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In modern molecular biology and genetics, the genome is the genetic material of an organism. It is encoded either in DNA or, for many types of viruses, in RNA. The genome includes both the genes and the non-coding sequences of the DNA/RNA.[1]
The term was created in 1920 by Hans Winkler,[2] professor of botany at the University of Hamburg, Germany. The Oxford English Dictionary suggests the name to be a blend of the words gene and chromosome.[3] A few related -ome words already existed—such as biome, rhizome and, more recently, connectome—forming a vocabulary into which genome fits systematically.[4]
Some organisms have multiple copies of chromosomes: diploid, triploid, tetraploid and so on. In classical genetics, in a sexually reproducing organism (typically eukarya) the gamete has half the number of chromosomes of the somatic cell and the genome is a full set of chromosomes in a gamete. The halving of the genetic material in gametes is accomplished by the segregation of homologous chromosomes during meiosis.[5] In haploid organisms, including cells of bacteria, archaea, and in organelles including mitochondria and chloroplasts, or viruses, that similarly contain genes, the single or set of circular or linear chains of DNA (or RNA for some viruses), likewise constitute the genome. The term genome can be applied specifically to mean what is stored on a complete set of nuclear DNA (i.e., the "nuclear genome") but can also be applied to what is stored within organelles that contain their own DNA, as with the "mitochondrial genome" or the "chloroplast genome". Additionally, the genome can comprise non-chromosomal genetic elements such as viruses, plasmids, and transposable elements.[6]
When people say that the genome of a sexually reproducing species has been "sequenced", typically they are referring to a determination of the sequences of one set of autosomes and one of each type of sex chromosome, which together represent both of the possible sexes. Even in species that exist in only one sex, what is described as a "genome sequence" may be a composite read from the chromosomes of various individuals. Colloquially, the phrase "genetic makeup" is sometimes used to signify the genome of a particular individual or organism.[citation needed] The study of the global properties of genomes of related organisms is usually referred to as genomics, which distinguishes it from genetics which generally studies the properties of single genes or groups of genes.
Both the number of base pairs and the number of genes vary widely from one species to another, and there is only a rough correlation between the two (an observation known as the C-value paradox). At present, the highest known number of genes is around 60,000, for the protozoan causing trichomoniasis (see List of sequenced eukaryotic genomes), almost three times as many as in the human genome.
An analogy to the human genome stored on DNA is that of instructions stored in a book:
In 1976, Walter Fiers at the University of Ghent (Belgium) was the first to establish the complete nucleotide sequence of a viral RNA-genome (bacteriophage MS2). The next year, Phage Φ-X174, with only 5386 base pairs, became the first DNA-genome project to be completed, by Fred Sanger. The first complete genome sequences for representatives from all 3 domains of life were released within a short period during the mid-1990s. The first bacterial genome to be sequenced was that of Haemophilus influenzae, completed by a team at The Institute for Genomic Research in 1995. A few months later, the first eukaryotic genome was completed, with the 16 chromosomes of budding yeast Saccharomyces cerevisiae being released as the result of a European-led effort begun in the mid-1980s. Shortly afterward, in 1996, the first genome sequence for an archaeon, Methanococcus jannaschii, was completed, again by The Institute for Genomic Research.
The development of new technologies has made it dramatically easier and cheaper to do sequencing, and the number of complete genome sequences is growing rapidly. The US National Institutes of Health maintains one of several comprehensive databases of genomic information.[7] Among the thousands of completed genome sequencing projects include those for mouse, rice, the plant Arabidopsis thaliana, the puffer fish, and bacteria like E. coli. In December 2013, scientists reported, for the first time, the entire genome of a Neanderthal, an extinct species of humans. The genome was extracted from the toe bone of a 130,000-year-old Neanderthal found in a Siberian cave.[8][9]
New sequencing technologies, such as massive parallel sequencing have also opened up the prospect of personal genome sequencing as a diagnostic tool, as pioneered by Manteia Predictive Medicine. A major step toward that goal was the completion in 2007 of the full genome of James D. Watson, one of the co-discoverers of the structure of DNA.[10]
Whereas a genome sequence lists the order of every DNA base in a genome, a genome map identifies the landmarks. A genome map is less detailed than a genome sequence and aids in navigating around the genome. The Human Genome Project was organized to map and to sequence the human genome. A fundamental step in the project was the release of a detailed genomic map by Jean Weissenbach and his team at the Genoscope in Paris.[11][12]
Genome composition is used to describe the make up of contents of a haploid genome, which should include genome size, proportions of non-repetitive DNA and repetitive DNA in details. By comparing the genome compositions between genomes, scientists can better understand the evolutionary history of a given genome.
When talking about genome composition, one should distinguish between prokaryotes and eukaryotes as the big differences on contents structure they have. In prokaryotes, most of the genome (85-90%) is non-repetitive DNA, which means coding DNA mainly forms it, while non-coding regions only take a small part.[13] On the contrary, eukaryotes have the feature of exon-intron organization of protein coding genes; the variation of repetitive DNA content in eukaryotes is also extremely high. When refer to mammalians and plants, the major part of genome is composed by repetitive DNA.[14]
Most biological entities that are more complex than a virus sometimes or always carry additional genetic material besides that which resides in their chromosomes. In some contexts, such as sequencing the genome of a pathogenic microbe, "genome" is meant to include information stored on this auxiliary material, which is carried in plasmids. In such circumstances then, "genome" describes all of the genes and information on non-coding DNA that have the potential to be present.
In eukaryotes such as plants, protozoa and animals, however, "genome" carries the typical connotation of only information on chromosomal DNA. So although these organisms contain chloroplasts or mitochondria that have their own DNA, the genetic information contained by DNA within these organelles is not considered part of the genome. In fact, mitochondria are sometimes said to have their own genome often referred to as the "mitochondrial genome". The DNA found within the chloroplast may be referred to as the "plastome".
Genome size is the total number of DNA base pairs in one copy of a haploid genome. The genome size is positively correlated with the morphological complexity among prokaryotes and lower eukaryotes; however, after mollusks and all the other higher eukaryotes above, this correlation is no longer effective.[14][16] This phenomenon also indicates the mighty influence coming from repetitive DNA act on the genomes.
