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Jungfrau-Aletsch-Bietschhorn, Switzerland
The Bernese Alps (46°30'N, 8°02'E), a World Heritage Site, are the most extensively glaciated mountains in Switzerland. They contain Europe's largest glacier, the Aletsch, a great variety of glacial features and an outstanding record of the uplift and compression that formed the High Alps. Climate change is illustrated by the varying rates of retreat of several glaciers which provide substrates for notable examples of ecological succession. There is a wide range of Alpine and sub-Alpine habitats and their spectacular north wall has historically been important in European literature, art, mountaineering and alpine tourism.
Geographical Location
The site is located in the Bernese Alps in south-western Switzerland, on the border between the French and German-speaking Cantons of Valais and Berne, about 25 kilometers(km) south of Interlaken and 20 km north of Brig. It covers wide mountain and glacial areas around the Bietschhorn, Aletschhorn, Jungfrau and Finsteraarhorn peaks. The center of the site, Konkordiaplatz, is at 46°30'N and 8°02'E.
Date and History Of Establishment
- 1933: Valais Canton assumed responsibility for protection of the Aletsch forest; and in 1938 for protection of the Märjelen, both on the Rhone valley slopes;
- 1960: Berne Canton assumed management for the Hinteres Lauterbrunnental nature protection zone, which is also partially covered by the Breithorn cantonal game reserve under the Cantonal Ordonnance du 5 Août 1992 sur les districts francs et les régions protégées;
- 1983: The site was first included on the Federal Inventory of Landscapes, Sites and Natural Monuments of National Importance (Inventaire Fédéral des Paysages, Sites et Monuments Naturels d'Importance Nationale); the area was revised in 1998;
- 1986: The protection of Baltschiedertal was defined by a contract signed between the communities of Baltschieder, Eggerberg and Mund, the Swiss Foundation for Landscape Conservation & Protection and Pro Natura Valais. This states that the area should be kept in the same condition as it was in 1986; in 1994 the Ausserberg community joined the scheme;
53,934 hectares (ha). 77% of the area (41,476 ha) is within the Canton of Valais and 23% (12,458 ha) is within the Canton of Berne to its north.
Land Tenure
State and private ownership. Approximately thirty percent of the site is owned by the community of Fieschertal. Much of the remainder of the property is owned by local villages and their associated authorities (pouvoirs publics). There are also several private landowners, mostly on the edge of the site. The largest private owner (500 ha) is the nature protection organization Pro Natura at Alpes Understeinberg and Breitlauenen in the Hinteres Lauterbrunnental.
Ranges from 900 meters (m) to 4,274 m (Finsteraarhorn). Over 50% of the property is above 2,800 m. Nine of the main summits located in the World Heritage site are over 4,000 m; their average height is 4,108 m.
Physical Features
The site is the crest of a wall of high mountains covered by glaciers. The summit ridge is one of the great watersheds of Europe with many peaks above 4,000 m: Jungfrau, Mönch, Aletschhorn, Fiescherhorner, Grünhorn and Finsteraarhorn. The steep north side is in the catchment of the Aar, a sub-basin of the Rhine which runs into the North Sea. The gentler south-facing slopes drain into the Rhône which feeds into the Mediterranean.
The landscape of the upper slopes is dominated by glacial processes and classic examples of glacier-formed u-shaped valleys such as the Lauterbrunnental, are evident throughout. Below the u-shaped glaciated valleys, the landscape is shaped by rivers. The principal valleys on the northern side of the area run north-south. The breach made by the Lötschental-Lötschenlücke-Grosser Aletschfirn-Grünhornlücke, runs east-west to which valleys currently covered by ice from the Aletsch and Fiesch glaciers run at right angles. There is a wide range of glacial phenomena and structures: valley, mountain and cirque glaciers, ribs and crevasses and glacial depositional features such as moraines and glacier forelands. The Aletsch Glacier is the longest and largest glacier in Europe, the ice of which is 900 m thick at Konkordiaplatz. The Fiesch Glacier is the second longest and third largest glacier in Europe. The length of the glaciers was first measured in 1881 on the Lower Grindelwald glacier and 1892 on the Aletsch and Fiesch glaciers. Some glacial tongues descend relatively low, and those of Aletsch and Grindelwald advanced lower than any other glacier in the Alps. Moraines deposited as a result of this movement, show that the Aletsch glacier has been retreating since 1850.
The geomorphology of the area reflects its geological constitution, in particular its petrography and tectonic structure. It is dominated by the crystalline Aar Massif and extends as far as the Helvetic nappe system in the Wengernalp region. The massif is the largest Swiss autochthonic crystalline entity. It is made up of two units: old metamorphic rocks formed during the Caledonian orogenesis, 400-450 million years old and granitic intrusions formed during the Hercynian orogenesis, 300-350 million years ago. The dominant rock types include old crystalline metamorphic]rocks, granite and calcareous sediments, the latter being found only around the massif. Gneiss and schists containing relatively uniform micas, with important amphibolite inclusions, are the dominant metamorphic rocks. These rocks form the peaks above 4,000 m. The summits of Grünhorn and Finsteraarhorn are composed of green amphibolite, a very hard rock. Aletschhorn is unique in being covered by a cap of gneiss, a relic of the old crystalline block. The Central Aar granite is the largest granitic massif in the country, comprising the Bietschhorn, Nesthorn, Lötschentaler Breithorn, Schinhorn and Fusshörn. It is 100 kilometres (km) long, nine km wide with an area of 500 square kilometers.
