not step off and can take pleasure the power of this manual way of removal.
Yet the most powerful and the most harmless method is automatic. Downloading any antivirus tool that includes Volaro in its signature base, you will remove the undesired software faster and the virus will not annoy you again because the antivirus software will protect your computer hereafter.
The Best Volaro Removal Tool
There is a lot of helpful utilities and other antivirus software that can be downloaded to uninstall Volaro and you can install any of them, but I recommend you Spyhunter. This program is the best Volaro Removal Tool to my mind. Deleting the adware you also will afford to guard the PC.
Enigma Software created Spyhunter to be a helpful antispyware and antimalware tool that will be able to defend the computer against all possible computer infections, including keyloggers and other hidden threats. Because of the regularly renovated signatures Spyhunter deletes all the actual viruses that are released by malware authors every day.
Spyhunter 4 distinguish oneself from its previous versions with its striking and handy interface, its fast speed, better defense and with the capacity not to conflict with other antimalware scanners installed in the system. So, you can have several antivirus utilities at the same time if you want.
Spyhunter gives real-time protection, has Integrated SpyHunter Compact OS that let to uninstall the most stubborn malware examples and the dependable live technical support. Spyhunter is compatible with Windows 98/ME/NT/2000/XP/2003/Vista/Seven/8, it needs 256 MB of RAM, 75 MB of available hard disk space.
Protect Your Computer With Antivirus
I think this page was good for Volaro Removal. But in order to guard your system from next similar browser add-ons and from all other viruses, so you can install any antispyware and antivirus software. It is better to install a program that has a enlarged virus base, regular update and real-time protection. Only the software of this kind can keep the computer safe and sound. It is useful to scan your PC for computer threats at least once a week. Should have a large base of signatures and daily releases of updates. The best antivirus tools has real-time protection. It is the protection that can find computer threats on the PC when it is just going to infect your system.
If you do not know what antivirus protection to install, then I offer you to download Spyhunter. The utility will absolutely delete all probable viruses and will create a real-time barrier to guard your PC from the new viruses. It is very easy to scan your system with Spyhunter and it is so powerful that can detect and delete keyloggers, rootkits, Trojans and other viruses that are recondite deep in the system. If you install any helpful software for you work, but Spyhunter reveals it as a computer threat and you are 100% sure that the utility cannot b a virus, so you can add it to Exclusions and Spyhunter will not determine it as a malicious software. If you need to scan just one file, then you are welcome to select Custom Malware Fixes feature. You can also use Process Guard or Registry Guard of the antivirus program for your convenience.
How to use Spyhunter
You are welcome to left-click the link on this page in order to download Spyhunter. Open that installer and execute the required items. Set the language that is understandable for you. Fortunately Spyhunter provides a lot of them, being helpful and easy-to-use. But not only this makes Spyhunter very popular world over, but also its great capability to guard users computer.
After installation, you should install its updates it, if the program doesn't do it by itself when you load it first. When the software is updated it is time to start the Scan. Generally it is enough to start fast scan to detect and remove all the computer threats and unwanted objects in the system.
After the scan it is better to look into the results and delete the ticks near the useful utilities that Shyhunter detect as malicious or unwanted programs. Then you can click Fix Threats. If you have already bought the license key, so the viral programs will be eliminated. If not, then you will have a chance to purchase the license.
About Author: Material provided by: Alesya Orlova


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Geyikli rentals, holiday lettings direct from the owners
You will find many studios, flats, houses and villas for your holiday in Geyikli. Contact the owners directly on the IHA site and enjoy the best rental prices, promotions and last minute deals that meet your budget. Visit the picture gallery on private lettings for a break with family or friends. All holiday listings on IHA are verified, plan your journey to Geyikli with absolute confidence!
2 bedrooms House for rent near Geyikli from 2 to 4 people
Bozcaada rentals, at 9mi. from Geyikli - Province of Canakkale - Marmara Region
£90* Night
book direct with the owners
from £90/Night*
See the rates
Up to-41%
Depending on the season
Advert 67376
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Ligor's House House.House Rental in Bozcaada #67376 >
Interior facilities
- 1 Bathroom
- Living room
- American style kitchen
- 1 Double bed(s)
- 2 Single bed(s)
- Seaside holidays
- Children welcome
- Setting : Characteristic, Peaceful
- Rocky beach at 0.3mi.
- Culture, Fishing
- Pets accepted
View the advert
Guest House - Bed & Breakfast for rent near Geyikli in a bungalow
Mithimna rentals, at 30mi. from Geyikli - Lesbos - North Aegean
£1344* Month
Breakfast included
book direct with the owners
2 weeks£717*
from £45/Night*
See the rates
Up to-43%
Depending on the season
1 request already received
Advert 64667
Display the map
Orfeas Bungalow in a private property. panoramic, sea/ocean, country side, swimming pool view
1 guest roomGuest House - Bed & Breakfast Rental in Mithimna in a bungalow #64667 >Swimming poolParkingBaby chair
Interior facilities
- Living room 110 Sq.ft.
- Separate kitchen
- Dining room
- Tv room
- Reading room
- Loggia
- Seaside holidays
- Children welcome
- Setting : Waterfront, Suitable for a relaxing break
- Shingle beach at 990'
- Spa, Horse riding, Fishing
View the advert