Since genomes are very complex, one research strategy is to reduce the number of genes in a genome to the bare minimum and still have the organism in question survive. There is experimental work being done on minimal genomes for single cell organisms as well as minimal genomes for multi-cellular organisms (see Developmental biology). The work is both in vivo and in silico.[17][18]
Organism type | Organism | Genome size (base pairs) | Note | |
Virus | Porcine circovirus type 1 | 1,759 | 1.8kb | Smallest viruses replicating autonomously in eukaryotic cells.[19] |
Virus | Bacteriophage MS2 | 3,569 | 3.5kb | First sequenced RNA-genome[20] |
Virus | SV40 | 5,224 | 5.2kb | [21] |
Virus | Phage Φ-X174 | 5,386 | 5.4kb | First sequenced DNA-genome[22] |
Virus | HIV | 9,749 | 9.7kb | [23] |
Virus | Phage λ | 48,502 | 48kb | Often used as a vector for the cloning of recombinant DNA. |
Virus | Megavirus | 1,259,197 | 1.3Mb | Until 2013 the largest known viral genome.[27] |
Virus | Pandoravirus salinus | 2,470,000 | 2.47Mb | Largest known viral genome.[28] |
Bacterium | Haemophilus influenzae | 1,830,000 | 1.8Mb | First genome of a living organism sequenced, July 1995[29] |
Bacterium | Nasuia deltocephalinicola (strain NAS-ALF) | 112,091 | 112kb | Smallest non-viral genome.[30] |
Bacterium | Carsonella ruddii | 159,662 | 160kb | |
Bacterium | Buchnera aphidicola | 600,000 | 600kb | [31] |
Bacterium | Wigglesworthia glossinidia | 700,000 | 700Kb | |
Bacterium | Escherichia coli | 4,600,000 | 4.6Mb | [32] |
Bacterium | Solibacter usitatus (strain Ellin 6076) | 9,970,000 | 10Mb | [33] |
Amoeboid | Polychaos dubium ("Amoeba" dubia) | 670,000,000,000 | 670Gb | Largest known genome.[34] (Disputed)[35] |
Plant | Arabidopsis thaliana | 157,000,000 | 157Mb | First plant genome sequenced, December 2000.[36] |
Plant | Genlisea margaretae | 63,400,000 | 63Mb | Smallest recorded flowering plant genome, 2006.[36] |
Plant | Fritillaria assyrica | 130,000,000,000 | 130Gb | |
Plant | Populus trichocarpa | 480,000,000 | 480Mb | First tree genome sequenced, September 2006[37] |
Plant | Paris japonica (Japanese-native, pale-petal) | 150,000,000,000 | 150Gb | Largest plant genome known |
Moss | Physcomitrella patens | 480,000,000 | 480Mb | First genome of a bryophyte sequenced, January 2008.[38] |
Yeast | Saccharomyces cerevisiae | 12,100,000 | 12.1Mb | First eukaryotic genome sequenced, 1996[39] |
Fungus | Aspergillus nidulans | 30,000,000 | 30Mb | |
Nematode | Caenorhabditis elegans | 100,300,000 | 100Mb | First multicellular animal genome sequenced, December 1998[40] |
Nematode | Pratylenchus coffeae | 20,000,000 | 20Mb | Smallest animal genome known[41] |
Insect | Drosophila melanogaster (fruit fly) | 130,000,000 | 130Mb | [42] |
Insect | Bombyx mori (silk moth) | 432,000,000 | 432Mb | 14,623 predicted genes[43] |
Insect | Apis mellifera (honey bee) | 236,000,000 | 236Mb | |
Insect | Solenopsis invicta (fire ant) | 480,000,000 | 480Mb | [44] |
Fish | Tetraodon nigroviridis (type of puffer fish) | 385,000,000 | 390Mb | Smallest vertebrate genome known estimated to be 340 Mb[45][46] - 385 Mb.[47] |
Mammal | Mus musculus | 2,700,000,000 | 2.7Gb | [48] |
Mammal | Homo sapiens | 3,200,000,000 | 3.2Gb | Homo sapiens estimated genome size 3.2 billion bp[49] Initial sequencing and analysis of the human genome[50] |
Fish | Protopterus aethiopicus (marbled lungfish) | 130,000,000,000 | 130Gb | Largest vertebrate genome known |
The proportion of non-repetitive DNA is calculated by using length of non-repetitive DNA divided by genome size. Protein-coding genes and RNA-coding genes are generally non-repetitive DNA.[51] Bigger genome does not mean more genes, and the proportion of non-repetitive DNA decreases along with the increase of genome size in higher eukaryotes.[14]
It had been found that the proportion of non-repetitive DNA can vary a lot between species. Some E. coli as prokaryotes only have non-repetitive DNA, lower eukaryotes such as C. elegans and fruit fly, still possess more non-repetitive DNA than repetitive DNA.[14][52] Higher eukaryotes tend to have more repetitive DNA than non-repetitive one. In some plants and amphibians, the proportion of non-repetitive DNA is no more than 20%, becoming a minority component.[14]
The proportion of repetitive DNA is calculated by using length of repetitive DNA divide by genome size. There are two categories of repetitive DNA in genome: tandem repeats and interspersed repeats.[53]
Tandem repeats are usually caused by slippage during replication, unequal crossing-over and gene conversion,[54] satellite DNA and microsatellites are forms of tandem repeats in the genome.[55] Although tandem repeats count for a significant proportion in genome, the largest proportion in mammalian is the other type, interspersed repeats.
Interspersed repeats mainly come from transposable elements (TEs), but they also include some protein coding gene families and pseudogenes. Transposable elements are able to integrate into the genome at another site within the cell.[13][56] It is believed that TEs are an important driving force on genome evolution of higher eukaryotes.[57] TEs can be classified into two categories, Class 1 (retrotransposons) and Class 2 (DNA transposons).[56]
Retrotransposons can be transcribed into RNA, which are then duplicated at another site into the genome.[58] Retrotransposons can be divided into Long terminal repeats (LTRs) and Non-Long Terminal Repeats (Non-LTR).[57]
DNA transposons generally move by "cut and paste" in the genome, but duplication has also been observed. Class 2 TEs do not use RNA as intermediate and are popular in bacteria, in metazoan it has also been found.[57]
Genomes are more than the sum of an organism's genes and have traits that may be measured and studied without reference to the details of any particular genes and their products. Researchers compare traits such as chromosome number (karyotype), genome size, gene order, codon usage bias, and GC-content to determine what mechanisms could have produced the great variety of genomes that exist today (for recent overviews, see Brown 2002; Saccone and Pesole 2003; Benfey and Protopapas 2004; Gibson and Muse 2004; Reese 2004; Gregory 2005).
Duplications play a major role in shaping the genome. Duplication may range from extension of short tandem repeats, to duplication of a cluster of genes, and all the way to duplication of entire chromosomes or even entire genomes. Such duplications are probably fundamental to the creation of genetic novelty.
Horizontal gene transfer is invoked to explain how there is often extreme similarity between small portions of the genomes of two organisms that are otherwise very distantly related. Horizontal gene transfer seems to be common among many microbes. Also, eukaryotic cells seem to have experienced a transfer of some genetic material from their chloroplast and mitochondrial genomes to their nuclear chromosomes.
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IT is with very deep concern that I read your article on November 15, headlined, '' 'Ombudsman too old for job' Watchdog forced to step down''.
Monday, 6 December, 1993, 12:00amTHE number of complaints received by the Ombudsman has risen by eight per cent, and there has been a record number of inquiries.
Complaints between July 1992 and June this year rose to 162 and inquiries were up 7.6 per cent to 977.
17 Jul 1993 - 12:00amCOMPLAINTS by 13 Tsuen Wan villagers over the Government's resumption of their ancestral land in Hoi Pa village two years ago were only ''partially substantiated'', the Commissioner for Administrative Complaints, Mr Arthur Garcia, said.
20 Apr 1993 - 12:00amREMUNERATION for the ombudsman, the Government watchdog officially known as the Commissioner for Administrative Complaints, is expected to rise by 64.7 per cent to $2.7 million.
27 Feb 1993 - 12:00amTHE ombudsman, Mr Arthur Garcia, has expressed frustration at the Government's refusal to allow him to initiate investigations on his own.
The Executive Council last week agreed to expand the ombudsman's jurisdiction so the public can have direct access to his office instead of lodging complaints through non-civil service members of the Executive and Legislative Councils.