During the Mezozoic period, the Aar Massif was covered by a tropical sea for approximately 200 million years. Sediments formed a thick horizontal layer of rock above the crystalline complex, measuring several kilometers in depth. During the formation of the Alps, during the Tertiary Period 20-40 million years ago, it was subjected to severe compression, uplift and metamorphism, although there was no dislocation. The distribution of the Mezozoic rocks around the massif illustrates the deformations to the massif caused by the formation of the Alps. The compression and the uplift are demonstrated by the tilting of some of these layers towards the Rhone valley, along the Lötschberg south ramp, as well as by the almost vertical distribution of sediments in the Eiger-Wetterhorn-Grosse Scheidegg region. Most of this sediment cover slipped to the north during the formation of the Alps, leaving the Helvetian nappe exposed. In the process, a few 'scales' of the old crystalline formation were dragged by the nappes into the most northern part of the massif. These relics can now be seen at the summit of Jungfrau and Mönch above the limestone rocks. The relief of the range is rugged, which is characteristic of young mountains.
The climate of the site is strongly influenced by the prevailing western wind and the distribution and height of the mountains. Overall the area receives a mean annual rainfall of 1,490 millimeters (mm). However, annual precipitation is extremely variable throughout the site, being greater on the Bernese slopes which have a sub-oceanic climate, than on the south-facing Valais side which is sheltered by the Bernese and Pennine Alps. The Valais region experiences a subcontinental climate at low and medium altitudes. Mean annual temperatures range from -8.5°C at Jungfraujoch to 9.1°C at Brig.
The underlying geology strongly influences the diversity of the vegetation. Most species are calcicole or calcifuge. The distribution and diversity of species are also strongly influenced by altitude, aspect and climate. Although the growing period is inversely proportional to the altitude, there are 529 species of phanerogams and pterydophytes above the tree line.
Despite the fact that much of the site is covered by glaciers, snow and rock, there are several forests and vegetation zones. Broadleaf forest extends from 900 m to 1,300 m on the north- facing slopes. The same zonation on south-facing slopes is approximately 200 m higher. This forest is dominated by beech Fagus sylvatica on the north side and by Scots pine Pinus sylvestris on the south side, which is too dry for beech. In Hinteres Lauterbrunnental in the north, the broadleaf forest zone is dominated by deciduous tree species such as sycamore Acer pseudoplatanus, grey alder Alnus incana, European ash Fraxinus exelsior, elm Ulmus glabra and silver birch Betula pendula. At higher altitudes broadleaf trees are replaced by Norway spruce Picea abies.The south-facing side of the range receives lower rainfall, greater solar exposure and consequently a xeric vegetation type, steppic grassland, which is typical of the central Valais. This grassland does not extend beyond 1,000 m. It consists of many xerophytic plant species such as Koeleria vallesiana, Festuca vallesiaca, Artemisia vallesiaca, Stipa pennata and Juniperus sabina.
The subalpine zone lies between the broadleaf and alpine zone at 1,300 m to 2,000 m. Norway spruce Picea abies is the characteristic species of this zone. In clear areas such as avalanche paths, green alder Alnus crispa proliferates. On the north-facing side, above Wengernalp and below Mittellegigrat, Norway spruce is mixed with dwarf Swiss mountain pine Pinus mugo ssp.mugo, European mountain ash Sorbus aucuparia and silver birch Betula pendula. Continental species replace Norway spruce on exposed south-facing slopes.Young soils such as proglacial margins are very quickly colonized by larch Larix decidua. In contrast, climax forests are dominated by stone pine Pinus cembra.
A good example of succession from pioneer vegetation to a climax forest occurs on the border of the Aletsch Glacier and in the Aletsch Forest. The moraine in this area was deposited in 1850, during the maximum extension of the glacier. As the glacier recedes, the mineral-rich moraine continues to be colonized by a pioneer vegetation of herbaceous plants, grasses, larch, spruce and aspen. On either side of the 1850 moraine, a larch and spruce forest has developed, characterized by ericaceous moorland dominated by Rhododendron ferrugineum and blueberry Vaccinium myrtillus.The zone directly above the tree line forms a girdle of moorland vegetation of Rhododendron hirsutum on base- rich soils and Rhododendron ferrugineum on acidic soils.Alpine grassland within the area is widespread and varies according to the nature of the substrate, slope aspect and altitude.
The fauna of the site is predominantly of species adapted to subalpine and alpine conditions. Typical species are ungulates such as the chamois Rupicapra rupicapra, alpine ibex Capra ibex, red deer Cervus elaphus and roe deer Capreolus capreolus. Other common mammals include the mountain hare Lepus timidus, fox Vulpes vulpes, ermine Mustela erminea, weasel Mustela nivalis, stone marten Martes foina, marmot Marmota marmota and the reintroduced European lynx Felis lynx. Common reptile species include asp viper Vipera aspis, viviparous lizard Lacerta vivipara, wall lizard Podarcis muralis and the green lizard Lacerta viridis. This latter species is only present on the Valais slope. Important amphibian species occurring within the site include alpine salamander Salamandra atra and Alpine newt Triturus alpestris. Owing to its warmer climate, greater numbers of invertebrates are found in the Valais. A glacier species of particular note is the glacier flea Isotoma saltans, a species of springtail.
Birds include lammergeier Gypaetus barbatus, golden eagle Aquila chrysaetos, European kestrel Falco tinnunculus, black grouse Tetrao tetrix, hazel grouse Bonasa bonasia, chukar Alectoris graeca, rock ptarmigan Lagopus mutus, Tengmalm's owl Aegolius funereus and pygmy owl Glaucidium passerinum, black woodpecker Dryocopus martius, great spotted woodpecker Dendrocopos major, green woodpecker Picus viridis, yellow-billed chough Pyrrhocorax graculus, red-billed chough Pyrrhocorax pyrrhocorax, European nutcracker Nucifraga caryacatactes, wallcreeper Tichodroma muraria, rock thrush, Monticolla saxatilis and snow finch Montifrigilla nivalis.