18 Jan 1993 - 12:00am


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"A spiritual key to weight loss...and surrender"
I am really enjoying this Course as part of my spiritual journey and my quest to allow my body freedom forever from compulsive dieting and overeating. I have, it seems, been on a lifelong journey to "get skinny," and though I gave up diets years ago, I still struggle with fear-based overeating. In my heart I always knew that my extra pounds around my mid-section were due to a spiritual dis-ease, rather than anything I was or wasn't doing in the physical world (I am a very active dancer and teacher who carries about 20 lbs. of extra fluff around the middle). I have found much comfort and catharsis in Ms. Williamson's prayers and journaling lessons. She is helping me face the fear of other people and of life that underlies my use of food as a pacifier. In my opinion, one does not have to be Christian to enjoy this program; however, one does have to be open to the concept of surrender to Spirit, much as in a 12-step program, which is what I am finding particularly inspiring and so different from other weight-loss efforts I've made. Overall, this audiobook has very much inspired and comforted me in my ever-deepening spiritual quest to live free from fear and in Love.
>^.,.^< Maria


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Marche Européenne contre la PROHIBITION cannabique
marche organisée par la [CN. CSC] dans le but de sensibiliser l'union européenne sur l'avenir des cannabis social club..
marche organisée par la [CN. CSC] dans le but de sensibiliser l'union européenne sur l'avenir des cannabis social club..
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Monsanto's genetically engineered crops increase pesticides, not yields or nutrition.
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Whole Foods Market has pledging to label its GMOs by 2018. Let's get the company to go further!
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Strategic Partnership forms a Photographic Powerhouse
In an effort to provide only the highest standard of service when it comes to all things photography, Moya Wa Tenga Safaris has formed a working partnership with Photo-Africa which promises to revolutionize digital photography workshops and photographic safaris in Southern Africa.
Photo-Africa was born out of a passion for photography and wildlife. Originally created in 2005 in order to share images with friends and family, Photo-Africa took off and quickly established itself as one of the most regularly updated and followed African wildlife photography blogs on the internet.One thing led to the next and now, 5 years later, Photo-Africa has evolved into a company which offers workshops and photographic safaris aimed at everybody from rank beginners to seasoned pros. By combining passion, professionalism and knowledge, Photo-Africa aims to be one of the top workshop and photo safari operators in the country.
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We have a MBAir with OS X 10.8.4.
We are two users of the same computer with 2 different user profiles. Our user profiles, imessage - facetime accounts, even system languages are different.
However, we want to use the same iPhoto library, therefore I've created a diskimage and had both users' iphoto addressed to the same iPhoto library which works. Both users can make changes in the iphoto library and the other user will see the last updated version when he logs in.
...however, we come up with 2 error messages. Not always, but very frequently.
1- "iPhoto has detected inconsistencies in your library.
Please click repair to avoid any potantial problems."
When I received htis error message, I clicked repair for a couple of times, but the error message comes up again and the repair takes very very long time. So I don't click repair button anymore. I don't know what it repairs.
2- "Insufficient disk space, iphoto cannot import your photos... "
This error may appear 1 time and when I click o.k. it just disappears and I can work on iPhoto as I want.
Sometimes, it keeps nagging 3-5 times and then dissappears after clicking O.K. everytime.
And sometimes it keeps appearing endlessly, every time after clicking o.k.
MBA has 512 GB storage where 300 GB is empty, so there is sufficient disk space, that's for sure.
I can imagine that this problem probably occurs because both accounts have its own PhotoStream linked to iPhoto (from mobile devices) ,and both accounts keep importing the Photo stream photos but I'm sure that there should be a fix to it.
I'd really appreciate if anyone could help, it's quite frustrating.


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You are here : Government : Mayor
Mayor Denis Law January 19, 2015
Monday, January 19, is a very important day—across our country, we join together to honor Dr. Martin Luther King, Jr. with speeches, celebrations and special tributes.During his lifetime, Dr. Martin Luther King, Jr. sought to create common ground where people from all walks of life could join together to resolve issues and to help make us all free. Working alongside people of all ages, races and backgrounds, Dr. King encouraged all Americans to work together to strengthen communities, reduce poverty, and acknowledge dignity and respect for all. And, though our vision for a colorblind America is still being perfected, great strides have been made in the past four decades, which is a tribute to his enduring vision.Today we can be proud that millions of our children know that if they work hard, pursue their dreams and fulfill their potential, the door of opportunity is open to them in ways their ancestors never dreamed possible.
But this is just the beginning and we have a long way to go. In the words of Dr. Martin Luther King—"Life's most urgent question is: what are you doing for others?"
As we look around and take pride in Renton—this wonderful city that we call home, we realize that our city is not just buildings or parks or restaurants or stores. Our city is a community—a community of families.
It is a community of families that work hard, play in the parks, and celebrate at Renton River Days and other festivals. We have to nurture our families. Dr. King said, "Our lives begin to end the day we become silent about things that matter." We are responsible to promote, teach and live his dream with our families and community.May your celebration of Dr. Martin Luther King, Jr. be remembered not only today, but every day.
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Crime Scene Preservation
In this video, Donnie Barker discusses proper techniques for documenting evidence, including what to do if you have forgotten or are lacking the right equipment. Barker focuses on documenting footprints and tire marks.
Crime Scene Preservation
PoliceOne top 5
- 1 Obama: 'Now is the moment' for changes to policing
- 2 Video: LA police kill man during struggle over service weapon
- 3 Video: Minn. cop on vacation thwarts man attempting to carjack him
- 4 FBI faces $30M suit over death during Boston bombing investigation
- 5 How Swayze's 'Road House' can be an officer training device


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Robert Carl Presents Five Compositions in Celebration of his 60th Birthday Sunday, March 1st
Robert Carl will be presenting a recital of his music in celebration of his 60th birthday at Hartford University on Sunday, March 1st, at 2pm. The concert will feature five pieces, two of which are premieres of new versions. Perfomers include Janet Arms and Michelle Stockman, flutes; Matt Russo, trombone; Katie Lansdale, violin; Margreet Francis, piano; Elizabeth Brown, shakuhachi; and the violin studio of Katie Lansdale, with Matt Norman on viola.
Robert Carl's Birthday Concert
Sunday, March 1st at 2pm
Hartford Universty
200 Bloomfield Ave West Hartford, CT 06117
Berkman Recital Hall
The concert will also be streamed online for those who wish to enjoy it remotely.


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Marion County's Unitarian Universalist Fellowship opens new building
Published: Saturday, June 7, 2008 at 6:30 a.m.
Last Modified: Saturday, June 7, 2008 at 7:01 a.m.
SUMMERFIELD Marion County's newest house of worship stands on two bone-dry acres that once served as a cow pasture.
It is a liberal religion with Jewish-Christian roots. It has no creed. It affirms the worth of human beings, advocates freedom of belief and the search for advancing truth, and tries to provide a warm, open, supportive community for people who believe that ethical living is the supreme witness of religion.
Source: The Unitarian Universalist Association
The steel building measures 5,400 square feet. It has a few small offices, a compact kitchen and a fellowship hall with a concrete floor painted mint green. Two stained-glass windows, rescued decades ago from a North Dakota church basement, are the only fancy touches.
The Unitarian Universalists of Marion County don't mind if you use the word "modest" to describe their new home, which officially opened on June 1.
"We need our own place where we can come and go," said Rita Burrows, one of the congregation's 115 or so members. "We're not trying to build a cathedral."
But at times it sure felt like it. From fundraising to planning to building, this project put the UUs, as they are known, to the test.
Marion County has 497 land parcels in which churches or religious institutions are built, according to the property appraiser. The "Church" section of the Yellow Pages is five pages.
There is a story behind each of those buildings. The story of this one includes a hidden sanctuary in Silver Springs Shores, a stuffed elk head and the inspiration of a man named Bob.
The Unitarian Universalist Fellowship of Marion County, as it's now known, formed in the early 1980s with a few couples meeting in living rooms.
In late 1984 a few more people joined, and the UUs built a worship center in Silver Springs Shores. But as the years passed, the congregation didn't get much bigger. One reason: With all the twists and turns in the Shores' road system, people had trouble finding 1 Midway Road.
"We needed to be in a better location," recalled Muriel Bingley, a past president.
The members sold the building to a Spanish congregation and, in 2003, bought the cow pasture at 7280 S.E. 135th St. in Summerfield.
It was a strategic choice, as the thin ribbon of road connects U.S. 301 and U.S. 441. It's half way between Ocala and The Villages, where more than half of the congregation comes from these days.
In this UU congregation, nearly all members are of retirement age, and nearly all are from somewhere else geographically and spiritually.
Bingley, a slight, elegant woman with a broad smile, is a perfect example. She was raised in Ohio as a fundamentalist Christian but left as a young adult. She didn't like the conservative dress code, restrictions and reluctance to answer her questions.
Her first husband was Presbyterian. She attended that church when her children were growing up. But her faith life withered again.
"For so many years I was just kind of floating around," she said.
She found Unitarian Universalism during her last few years living in North Dakota, and the church's open spirit and dedication to social justice attracted her. UU is a self-described liberal religion that has Jewish-Christian roots but doesn't follow a creed.
Bingley's only regret is that she didn't discover the religion while her second husband, Emery, was still alive.
He's the one who found those discarded stained-glass windows at a Catholic church in Bottineau, N.D. A priest friend told Emery Bingley an atheist he could take the old windows, and Bingley restored them and made oak frames for them. They hung in their home for years.
Muriel Bingley moved to The Villages 11 years ago, after her husband died. Even though she was downsizing, and didn't need the windows, she brought them with her, anyway. They meant too much to leave behind, yet they sat in storage for years.
Until now.
Emery Bingley never found this faith. But a part of him is here all the same.
"I can't help but think how much my husband would have enjoyed the UU church," she said. "I want other people to be aware that there is something out there that is different than the traditional faiths."
Construction on the new building didn't start right after the land was purchased. The UUs met at a park building, then at an Elks Club in Belleview. Meantime, they raised money.
Throughout 2006 they held bake sales, rummage sales, home parties and high teas. Rita Burrows sold scarves and even took a part-time job selling patio furniture so she could afford to give more money to the effort.
Nineteen of the members formed a limited liability corporation, putting up money with a promise that they would get their money repaid later with interest.
Bob and Ann Barefield were part of that LLC. They moved to The Villages about three and a half years ago.
He was a retired college professor, a counselor, an engineering management expert and a former Methodist minister. She had a doctorate in education administration.
Ann Barefield became congregation president in 2006. Bob, known as a positive spirit and jokester, served on the finance committee and was everyone's favorite golf partner.
Standing on a putting green one day, he asked Jim McIntosh, a friend and fellow UU, to pray for him. McIntosh obliged, and Barefield proceeded to sink a long putt. He forever after called McIntosh a "righteous man."
Yet many applied that same description to Barefield. He was the kind of man who made you think everything was going to be alright.
"You can come over any time. You can call me any time," he once told Barbara Thomas when she sought Barefield's help with a personal concern.
Fact is, some members credit his positive words for keeping the $800,000 building project on track. When winter turned to spring, Barefield's eternal optimism helped lead the congregation to the ground-breaking ceremony on a hot Sunday in May 2007.
"We have nothing but a marvelous future to look forward to," said Jim O'Hara, one of the members, according to a news account of that ceremony.
Throughout the excitement, though, the Barefields wanted to get out of the Florida heat for a bit. They rented a house on Sugar Mountain in North Carolina for July and August.
Then, one day in August, Bob felt sick. The first diagnosis was diverticulitis. It actually was a heart attack.
By the time he got to Wake Forest Medical Center in Winston-Salem, N.C., five days later, his heart was severely damaged. Surgeons performed a quadruple bypass, but it was too late.
He was in intensive care for six weeks before he died. He was 81.
Barefield's death devastated the congregation. Ann returned to The Villages and did her best to continue on, and, she recalled, her faith family was invaluable. So was the building project in which they were all so heavily invested.
"It helped to have something to do," she said. "I'm a little bit of a workaholic."
Everything took a bit more time and a bit more money than the congregation expected. They could have used a good rallying speech from Bob Barefield.
Still, the jokester did provide one more bit of inspiration: A memorial concert was planned for May 25, and the UUs vowed to be in the new building for that concert, no matter what.
Sunday, May 18, was the UUs' last day at the Elks Lodge along County Road 25.
We should sing hallelujah, one woman said in jest.
In truth, though, members actually liked the club's rustic feel. How many people get to worship beneath a six-point stuffed elk head?
The service started at 10 a.m. There was some light music, and Carolyn Denison lit the chalice candle.
Ann Barefield recited the congregation's "joys and concerns." The new building would be ready next week. Smiles. A member has pneumonia and can't be here today. Grimaces.
Such a list is read aloud every week. The joys change and the concerns change, but they always are announced together. That's how it goes in this life, no matter where or whether you worship.
The Unitarian Universalists are a casual group: There were no neckties or Sunday dresses on that warm day. They also are an intellectual bunch, and the guest speaker apparently knew it.
"This is actually a two-semester course," George Warheit said of his talk, "Religion in America."
These days, the fastest-growing churches have flamboyant celebrity preachers and fundamentalist bents, he told them. Heads nodded in acknowledgement.
The Unitarian Universalists don't subscribe to One Big Answer. They believe in freedom of thought, speech and spiritual beliefs. They ask only for an open heart and an open mind.
"The culture," Warheit said, "may eventually catch up with you."
Perhaps. But as of May 25, the culture would have to look somewhere other than the Elks Club.
The next Sunday was all handshakes, hugs and thank yous. Thick slices of sod sat outside, desperate for rain, and a bare kitchen wall awaited two refrigerators that still had not arrived.
But never mind all that. It was 10 a.m., and the new building was ready.
There was applause as Ann Barefield called out the volunteers for recognition. Member Bob Gore got a standing ovation. Everyone laughed when Ann pointed out the small elk head that was sewn into a corner of the church banner.
"The elk is still with us," she said. "Just not over our heads."
Everyone was back again at 3 p.m. for the Bob Barefield memorial concert. The Barefields' son, Robert, a gifted baritone, sang. His mother's longtime friend, an accomplished musician named Frances Nobert, accompanied on piano.
It had been a long day. Late afternoon sun leaked through the west window. Voice and piano melded, the cool air conditioning hummed and the faint smell of coffee filled the room.
How beautiful to hear that music, but how sad that it was performed in memoriam.
How wonderful to be in that new building, but how tragic that Bob Barefield didn't live to see the day.
How special to have nice stained-glass windows behind the performers, but how disappointing that Muriel Bingley's husband never found this faith.
There they were, the joys and concerns, together again. But in that perfect moment, with everyone gathered under that sanctified roof, the power of a spiritual homestead became clear.
This is where joys are shared, and thus magnified, and where concerns become easier to bear, if only for a while.
This story ends with an irony.
After all the time, money and effort spent building their new house of worship, the Unitarian Universalists can't wait to get out of it.