Cultural Heritage
The surrounding area has a long history of habitation. Research on the evolution of vegetation reveals that human intervention in the landscape began approximately 3,400 years ago. There is archaeological evidence that the area was inhabited by Celts, Romans and Alemans. There are remains of an elaborate canal irrigation system dating from the Middle Ages or possibly from Roman times, the canals obtaining their water from glacial rivers. Mining and quarrying were also carried out in the area. At the beginning of the 18th Century, an iron mine existed in Trachsellauenen, in the Hinteres Lauterbrunnental but it was abandoned in 1805. Molybdenum was extracted from the granite in Baltschieder during the second world war, from a unique occurrence where molybdenum is present in granite as molybdenite.
Local Human Population
The area surrounding the site has been inhabited by man for centuries. Primary activities in the region today include agriculture, particularly livestock breeding, tourism, scientific research and hunting. However, the main glacial and mountainous areas of the site are not permanently inhabited throughout the year except for the Jungfrau train station and scientific research station, both at Jungfraujoch.
Visitors and Visitor Facilities
The area has long been a popular tourist destination, particularly since the 19th century. At first it received mostly summer tourists, but in the 1930s skiing became popular. Due to the steep slopes, visitors except for mountaineers, are only able to visit the site via the Jungfrau railway and the Trümmelbach funicular. The Jungfrau railway was built between 1870 and 1914, taking visitors from Kleine Scheidegg (2,061 m) to Jungfraujoch (3,454 m). The site as a whole is popular among experienced mountaineers. There is an important series of mountain refuges, most of which belong to the Swiss Alpine Club or to the Berne Academic Alpine Club. There is a well developed network]of footpaths near the site, though most of it is inaccessible to walkers.
There is no visitors' center but the Aletsch Ecological Centre at the Villa Cassel run by Pro Natura in Riederalp, has a similar function. The villa has an alpine garden and Pro Natura organize exhibitions, walks, classes and seminars and training on environmental issues. Visitor numbers to the site are not fully known. However, the Aletsch Forest receives 50,000 to 70,000 visitors a year. There are no ski resorts on the property, but skiing at their own risk by experienced sportsmen is long established.
Scientific Research and Facilities
A high altitude scientific research station at Jungfraujoch, is at 3,500 m, at a height unique in Europe. Permanently accessible via the Jungfrau railway, the research center is well placed for the study of the physical environment, the atmosphere and astronomy. Research areas that are particularly strong include geology, glaciology, geomorphology, botany, zoology and tourism.
Conservation Management
A management plan for the site has yet to be produced. Its objectives will focus primarily on protecting natural processes to maintain the natural dynamics of the environment. A national biodiversity monitoring program is being established in Switzerland.Currently several habitats in the site are of national importance and recorded in the federal inventories of raised and transitional bogs and fens of national importance. These are the transitional bog of Aletschwald (N°.941) and two fen moorlands, Understeinberg (N°.606) and Station Wengernalp (N°.607). Two sites are also listed on the federal inventory of alluvial zones of national importance. These are N°.115 Langgletscher Jegigletscher and N°.1118 Üssre Baltschiedergletscher. According to the law relevant to the protection of alluvial zones of national importance (RS 451.31), alluvial zones of national importance must be left intact.
Several game reserves in the Valais area, such as Aletschwald (N°.32), Alpjuhorn (N°.33), Wilerhorn (N°.34) and Bietschhorn (N°.35), are ruled by the laws on hunting (Loi fédérale sur la chasse et la protection des mammifères et oiseaux sauvages, RS 922.0) and by the federal law on the preservation of nature and landscape). These areas are conserved as vital to mammals and wild birds, and it is forbidden to hunt or disturb the animals. Appropriate agricultural and silvicultural methods must be used and applied in these areas. Hunting ibex within the site is ruled by an ordinance (Ordonnance sur la régulation des populations de bouquetins RS 922.27). The mountain hare Lepus timidus, the rock ptarmigan Lagopus mutus and the black grouse Tetrao tetrix are hunted in the Valais but not in Berne Canton. All the species that can be hunted benefit from a protection period, set by federal authority, that can be extended by the Canton (article 5 of law RS 922.0).
Contracts have been signed between several communities, the Swiss Confederation represented by the Office Fédéral des Eaux et de la Géologie, and the Canton of Valais. These contracts agree to the renunciation of the rights to hydraulic power for 40 years, following l'Ordonnance sur la compensation des pertes subies dans l'utilisation de la force hydraulique which forbids constructing any building, and any modification of the land. The nature conservation organization Pro Natura, has signed a 99 year contract with the community of Ried-Mörel south of the World Heritage site for the protection of the Aletsch forest.
Management Constraints
Global warming and climate change is a significant threat to these glaciers, and is resulting in marked glacial retreat. Studies undertaken and oscillations observed between 1850 and 1973 indicate that only three-quarters of the 1973 glaciers currently remain. Effectively removing waste and wastewater from mountain huts located within the nominated area is another problem. At Jungfraujoch, the problem is solved by moving wastewater to the Grindel water treatment centre via Kleine Scheidegg.
Exact details of the staffing levels of the site are not available. All the employees, working at district or national level to protect the property are also engaged in other management activities. Employees responsible for the protection of nature and landscape in Cantonal offices have academic training and university degrees, usually in biology or geography.
Detailed information regarding the funding and total budget of the property is not available. General costs of the site such as monitoring and maintenance are financed by individual Cantons through their annual budgets. Additionally, Pro Natura invests money in the nature protection areas of Hinteres Lauterbrunnental as well as financing monitoring of the Aletsch Forest.
IUCN Management Category
- IV Aletsch Bietschhorn. Protected Landscape
- Natural World Heritage Site, inscribed 2001. Natural Criteria i, ii, iii.
Further Reading
The nomination document includes a comprehensive bibliography.
- Albrecht, L. (1997). Aletsch - eine landschaft erzählt. Die Reichtümer der Natur im Wallis 4:1-192.
- Anchisi, E. (1995). Fleurs rares du Valais. Les Richesses de la Nature en Valais 3:1-192.
- Anker, D. (1996). Jungfrau - Zauberberg der Männer. Bergmonographie 1, AS Verlag Zürich, 141pp.