At the official opening ceremony on June 1, Ann Barefield challenged the members to get out, get active and renew their commitment to social justice: protecting the environment, helping the poor and so on.
This new building is a place to seek nourishment and inspiration. But it "should be a tool," as Jim McIntosh once put it. "More a means to an end."
There are joys the members can help create and real-life concerns they can extinguish, or at least mitigate.
During the service that morning, a freight train rumbled down the tracks that bisect 135th Street. The locomotive passed like a summer storm: fast and powerful.
Inside the fellowship hall, the sound was muffled. Outside, it rose to a roar.
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Marta Kwiatkowska
This article relies too much on references to primary sources. (November 2012) |
This article may contain improper references to self-published sources. (November 2012) |
Marta Zofia Kwiatkowska is a computer scientist based in the United Kingdom. She is Professor of Computing Systems at the Oxford University Department of Computer Science, University of Oxford, England.
Marta Kwiatkowska held academic posts at Jagiellonian University, Cracow, Poland, the University of Leicester, England, and the University of Birmingham, where she became a Professor of Computer Science.[1] Since 2007, she has been a Fellow of Trinity College, Oxford.[1]
Kwiatkowska's research is in the area of modelling and formal verification of complex systems, especially using automated verification through model checking.[1] She has been involved in the development of the PRISM model checker. Kwiatkowska has published widely in academic journals and conferences.[2][3]
- ^ a b c Marta Kwiatkowska, Oxford University Computing Laboratory, UK.
- ^ Marta Kwiatkowska, Quantitative Analysis and Verification, Oxford University Computing Laboratory, UK.
- ^ List of publications from the DBLP Bibliography Server
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- Living people
- Jagiellonian University faculty
- Academics of the University of Leicester
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- Members of the Department of Computer Science, University of Oxford
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For the Best of 2014 In Print, see the December Issue of Artforum.
Wrinkle Decker, Lazy Boy, 2014, wood, cardboard, dirt and glue, 7 x 6 x 5 1/2".
ORGANIZED BY Cabinet Gallery, the exhibition at the Airbnb'd Fitzpatrick-Leland House (a 1936 Schindler building) in Lauren Canyon perhaps was the closest you could get to a John Knight retrospective (February 2, 2014 to February 5, 2014). A take on the Los Angeles–based artist's oeuvre was presented through a collection of his signature 8 x 10′′ exhibition catalogues, postcards, posters, photographs, a few editions and studies, and other ephemera, all part of the expanded site(s) of the works that locate them in the greater socioeconomic network of contemporary art. As the city is dealing with the curse—or blessing—of bigness, this exhibition, while modest in its presentation and duration, remained true to Knight's conceptual practice and his interest in architecture as a discursive site.
In situ in the middle of Lydia Glenn-Murray's living room was Wrinkle Decker's Lazy Boy, 2014, a giant cardboard and clay sculpture of a mustached dude sitting on a rock, his hands locked around his knees; he looks bored or sad, if not both. An instant Instagram hit, the piece was part of "Push It @ Chin's Push," (September 5, 2014 to September 27, 2014) a storefront attached to the owner's residence in the "up-and-coming" neighborhood of Highland Park. What started off as a pretty standard gallery show in the storefront transitioned to the living room as you went up the stairs and entered the house through the kitchen where people were taking selfies A Subtlety–style. In a town where there are as many project spaces as taco stands, people's apartments, closets, garages, studios, and front yards turn public, or rather semipublic, every now and then (the list of spaces that opened only this year will probably exhaust the word limit of this piece). Lazy Boy was a semipublic sculpture for a semiprivate space raising questions about how we perform in these undefined spaces, where some are welcome and others are not.
While on the topic of these halfway spaces, this summer, 356 S. Mission Road's basement hosted Dopp's—an open bar collaboration initiated by Michael Dopp, Calvin Marcus, and Isaac Resnikoff—after the original one in the back of Marcus's studio got in the way of production. Perhaps not as mysterious as Piero Golia's Chalet, it nonetheless had an air of privacy to it, casually invoking anxieties around in/exclusion and the navigation of these seemingly undefined spaces. Some call these pop-up art bars practices of community making, others networking schemes, alternative economies, or elite fraternities. But Tom Marioni's historical formulation of drinking beer with friends as the "highest form of art" was clearly the spirit of the season with other watering holes surfacing around town, such as Jorge Pardo's Mountain Bar reassembled at Tif Sigfrids gallery over the summer and, most recently, Paris de Noche bar at Night Gallery, not to mention Kunstverein's Bob's Your Uncle—a Los Angeles export a la Robert Wilhite.
One last thing: follow @therealstarkiller.
Sohrab Mohebbi is REDCAT assistant curator and a writer based in Los Angeles.
View of "Dear Nemesis, Nicole Eisenman 1993–2013," 2014–15.
LAST APRIL, Cleopatra's housed "Which arbitrary thing are you," (April 6 to May 4, 2014) a two-person exhibition of sculpture and video by Sara Magenheimer and paintings by Sadie Laska. All of the works were from 2014, with the exception of Magenheimer's seven-minute video, One Vast Focus, 2011, in which footage of a woman playing tuba before a grove of trees opens onto a quaalude-paced concert scene overlaid with text from Ada Lovelace's megalomaniacal-Romantic musings to her mother"I can throw rays from every corner of the universe into one vast focus"—which is then read aloud by the artist in a droll digitized voice reminiscent of Robert Ashley's in "Perfect Lives." Early video art is also evoked in Magenheimer's pigment print on wallpaper panel composites, Sun Room 1 and Sun Room 2. Both pieces layer a print of an isolated basketball net atop images of houseplants in wicker baskets. The signifiers evoke movement ("swoosh"), rhyme, and pun in a video-like layering of effects. Laska's thirteen mixed-media paintings are discrete Rauschenbergian assemblages; the artist's sense of humor and experimentation breeze across bricolage surfaces (a shirt, a sandal, a comb, a paper plate, to name a few) that, although three-dimensional, strongly convey a painterly plane. Laska does not appear to be preoccupied with the de- or re- or neo-construction of painting, rather, these works read as a genuinely capacious celebration of the action and the form.
Currently on view at ICA, Philadelphia is "Dear Nemesis, Nicole Eisenman 1993–2013." (September 19 to December 28, 2014) The inimitable painter's midcareer retrospective includes over 120 paintings, drawings, sculptures, and prints. The artist dedicates the handsome catalogue to her father who taught her to "see things that are not there and to see through things that are." Eisenman's tender, Rabelaisian figurations portray the bodily surface and ghostly psycho-vibes of conviviality and personal conflagration alike. In Winter Solstice 2012, 2009, eight figures drink, smoke, nosh, flirt, and pass out cold around a late-night dinner table. Each character—unique in palette, facture, and style of depiction—could have been plucked from its own painting. This mélange of ids and egos (and one bored lapdog) at once extols and lampoons the bohemian soiree, not to mention the Western canon of painting.
Last April also saw "Etel Adnan" at Callicoon Fine Arts (April 3 to May 23, 2014). Rolled out in tandem with the Paris-based artist's signature leporellos and punchy meditative landscape studies was the long-awaited two-volume To look at the sea is to become what one is: An Etel Adnan Reader (Nightboat Books). This major compendium collects five decades' worth of poetry and prose. Adnan's diamond-edged power of observation and warm-toned, hard-nosed lyricism masterfully illuminate (and complicate) war and insurrection, painting and travel, feminism and exile, philosophy and creative devotion. "It seems to me that I write what I see, paint what I am," she writes in Journey to Mount Tamalpais. The urgency apparent in each pursuit, the commitment to subject, and the precision with which Adnan pays attention to self and to world set the bar, in my opinion, for being an artist today.