- Anker, D. (1997). Finsteraarhorn - Die Einsame Spitze. Bergmonographie 2, AS Verlag Zürich, 128pp.
- Anker, D. (1998). Eiger - Die Vertikale Arena. Bergmonographie 3, AS Verlag Zürich, 288pp.
- Burri, M. (1992). Les roches. Connaître la Nature en Valais, 1-158.
- Cadisch, J. (1953). Geologie der Schweizer Alpen. Wepf Basel, 480pp.
- Delarze, R., Gonseth, Y. & Galland P. (1998). Guide des Milieux Naturals des Suisse. Delachaux et Niestlé, Lausanne. 413pp
- Halder, U. (2000). Die Villa Cassel im Spiegel der Zeit - 3. Auflage, ?berarbeitet und Ergänzt von L.Albrecht . Pro Natura Zentrum Aletsch. 88pp.
- Office Fédéral de l'Environnement, des Forêts et du Paysage. (OFEFP) (1998). Conception 'Paysage Suisse'. OFEFP, Office Fédéral de l'Amenagement du Territoire.133pp.
- Office Fédéral de l'Environnement, des Forêts et du Paysage. (OFEFP) (2000). Proposition d'Inscription du Bien 'Jungfrau-Aletsh-Bietschorn' sur la Liste du Patrimoine Mondial. Berne, Suisse.
- Richard, J-L. (1987). Dynamique de la végétation sur les marges glaciaires récentes de la réserve d'Aletsch (Alpes valaisannes, Suisse). 15 ans d'observation dans les placettes-témoins (1971-1986). Botanica Helvetia 97, 265-275.
Disclaimer: This article is taken wholly from, or contains information that was originally published by, the United Nations Environment Programme-World Conservation Monitoring Centre (UNEP-WCMC). Topic editors and authors for the Encyclopedia of Earth may have edited its content or added new information. The use of information from the United Nations Environment Programme-World Conservation Monitoring Centre (UNEP-WCMC) should not be construed as support for or endorsement by that organization for any new information added by EoE personnel, or for any editing of the original content.


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Set design Peter Klein (Frank Reps) Digital technician Joseph Borduin Photo assistants Rudolf Bekker, Joey Trisolini, Nick Krasznai Production Kim Pollock and Yann Rzepka Production assistant Ashley Sky Walker Equipment Rental Bathhouse Studios
and Root [EQ_Capture] Location Bathhouse Studios Catering Monterone
Last May in New York at the 13th Street Repertory Company, Sydney-based artist Kirin J. Callinan sat on a small stage, a hands-free microphone jutting out from the side of his skull. The 30 or so audience members looked at him expectantly, their musty chairs creaking. He looked back, his breath coming heavy and damp through the microphone hovering inches from his mouth.
Callinan seemed nervous. It's not like this was his first show, and it certainly wasn't his largest, but he looked exposed. In fact, every time he gets on stage, often in just his underwear or spandex, or some other combination of ill-fitting clothing, he looks exposed. It's part of his act, or it's sincere, or the sincerity is part of his act. It's hard to tell, but considering Callinan has made a new life out of laying himself on the line with intense honesty, it's more fun to take his cold-sweat nervousness at face value.
His album, Embracism, is an act of pure, highly specific emotional nakedness. It teems with jagged masculinity that bubbles and explodes above guitars that slash their way across skittering drum machines. His voice is a hoarse, baritone yelp of barely controlled aggression and confusion, except on the other half of the album, where he sounds exhausted and lovelorn, belting out depressed wisdom over weeping strings. In both modes he's barely singing, more just growling elliptical thoughts. "I used to wonder why anyone would ever want to listen to my voice," he says. "It's over the top and ridiculous. It's not a pleasant experience." But after hearing '60s pop star turned fractured crooner Scott Walker, Callinan's perception of what he could do with what he had changed. "It gave me confidence and it validated, in a sense, that vision I had of my own voice. I wasn't ready for anyone to hear it before."
His voice, his stage show, and his halting candidness in interviews feel like a line in the sand. A new way of living that spits in the face of everything that came before. And what came before Embracism was Callinan's old life, with his girlfriend and her child. "We lived off in this tiny little town a couple hours out of Sydney," he says. "I'd invested a lot emotionally, and bought into these ideas of what I wanted and what was a good lifestyle or something. What was healthy. Not that we were particularly domestic, our life was in shambles and we were kind of outsiders, I guess, living a pretty strange life." When the relationship ended, Callinan began to reevaluate his entire perception of himself. "I found myself single for the first time as an adult male," he says. "It made me question everything. I wanted to embrace myself as a physical entity rather than someone connected to someone else through some intangible idea of love. I had to do away with all this excess bullshit. I'm just a piece of meat back on the market again. And that was…wanting to connect with someone else but needing to connect with myself first."
On an airplane in the U.S., Callinan wrote "Embracism," the title track. It's a gnarled song made up entirely of pulsing jags of guitar skronk and uncomfortable drum machine fits, with Callinan narrating a scrappy school yard fight as a way of exploring the way human beings strive to connect. "It was a very physical experience transporting my body and my whole life at that stage. I was kind of homeless and drifting around the world. ["Embracism"] was about finding myself through my own physicality. You're trying to literally connect with the opposing force in a scrap. It's more about your identity in the jungle, in the hierarchy of your peers," he says. "Drama is what binds us together."
It's not just school ground pugilism that manifests that drama. Sometimes there's something larger at stake. The first words on "Chardonnay Sean," a song that comes midway through the album, are "Stay alive / we'll lace up our boots and go kick a ball." Callinan's desperate plea for his friend to keep living after a car accident is hard to hear, and then he gets more specific: "I don't see your mum anymore / she thinks I was the one, but I'll visit your grave / with the tiny shards of glass…" It's a small moment, but in it Callinan voices the looming drama and tangled interpersonal relationships of life and death in a shared city or neighborhood. His request for Sean to stay alive is a blocky statement that blooms from the rickety specificity of the rest of the album. It's specific to his life, but it's relatable too. It feels like a shared experience, a road map through grief that makes the passage of time a little easier to face.
Click here to see extra images from this shoot
Set design Peter Klein (Frank Reps) Digital technician Joseph Borduin Photo assistants Rudolf Bekker, Joey Trisolini, Nick Krasznai Production Kim Pollock and Yann Rzepka Production assistant Ashley Sky Walker Equipment Rental Bathhouse Studios
and Root [EQ_Capture] Location Bathhouse Studios Catering Monterone


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Credit: © Andrew H. Walker/Getty Images
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TrainingJanuary 23-25th
Compensation$15 per hour
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text:
I can tell by your description you know more about programming than me and aren't having to fight to learn the basic commands for every new function you want to add. Hehe.
Looking forward to watching this progress. good stuff.
Hi happy tree friends,
Had some boring time so I coded a little tool that does create random forests. It is called EcoForester (couldnt think of a more silly name). You can choose between different tree types (top down views, side view not implemented yet) and define some parameters for the random distribution. At start, the tool does create a random forest based on some default values. In the upper left you can access those values at a simple panel (sorry for the ugly design, just a quick hack). They are categorized into:
1. Threshold: the higher the number, the more trees you get. Default 12, lowest 4, maximum 25. This value defines a threshold against which a bitmap with perlin noise is tested. Therefore, the number does not directly correspond to the total number of trees.
2. Density: the higher the number, the larger the distance between single trees. Default 30, minimum 20, maximum 40.
1. Enables or disables the shadow. Enabled by default.
2. Color: sets the shadow color. Five different colors of grey, default a very dark grey (first color chip). The activated chip is slightly bigger than the other ones.
3. Angle: sets the rotation of the shadow. The arrow points to the direction of the shadow. To change it, click elsewhere on the grey circle (not: click and drag).
4. Distance: sets the distance (in pixels) of the shadow. Default 5, minimum 2, maximum 15.
1. Tree types to be used for your forest. Default: second from left. Click on a thumbnail to change the type. The activated type is marked by a red halo. If you want to use several types at the same time, just shift-click on another thumb. Again shift-click to deactivate that type. Every time you click on a type, a new forest is created.
1. Lock: locks the map for the random distribution of the trees. Disabled by default. If you want to use different trees with the same random distribution, you can lock the random positions by using this option.
Click to save a transparent png of your forest.
Distribution, Type: every change of a value does create a new forest.
Shadow: changing values does update the actual forest but not generate a new one.
At start the panel is shown at 90 % alpha. After that, it is blended out when rolling off the mouse and blended in when rolling over again. That way it is easier to look at the forest you get.
You need the Flash Player 10 to start the swf. The exe does work without any player, of course. Sorry, Windows only (though the swf should work on a Mac, too).
1. To get a random forest just start the tool: open the swf with your browser (Flash Player 10 needed) or double click on the exe.
2. Then click on the Logo EcoForester at the top right corner of the panel to save a transparent png at your local drive.
3. Now change the default type by clicking on the first tree thumb. The second one will be deactivated while the first one will be marked as active. At the same time, a new forest is calculated. The total number of trees depends on the treshold and density parameters (which you can change) as well as on a bitmap that is generated to get a random distribution (which you cant change). That map is not shown up. It is just used to get the positions for the trees. The appearance of every tree is randomized by using different sizes, different rotations and some extremely modest colorizing.
The upper left part of the forest is hidden by the panel.
4. Move the mouse outside of the panel. Now you can see the trees that were created behind the panel.
5. Our forest is not very dense. To change that, move the mouse again over the panel (upper left part of the screen) to show it up. Then click several times on the numerical stepper to the right of the Threshold option. You can also just put a number into the numerical field and press the ENTER key.
6. To get even more trees, lower the number in the Density field. That way the average distance between single trees is lowered which results in a higher total number of trees.
7. At present, the forest does consist of only one tree type which looks not very realistic. Hold the Shift key and click on the 6th and 9th thumb. Now 3 types are highlighted. After every click the forest is calculated anew using the different trees you did choose.
8. Unfortunately, the 6th tree type is much too dark. Deactivate it by shift-clicking it again. It will be unmarked. At the same time, a new forest is generated which does only consist of the two types left (1st and 9th type).
9. You want to add another type. But this time you dont want to recalculate the positions of the trees. To keep the actual positions, click on the Lock option to lock the existing map.
10. Then shift-click on the 10th type to add another type to the forest.
11. Now save everything by clicking on the logo.
download: http://www.mediafire.com/?10ynyacvmktfx50
Two views of the tool with different parameters used:
Happy foresting!
I can tell by your description you know more about programming than me and aren't having to fight to learn the basic commands for every new function you want to add. Hehe.
Looking forward to watching this progress. good stuff.
Royal: I'm very sorry for your loss, your mother was a terribly attractive woman.
My Cartographer's Guild maps: Finished Maps
More maps viewable at my DeviantArt page: Ramah-Palmer DeviantArt
I think one of the things that would make this incredibly useful is the ability to mask out areas where forest will not generate, or areas that you want it to generate. Random can be very useful at times, especially if you don't have specific plans, but often times someone might have precise areas marked out as "forest goes here".
that's one of the biggest selling points of the other forest generator we have going on.
My finished maps
"...sometimes the most efficient way to make something look drawn by hand is to simply draw it by hand..."
*memories of gory videos watched in middle school ensue.*Hi happy tree friends,
based on the screenshots, Id say it looks very simple, which is a good thing
looks like a good start - as coyote says - a way to "shape" your forest would be nice - especially if you could use a jpg, png, svg for the mask. And to set the size resolution would be nice too... oh and be able to add your own trees ... great work though - and thanks for sharing
regs tilt
:: My art on Deviant Art :: My work Catapult ::
:: Finished Maps :: WIP Breakwater - Gungnerhafn -Battle City :: Competion maps - A Ghastly Rest ::
:: FREE Tiles - Compasses :: Other Taking a commision - Copyright & Creative Commons ::
Works under CC licence unless mentioned otherwise
Seems pretty simple and has a nice output. Would like to be able to create my own tree shapes for it if possible.