Corrine Fitzpatrick is a poet living in Brooklyn, NY. She is a 2014 recipient of the Creative Capital/Warhol Foundation Arts Writers Grant.
Adriano Costa, How to Be Invisible in High Heels, 2014, concrete, sand, soil, dimensions variable. (Photo: Andrea Rossetti)
IMPLICIT IN ADRIANO COSTA'S EXHIBITION "LA COMMEDIA DELL'ARTE" AT MILAN'S PEEP-HOLE (September 26 to November 8, 2014), was a well-timed consideration of the narrative potential we encounter through objects, actions, and environments that appear like epiphanies in everyday life. For the Brazilian artist, a thoughtful examination of these quotidian moments means a thorough look at their complexities, particularly as a totality of contradictions, which, if appropriately analyzed, break free from the visual preconceptions that hamper our interpretations. For instance, How to Be Invisible in High Heels (all works 2014) is a sequence of fifteen monochrome Minimalist steles arranged in a geometric composition. Each sculpture's height is equal to that of a Brazilian transsexual wearing high heels whom the artist encountered in Milan. Thus the show's apparent monolithic and incorruptible Minimalism is, in reality, belied by the friability of the material employed—a mixture of concrete, sand, and red soil.
An entire city was taken into consideration for "SHIT AND DIE," (November 6, 2014 to January 11, 2015) an exhibition curated by Maurizio Cattelan, Myriam Ben Salah, and Marta Papini. The trio transformed Turin's Baroque Palazzo Cavour by interweaving "Turinese" phenomena with works of art from different decades by a roster of international artists, and, in surprising ways, the results reflected the enigma of this city, which is inflected through signs both sacred and profane through spirituality and occultism. The Rondò della Forca gallows, where criminals were executed until 1963, and the study of Camillo Benso Conte di Cavour, undisputed protagonist of the unification of Italy, were included in the show, as was a mysterious interior design project from the Casa Mollino, home of talented architect Carlo Mollino. His work is also the subject of Séance, a film by Yuri Ancarani, which balances many different possible interpretations among the many to which Mollino's sophistication lends itself.
The imponderability of gestural signs and the indescribable nature of what they communicate are the principal concerns of both the film and a resulting video installation in Jani Ruscica's second solo show at Otto Zoo in Milan (September 23 to October 31, 2014). Here, the artist showed some of the documentation from a performance he created in collaboration with artist Sini Pellki (the video was originally commissioned by MTV's Art Breaks in 2012). The subject is a man who acts the part a sort of living, white sculpture, with his minimal actions transitioning from stasis to movement.
Translated from Italian by Marguerite Shore.
Marco Tagliafierro is an art critic and curator based in Milan.
Phyllida Barlow, dock, 2014, mixed media, dimensions variable. Installation view, Tate Britain, London, England, 2014.
IF MONUMENTS WERE ONCE CONSTRUCTED to celebrate the glories of history, the antimonuments of today question the future by destabilizing the present. History is substituted for abstractions of collapse and ruination. Patriarchal authority, empires, and the fallen of great wars all must succumb to gravity. For instance, Phyllida Barlow's monstrous sculpture dock, 2014, installed in Tate Britain's Duveen Galleries (March 31 to October 19, 2014) read as an antimonument to the provisional. A perilous construction built of interweaving scaffolding, cardboard, plywood, and fabric, dock courted danger as a structural condition. The scaffolding encouraged her to build up as well as destroy in a method as constructive as it was ruinous. Though danger is often considered a running theme in monumental sculpture, in Barlow's case it was material necessity.
Likewise, Helen Marten's exhibition at Sadie Coles HQ (January 29 to March 15, 2014) dealt with the grammar of collapse from the standpoint of the body. In "Oreo St. James," Marten arranged headless torsos as disjecta membra, or scattered limbs, as supports for a cluster of parts and objects. The surfaces of the artist's torsos evoked a picnic sensibility, where tousled leaves, tin bowls, plastic baubles, yogurt cups, and other waste objects were assembled as a constellation. In this constructed world of degraded commodities, no object takes precedence or privilege—equivalence reigns. Disintegration reverberated throughout as images and objects refused to cohere toward any unitary narrative.
Along a similar trajectory, the rhetoric of speculative fiction was a central theme of this past year. Camille Henrot's The Pale Fox, 2014, at London's Chisenhale Gallery (February 28 to April 13, 2014) addressed a world pulled between formation and disintegration. At the heart of her installation was a mythic origin story wherein a series of questions was posed: What makes up a world? Who are its subjects? What are its objects? Where do these relations coalesce? And, How do they dissolve? For this artist, a world of collapse is one that disperses, scattering meaning—forms and in the same breath falls apart.
Andrew Witt is a PhD candidate in the history of art department at the University College London.
Lee Mingwei, Sleeping Project, 2000/2014. Project view, Mori Art Museum, Tokyo, 2014. Photo: Yoshitsugu Fuminari.
SEVERAL EXHIBITIONS this year highlighted the effects of personal relations and social interactions on art made by itinerant or transcultural Chinese artists, as well as the increasingly wide sources of inspirations adopted by expatriate practitioners.
"Pioneers of Modern Chinese Painting in Paris" at de Sarthe Gallery, Hong Kong (May 14 to June 21, 2014), assembled avant-garde paintings and sculptures made between the 1920s and the '70s by Chinese artists in Paris. Though works by the familiar faces of that milieu—such as Sanyu, Zao Wou-ki, and Chu Teh-chun—were pleasers, T'ang Haywen's paintings represented a bolder and freer leap toward abstraction. What really stole the show, though, were two realist oil paintings of female nudes by artists from an earlier generation: a 1932 work by Wu Zuoren (who later returned to more conservative subjects) and a 1967 one by Pan Yuliang (the only woman in the exhibition).
Taipei Fine Arts Museum's Li Yuan-chia retrospective "View Point" (March 8 to June 8, 2014) was the first museum exhibition to cover the entire career of this rarely discussed artist. The show proved that Li may be the most inventive of the Ton Fan Society, an important Taiwanese postwar modernist art group—but it also positioned Li's work in more global contexts, examining his involvement in the avant-garde circles and galleries of Bologna (Il Punto, early 1960s) and London (Signals Gallery, Lisson Gallery, 1966–68), as well as his efforts operating the LYC Museum in Cumbria (from 1972 until his death in 1994). The accounts of his cohort and supporters, included as wall texts, provided entry points into an oeuvre that spans from ink painting and sculpture to participatory and kinetic art.
Questioning the aesthetic potential of relations—familial and random, human and objective—is the central focus of Taiwanese-American artist Lee Mingwei's career and the theme of his retrospective, "Lee Mingwei and His Relations: The Art of Participation – Seeing, Conversing, Gift-Giving, Writing, Dining and Getting Connected to the World" at the Mori Art Museum, Tokyo (September 20, 2014 to January 4, 2015). The fifteen "social sculptures" conceived since the 1990s, originally for various biennials and exhibitions, seemed reflections on tradition, memories, and change. Lee activates personal histories by designing unorthodox forms of gift-giving—whether by dining with strangers to mending visitor's clothes to having museumgoers serenaded by an opera singer. The Mori exhibition underscores Lee's bicultural influences—the practices of Allan Kaprow and Suzanne Lacy among them, but also Zen philosophy. It thus proposes thoughtful alternatives to art's place in existing economic and theoretical systems, and sheds light on the changing dynamic between art, artist, viewer, and the public space.
Lesley Ma is the curator of ink art at M+, Hong Kong.
View of "Geoffrey Farmer," 2014, Kunstverein Hamburg, Hamburg. Photo: Fred Dott.
AT THE RISK OF SOUNDING DRAMATIC, 2014 was nearly marked by a personal crisis of faith in art, as too many exhibitions pertained to trends I couldn't get excited about. If artistic production addresses a contemporaneous condition, am I wrong not to feel enthused by work that directly responds to technological advances? Is the flat, lurid quality of much of the art seen the only adequate expression of the effects of networked technologies on our lives? What's more, as violence and war became increasingly devastating throughout the year, I saw too many hapless examples of the slippery relation between art and politics. These three exhibitions below followed no trends and didn't rely on eliciting political sympathy—which I'd argue encourages reducing complex conditions to simplified binaries—and yet still reflected the times we inhabit with an independent poignancy.
Geoffrey Farmer, "Let's Make the Water Turn Black," Kunstverein Hamburg, March 1 to May 25, 2014: In this show, kinetic props performed while a sound archive mapped the life of Frank Zappa. Referencing Zappa's own influences, Farmer constructed a library of key movements of twentieth-century art and music history, with clips from radio news broadcasts providing chronological cues, including the 1941 announcement of the attack on Pearl Harbor. The sound files were played by an algorithm, save for several choreographed sections when the kinetic works broke out in a delightful, mechanical dance. By also including bits by Schwitters, Cage, and organized sound pioneer Edgard Varèse, the installation echoed Musique concrète in both approach and acousmatic structure, with Farmer probing our expectations of art and how we perceive objects.
Smadar Dreyfus, "School," Haus der Kulturen der Welt Berlin, May 29 to July 14, 2014: Dreyfus's audiovisual installation represented secondary-school classes in civics, bible reading, geography, history, Arabic, and more at a secular state school in Israel. One heard disembodied interactions between pupils and teachers while English translations of the classroom cacophonies were projected, giving rise to questions of pedagogical techniques, power, nationhood, and belonging. The show oscillated between affirming the school's function as an Althusserian site for reproduction of ideology and a place characterized by hopefulness, where alert teenagers challenge ethics in the context of current affairs.
Julie Mehretu, "Half a Shadow," Carlier Gebauer Berlin, September 20 to November 1, 2014: Following her work for Documenta 13, which was inspired by the Arab Spring, Mehretu abandoned architectural structures for her new paintings. Dark, chaotic, and nebulous, they seemed motivated by disillusionment and doubt and are evocative of a cavernous space of retreat. Beside the work's unflappable humanism, it's affirming to see an established painter evolving her language.
Hili Perlson is an Israeli-born, Berlin-based writer and critic.


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F. Wesley
Fred Neslay
Fred Weasley
Fred Westy
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Wesley, Fred A. (jaunesnysis)
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1943- |
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Brass - Horn
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Percussion - Drum
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Urban Dancefloor Guerillas
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Wuda Cuda Shuda
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On the first page I linked and interview with Xav of Premo (does premo count as a world first guild anymore?) from before DS. In it he was supportive of the concept of gating but that was before almost a year of DS. |
Sorry, people say the silliest things. You pretty much nailed it. Even if guild B killed it without a zone nerf they still had taken more resets and therefor had more gear which act as a "soft nerf" to the instance anyways. The whole "we took less time and are therefor more skilled" argument falls apart if you don't do it in the same reset as the guild's you are comparing yourself to or otherwise nuetralize the extra gear somehow. I find it funny that people try to argue about skill level in dealing with scripted encounters.
Most win comment in these forums in a long time. |
As you noted accurately on page 1 of this thread. The "skill" in raiding is pretty much just how much repition it takes for everyone on your roster to master an encounter. Really that's it. Raiding is pretty much nothing but time investment. Clearly raw speed in clearing and time spent in instance both have some relation to skill or whatever you want to call it. We can all agree that a guild killing a boss a month ahead of another is probably more skilled regardless of time spent. However we can also agree that killing a boss within a lockout or two* of another guild while spending substantially less time is also probably more skilled. Where that bright line, at what point we judge the two guilds to be of equal skill, is an open question but a mostly academic one since as you noted correctly there are a whole lot of factors that are difficult to measure and assign weights to. Regardless of where that brightline is however there are clearly limitations with our current system of measuring guild skill. With shorter units of progression more often we can get a better sense of guild skill with our imperfect metrics. *I'm saying within a couple lockouts because gear drops are not equal guild to guild, especially with 10 man raiding. |
No one is "bludgeoned" by content. There are people that like having tons of options in front of them to work on, who enjoy going through the climb, and they are slowed down for no good reason by this form of gating. Lots of guilds front load their schedule so they can get everything to farm quickly and enjoy a more casual pace until the next content patch, work on alts, focus on the pvp season, or whatever. There are people who like to take their time going through content. They don't benefit from this form of gating since they'd work on it at their own pace anyways. It won't substantively change their rate of progression directly. It will however slow down more ambitous guilds and make the gap in progression (number of boss kills) smaller through purely artifical means. No one is getting more content, new content faster, or anything from this.
I'd rather it go the way of limited attempts or tier nine's gating and be forgotten quickly. I'd far rather have twleve-fifteen bosses in a non-linear instance or a spread accross a few instances that myself and my guildees can work on when we chose at the pace we chose.
Edited by Mcbenys on 7/31/2012 9:42 AM PDT
No one is "bludgeoned" by content. There are people that like having tons of options in front of them to work on, who enjoy going through the climb, and they are slowed down for no good reason by this form of gating. Lots of guilds front load their schedule so they can get everything to farm quickly and enjoy a more casual pace until the next content patch, work on alts, focus on the pvp season, or whatever. You forgot the ones who do both. Who rush, but would rather read quests the first time through, and *then* rush. ie, the ones being bludgeoned.
Not this time, but in the future they should/could. Would you be more ok with it if they were doing it like suggested, where other stuff was finished/released first, and raids later? ps:yuki you look better as an orc. i never recognize you now :< |
Reading quests and taking time is by definition not rushing. |
I'd assume you mean bludgeoned by their guild's leveling expectations? I don't think that's something you solve via gating content. That's something that has nothing to do with the game's design but is a player/social issue and then we're tapering off into a seperate thread about a guild or raid group's leadership reconciling its' expectations to that of their raiding core. ps:yuki you look better as an orc. i never recognize you now :< Thanks. This is a temporary thing and I'll be home on Illidan soon enough. =) |
No... by the games leveling expectations. It's clear this game takes hold of people and causes them to play more and want more (hence you throwing a hissy fit because you have to wait a whole week to raid). Everyone wants the best and the greatest in this game the second it becomes available... even if it isn't healthy for them to get it. |
The game sets no expectations on me. I set them on myself and to a lesser extent they are set by my circle of ingame friends. (hence you throwing a hissy fit because you have to wait a whole week to raid). I think the decision to not open any raids until one week has past is kind of meh. I don't like it but it isn't that big of a deal. What I strongly dislike is the gating of additional raid content in the same tier with no clear cut timetable. There is no reason for it at all. It benefits no one in any way. Everyone wants the best and the greatest in this game the second it becomes available I'm not competing for world firsts, regional firsts, or would even describe myself as anything more than an average player. But I do feel I should be able to tackle content when I chose and on the timetable I chose without a false gate whos' only apparent function is to prevent more ambitous guilds from getting "too far" ahead of one's chosing a more lesiurely pace. The function of this gate is to simply slow down players so others can artificially keep up. ... even if it isn't healthy for them to get it. I don't feel my playstyle is particularly unhealthy. I have a solid work/life balance and am actively involved in my daughter's school and after school activities. But even if it was that would be the concern of me and my family and not that of game developers who shouldn't inject themselves into it.