I ran a sample test on this, the result is here.
Last edited by Jaxilon; 09-09-2010 at 03:28 AM.
When its over and you look in the mirror, did you do the best that you were capable of? If so, the score does not matter. But if you find that you did your best you were capable of, you will find it to your liking. -John Wooden
* Rivengard * My Finished Maps * My Challenge Maps * My deviantArt
Hi happy tree friends,
thanks for your comments. Sorry, I hadn't enough time to implement the features you asked for. However, a simple update is done - you can now load your own map (b/w png) in order to shape the forest. Unfortunately, Flash has an upper limit of approx 2800 px in one dimension and it becomes very slow with large bitmaps. Therefore, one map at one time shouldn't be larger than 2000 x 2000 px.
To get the shape you want to: create a png no larger than 2000 x 2000 px with a white background (no trees) and black areas (trees). More adventureous people can just leave the to-be-forested area transparent and paint everything that must not have trees on it white. At present, there is no preview for the whole map if it is larger than the apps' viewing window. Also, at present you can't drag the forest to get a better view. So you need to trust the tool
Please be patient when saving - you will get a large png that does take some time to compute. The ui has changed a little bit: now at start you won't get a default forest. Instead, you can choose between generating a totally random forest or loading a map. In the first case, everything works as in the previous version with the exception that there is no map locking button anymore. In the second case, the map is active as long as you don't generate or load a new one. This is true even when you change the density param (didn't look at it more closely but I think changing the threshold does only affect a forest based on a random map, not a loaded one).
How to use:
Random Map:
1. Click at the button "Random" at the lower left of the panel. More on that in my first post
Custom map:
1. Click at the button "Load" besides the above mentioned "Random" button. A dialog will pop up where you can choose a png to load.
2. After a short time, a forest based on the black (or transparent) area of the map will be generated. It does consist of just one single tree type (the default one: second from left in the panel).
3. You can do the same with this forest as with a randomly generated one (again, look at the first post).
4. Play around with the different tree types: every time you change the settings, a new forest with the same tree positions but with other types is calculated. Changing types: click on a tree pict in the panel. If that tree was not active (marked with red halo), it will now be activated. To deselect it, shift-click on it (if it is the only active tree, you can't deselect it at all). To select multiple trees, just shift-click on them. If there are several types active and you click on one tree (active or not), it will be activated and all other trees will be deactivated. Whatever that does mean - just try it out.
5. The shadow options are self-explanatory (in a ui, this is almost never true but it saves me time describing the tool)
6. The density button changes the distance between single trees. That way you can get a very dense forest (which will result in a very fat png).
7. Click on the logo in the upper right to save the forest as a transparent png - please be patient, Flash is a little bit slow here (no, in fact I didn't optimize even one single line of code, sorry)
The slightly changed interface:
A map example (was: 1500 x 1500):
The resulting forest with different tree types (in the png, the bgd is transparent; this jpg is just to give an idea of the result):
download: http://www.mediafire.com/?u6z0jlz2b5i8j3j
Happy foresting
Excellent tool easy to use and great output.
another minor update.
Changes and bugs:
- ability to set the dimensions of a random map (min 200, max 2000 - the higher the number the terribly slower the app). If you don't set a number when generating a map, the default value of 200 x 200 is used (resulting in a small forest that does shamefully hide behind the panel). If you change the dimensions of the map in the text fields, the map isn't updated automatically. You need to generate a new one by clicking on the "Generate" button. The dimensions of a loaded map can't be set this way. In that case the text fields just show the actual width and height of the map.
- ability to load own tree brushes. Simply put a tile sheet (png with transparency) into the folder where you run the tool. The file name needs to be tree.png. Its dimensions should be 40px wide and up to 480px high. One tree must be 40 x 40px. If your sheet is 480 px high, you should have 12 trees. In fact, the tool doesn't care if the sheet is much higher. All trees will be displayed, even if you use 20 or so. But at present, the panel isn't resized. Therefore, in that case some tiles will be positioned to the right outside of the panel.
- large forests are even slower calculated then ever before. This is a feature, not a bug. Its kind of a protest against an ever faster running world that doesn't give us time to rest and think (sounds much better than the bug thingy).
- if the forest is very large, the density button nicely reflects that faster going world by adding / subtracting more than one number per click
Included in the download are two pngs: trees.png (default trees) and trees2.png. If you want to test custom brushes just save tree.png at a dry, not to dark place and change the name of trees2.png to trees.png. Then run the tool. You will get 7 instead of the usual 12 trees. Go ahead as usual. If you use the swf, you will need Flash Player 10
Download: http://www.mediafire.com/?fa9ha44jqob524h
Happy foresting
Wow, excellent!
Easy to work around size limitations if your map is larger than 2000x2000 and/or you have multiple forests - you can make a separate mask for each section of forest, and run them through the generator separately. Import them into the main file, and place accordingly
My finished maps
"...sometimes the most efficient way to make something look drawn by hand is to simply draw it by hand..."


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Frozen Face-Off
on ESB
Not to be confused with the SpongeBob SquarePants DVD, SpongeBob's Frozen Face-Off.
|Episode Information
|Season №:
|Episode №:
|July 15, 2011 (USA)
July 24, 2011 (Canada)
|Casey Alexander
Zeus Cervas
Derek Iversen
Dani Michaeli
Richard Pursel
|Supervising Producer:
|Paul Tibbitt
|Casey Alexander
Zeus Cervas
|Andrew Overtoom
Tom Yasumi
|Vincent Waller
|See all credits for this episode.
|"Sentimental Sponge"
|"Squidward's School for Grown-Ups"
|List of episodes
Simplified list of episodes
"Frozen Face-Off" is a SpongeBob SquarePants episode from season eight. In this episode, everyone in Bikini Bottom is participating in a worm-sled race to win one million dollars.