Edited by Mcbenys on 7/31/2012 7:03 PM PDT
I'm 100% ok with them delaying raiding. I have friends in town that first week of the expansion anyway, so I won't even really be able to level a toon until the Monday after release.
I'm 99.999% positive they won't release the LFR version of the raid before the raid itself. And it's quite possible they'll delay LFR until a week or two after the normal raid is available.
Edited by Verelyse on 7/31/2012 11:20 PM PDT
What I strongly dislike is the gating of additional raid content in the same tier with no clear cut timetable. There is no reason for it at all. It benefits no one in any way. It's a guess, but im assuming it'll be a clear cut timetable, once they actually settle on something. Not sure if they should've just done that first before saying anything. |
They'll have their hand on the dial to release more tiers when enough people finish ^_^ |
There is no reason for it at all. It benefits no one in any way. There are more reasons for holding it back than not. It benefits more than it hurts. The reason's are countless for it, but against it are simply "they should let me do what I want". The problem is... what you want isn't what you want. You want content now and constantly and they aren't willing to provide that. So instead they are giving you content soon and more regularly as a test. TLDR; you don't really know what you want, you act on impulse and simply think you do. You argue that it doesn't help people, but people say it does. You argue that people don't want this but they do. I promise you that the group of people who can raid the first week of the expansion is a tiny fraction of WoW's populace... you are in the minority.
Edited by Poena on 8/1/2012 9:21 AM PDT
Community Manager
We've been keeping a very close eye on the feedback players have shared for both Cataclysm and Mists of Pandaria raiding. We saw a lot of evidence and heard a lot of feedback which indicated that raid content was a little overwhelming at the beginning of Cataclysm. Our goal is to smooth that out a bit in Mists of Pandaria. Keep in mind, Mogu'shan Vaults opens up one week after Mists of Pandaria launches. And with its Heroic mode even the most seasoned raiders should be pretty busy. Once the raid dungeon has been cleared by a group on normal mode they'll unlock Heroic mode, a definite ramp up in challenge. Also note, similar to Dragon Soul, Raid Finder mode for Mogu'shan Vaults will be available about one week after the normal raid has been opened.
Rather than putting a lot of pressure on players by opening up sixteen raid bosses in three separate difficulties upon release of the expansion, we hope you'll have a chance to really dig into the lore, the gorgeous new continent, the amazing new quests, and all of the other goodies that are far too numerable to mention. Our intention here is not to artificially extend the life of the 5.0 content, but rather to pace it better than we have in previous releases. This is why we noted that a few weeks after Mogu'shan Vaults opens, raid instances Heart of Fear and Terrace of Endless Spring will become available. These dungeons will still very much be hot on the heels of Mogu'shan Vaults, particularly for the large majority of players progressing through Pandaria. Here's a basic breakdown of the pattern we'd like to follow for all upcoming raids: Dungeon opens on normal difficulty --> Heroic mode is unlocked once normal mode is completed --> the Raid Finder version becomes available about one week after the raid's initial opening. To review all of the latest Mists raid release details, everyone is encouraged to check out our latest blog, Blizzard Insider #45 – Mists of Pandaria – Raid Preview, which has a wealth of exciting new information. On a final note, thank you to everyone who has been testing the new content, sharing your feedback, and helping us bring you the most epic game possible! It cannot be said enough, but we genuinely appreciate it. =) |
So what are your reasons for it benefiting to hold it back? I didn't see any named. I think the advantage of delaying it 1 week, and not more than that, is I can't imagine for the top raiding guilds gearing up so fast to clear 16 normal mode bosses in 1 week is fun and this gives them some breathing room. And that's not all of them. Some of them do want to do it immediately. I mean positive or negative, I don't see how this effects anyone but the top raiding guilds. My guild won't be ready the first week. There's no way. Maybe 2nd but probably 3rd. This wouldn't effect us at all. And while the top raiders are the minority they are an important part of the WoW community. |
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guns for food
this looks like more advanced preparation for controlled collapse. I am starting to think that this Sandy Hook thing was a gun commercial and the gun manufactures boycott is just a coverup. If they really wanna , they could turn off the food, power, or water, until people buy it back with their guns, they want plenty of volume in this commodity. If we can't tell who is controlling gas, gold commodity prices yet they are behaving as controlled elements, then there is a level of potential for manipulation here that I am not comfortable with at all. It just jives with all the FEMA and Militarization of police, and National park grabs, food, medical everything, time to start welding together the big pieces they have created with the hidden fallacies. Let's figure out a way to expose the sham. They work for us, right?
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Independence profit jumps on better nickel price
PUBLISHED: 22 Feb 2011 10:26:00 | UPDATED: 22 Feb 2011 11:24:12PRINT EDITION: 22 Feb 2011Independence Group has posted a 78.5 per cent increase in interim net profit after tax as a result of an improving nickel price and increased production from its Long nickel mine in Western Australia.
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Donald Trump: I'm 'Seriously Considering' Running for President
"I'm totally being serious because I can't stand what's happening to the country."
READ MORE »"I'm totally being serious because I can't stand what's happening to the country."
READ MORE »A mysterious phone poll in New Hampshire tests the Donald's viability as a presidential candidate.
READ MORE »Now she's DEFINITELY not going to do it.
READ MORE »Cuomo and Gillibrand up by over 30 points?
READ MORE »His name is Joe DioGuardi, and he's making this a race.
READ MORE »Would you say it's time for our readers to crack each other's heads open and feast on the goo inside?
READ MORE »That was fast.
READ MORE »The new ballot systems in the city are proving to be problematic.
READ MORE »The new mantra: pessimism and whatever.
READ MORE »One-fifth of respondents "acknowledged animosity toward Muslims."
READ MORE »Nobody has any idea who is running or who they're voting for.
READ MORE »Even Democrats are not totally sure whether Obama prefers Sharia.
READ MORE »The GOP has its best showing in Gallup's generic ballot poll since 1942.
READ MORE »Obama only leads him by 25 points. It's a good start!
READ MORE »But Manhattanites like it.
READ MORE »Sixty-seven percent of Americans say they drink.
READ MORE »Obama's rough summer continues.
READ MORE »Americans have no idea who they're supposed to hate for TARP.
READ MORE »Summer 2010 is a downer. How do you cope?
READ MORE »His reputation has definitely suffered recently.


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Row over disabled parking
- Published: 15 Jul 2014 at 17.16 | Viewed: 8,012 | Comments: 29
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- Writer: Online Reporters
A video-recorded confrontation over a parking spot reserved for the disabled that went viral online has sparked debate over disabled rights, appropriate behaviour and training of security guards at Bangkok shopping malls.
The video was posted on Pantip.com, a popular internet forum, by a user identified only as "Gazook."
Gazook wrote that he and his wife went to shop at Pure Place community mall in the Ratchaphruek area Sunday. As they were about to return to their car, they saw a security guard signalling for another driver to park in the spot reserved for the disabled.
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