- Characters
- SpongeBob SquarePants
- Sandy Cheeks
- Patrick Star
- Eugene H. Krabs
- Squidward Tentacles
- Gary the Snail
- Karen Plankton
- Sheldon J. Plankton (antagonist)
- Larry the Lobster (cameo)
- The Abominable Snow Mollusk (debut)
- Perch Perkins
- Bikini Bottomites
SynopsisJohnny Erain and Perch Perkins announces on the news that a sled race is occurring in Bikini Bottom with the prize being one million dollars and that all of Bikini Bottom has entered. Patrick says that he hopes he wins but only has gummy worms that lead his sled. Mr. Krabs, Plankton, Squidward, SpongeBob, and, Sandy also prepare for the race. However, Plankton sneaks off just before the race begins to the Krusty Krab and uses a robot as his replacement in the race. Patrick soon catches up to SpongeBob and he agrees to let Patrick come along, much to Gary's dismay. Meanwhile at the Krusty Krab, Plankton has trouble opening the safe of the Secret Formula. Back in the race, Sandy's sled crashes and Squidward's worm stops racing, Squidward gets angry and goes on foot, only to fall through the ice and freeze, he is soon discovered by SpongeBob and Patrick, who take him along with them. Shortly after, they find Sandy in a pile of snow, they bring her along too. Mr. Krabs' worms become hungry, and they get mad and chase Mr. Krabs, SpongeBob lets Mr. Krabs come along as well. The worms chase SpongeBob and the gang, and Gary has trouble pulling all of them. They are cornered at a dead end and Gary roars like a lion to scares the worms away. The gang decides to stop there and make a fire, Squidward thaws, just before encountering The Abominable Snow Mollusk who tries to attack the group, Squidward runs away and jumps into a cold body of water which freezes him again. The group (minus Squidward) continue the race and realize that they forgot Squidward soon after. They go after him and save him from the Snow Mollusk with the help of Patrick's last gummy worm. They continue on and Sandy realizes that Mr. Krabs has betrayed the group and gone off on his own so he could win the prize himself, but got stung by a jellyfish that went into his mouth in the process.
Patrick then points out that he "saw something shiny" and SpongeBob notices that it is Karen. They also discover robot Plankton who is buried in the snow, and Karen explains that the whole race was a plot for him to steal from the Krusty Krab. SpongeBob and the group turn around to go back to Bikini Bottom. Gary is unable to go any further. Back at the Krusty Krab, the real Plankton fails to break open the Secret Formula safe yet again. Frustrated, Plankton proceeds to rip an "atom" in half which causes a nuclear explosion, destroying the Krusty Krab and opening the safe. Meanwhile, SpongeBob pulls the sled until all of them freeze but Sandy. Sandy saves their lives by starting a fire with parts from the sled. Sandy figures out how to use the members of the group as a substitute sled. They return to Bikini Bottom to see that the Krusty Krab has been destroyed and Plankton has stolen the formula. However, he cannot get the bottle open, The group finds Plankton trying to open it. An angered Karen zaps Plankton. Plankton pretends to surrender and uses a pen to fly away. The group chases Plankton into a net trap that Plankton trapped them in. However, the Snow Mollusk returns and eats Patrick's Jelly Beans, then hugs the little pink sea star. Plankton escapes, but the Snow Mollusk mistakes him for a jelly bean and eats him, returning the formula to Mr. Krabs. The episode ends as Plankton waits to be digested.
|( ‣ ) Associated production music
|( • ) Original music
|( ◦ ) SpongeBob music
• ? - Sage Guyton, Jeremy Wakefield [title card]
• Bikini Bottom News Theme - Nicolas Carr [breaking news]
‣ Jubilee Sports - Dennis Berry, Stuart Crombie [contestants lined up]
• Steel Sting - Jeremy Wakefield ["Best of luck to you."]
‣ ? [Plankton sneaking away]
‣ Mr. Swashbuckle - James McConnel [race begins]
• ? - Nicolas Carr ["Meanwhile, back in the lowlands..."]
‣ ? [Plankton at the Krusty Krab]
‣ Chasing Dragons - Assaf Rinde [race continues]
• ? - Pat Irwin [Plankton sneaks into Krabs' office]
‣ Mad Street - James McConnel [Sandy's remote shorts out/Squidward is frozen]
• ? - Pat Irwin ["Wow, look at that!"]
• ? - Jeremy Wakefield ["He doesn't look so hot."]
‣ ? [Patrick throws Squidward into the sleigh]
• Vibe Sting - Nicolas Carr ["Patrick, did you hear that?"]
• ? - Jeremy Wakefield [Sandy emerges from the snow]
• ? - Michael Bolger, Nicolas Carr ["Sniff out the money, little guys."]
‣ From the Dead - Ronald Hanmer [worms growl at Krabs]
‣ ? [worms chasing Krabs]
• ? - Jeremy Wakefield [Gary roars at the worms]
‣ ? [everyone cheers]
‣ Murder Scene 2 - Harry Bluestone, Emil Cadkin [avalanche]
‣ ? [everyone gathered around a fire]
‣ Fruity Flute - Harry Bluestone [Gary retreats into his shell]
‣ ? [SpongeBob gets an idea]
‣ ? ["Hey, how about a campfire song?"]
• ? - Nicolas Carr ["This isn't mine."]
‣ Monster Bug A - Gregor F. Narholz [abominable snow mollusk appears]
‣ The Creature A - Gregor F. Narholz [snow mollusk shoots snowballs]
• ? - Jeremy Wakefield [Squidward frozen again]
‣ The Creature C - Gregor F. Narholz ["She's reloading."]
‣ Gargantuan - Harry Lubin [Krabs explains]
‣ A Pirate's Life for Me (a) - Ron Goodwin [flashback to Krabs as a sea captain]
‣ Gargantuan - Harry Lubin [snow mollusk appears]
‣ Dramatic Encounter - Gregor F. Narholz [snow mollusk eats Krabs and crew]
‣ Cloak and Dagger [#70] - Phillip Green ["Weren't bravery that got us out."]
• Vibe Sting - Nicolas Carr ["Hmm? Oh!"]
• Steel Sting - Jeremy Wakefield ["Ew!"]
‣ The Creature A - Gregor F. Narholz [they escape from the snow mollusk]
‣ Tragic Bridge 4 - Phillip Green [Squidward's missing]
‣ Touch the Skies - Barrie Hingley [they go back for Squidward]
‣ Attack of the Giant Robots - Cris Velasco [SpongeBob saves Squidward]
‣ Touch the Skies - Barrie Hingley [snow mollusk roars]
‣ ? [snow mollusk eats gummy worm]
‣ The Silver Blade - Ilona Sekacz ["That was a close one, wasn't it, Mr. Krabs?"]
‣ The Drunken Sailor - ? [Krabs tries to sneak away]
‣ ? ["Full speed ahead!"]
• ? - Jeremy Wakefield ["What's the big emergency, Patrick?"]
‣ ? [Karen frozen]
‣ Murder Scene 1 - Harry Bluestone, Emil Cadkin ["I'd say she's in swift need of a reboot."]
‣ ? [Sandy karate kicks Karen]
‣ Zoom D - Dick de Benedictis ["You can't stand a chance, Krabs."]
‣ Evil Mind 4 - Dick de Benedictis ["You can't stand a chance, Krabs."]
‣ Horror Strike - Harry Bluestone [broken robot]
‣ Imminent Action - Harry Bluestone, Emil Cadkin [Karen says the race was devised by Plankton]
‣ The Silver Blade - Ilona Sekacz [they head southwest]
‣ ? [Plankton uses a flamethrower to open the safe]
• ? - Pat Irwin ["So the safe is impervious to flame, eh?"]
‣ ? ["I meant destructive!"]
‣ Accusation - Gerhard Trede [Gary struggling up a mountain]
• Vibe Sting - Nicolas Carr [Gary stops]
‣ Sword Fight - Harry Bluestone, Emil Cadkin [sleigh goes downhill]
‣ Shark Attack A - John Charles Fiddy [snow mollusk reappears]
• ? - Pat Irwin [Plankton uses dynamite to open the safe]
‣ Agitation Bridge 3 - Phillip Green ["All right, fellas, I know it's cold."]
‣ Tragic Bridge 2 - Phillip Green ["You said it, SpongeBob."]
• ? - Jeremy Wakefield [jelly beans]
‣ Tragic Situation - Phillip Green [Gary shivering]
‣ High Hazard - Philippe Pares ["We must be headed in the right direction."]
‣ Attack - Tony Hymas [Plankton flying a rocket]
• ? - Jeremy Wakefield ["Perhaps I misjudged the scale on that one."]
‣ Dramatic Bridge 4 - Phillip Green ["I will spill your contents even if I have to tear you apart!"]
• ? - Jeremy Wakefield [Krusty Krab destroyed]
‣ ? ["Come to papa!"]
‣ Accusation - Gerhard Trede [SpongeBob pulling the sleigh]
‣ Tragic Situation - Phillip Green [Krabs frozen]
‣ Animal Antics - Phillip Green [Sandy burning wood from the sleigh]
• ? - Nicolas Carr, Barry Anthony [Squidward playing clarinet]
‣ Thrill Ride - Gregor F. Narholz [one frozen wasteland later]
• ? - Jeremy Wakefield ["Perhaps over there."]
‣ Dramatic Cue (e) - Ronald Hanmer [Chum Bucket serving Krabby Patties]
‣ ? ["Whoa, whoa, whoa! You can't cut in line!"]
‣ ? [Plankton struggling to open the bottle]
‣ Dramatic Impact 6 - Ivor Slaney [Patrick opens the bottle]
‣ ? [Karen zaps Plankton]
• ? - Sage Guyton, Jeremy Wakefield [everyone chases Plankton]
‣ Long Distance Mission - Phillip Green [Plankton traps everyone in a giant fryer]
‣ The Creature A - Gregor F. Narholz [snow mollusk returns]
• ? - Sage Guyton, Jeremy Wakefield [snow mollusk eats Patrick's jelly beans]
This episode is on the SpongeBob's Frozen Face-Off DVD.
- The production name for this episode was "The Great Sleigh Race," as seen on some of the original character storyboards on Facebook. To take a look, click here. It may have been possible that they changed the name because it was to similar to "The Great Snail Race."
- When this episode was first advertized, the original plot was that Bikini Bottom became the coldest place on Earth, and SpongeBob and the gang would race for survival. This may have been the original plot when it was first writen, but got changed because it felt like the series finale of SpongeBob since they had to find a new home.
- Squidward's outfit resembles those worn in Russia during winter.
- Some people mistake that this episodes title for being the name of Face Freeze!.
- This episode was promoted as SpongeBob's Frozen Face-Off.
- The Realistic Fish Head said that everyone in Bikini Bottom entered, however Fred Rechid didn't and there were people waiting at the Chum Bucket for a Krabby Patty. Maybe it's because they finished the race and realized there were no winnings. It could also be because that he could've been talking figuratively.
- SpongeBob mentions the Campfire Song Song and Squidward reacts annoyed again. This breaks the fourth wall as SpongeBob references a previous episode.
- Third time to show the live-action atom bomb test. The first was Dying for Pie and the second was The Krusty Plate.
- The title card (and the entire episode) was winter-themed, although this episode premiered in mid-summer in the Northern Hemisphere.
- When the campfire was first made, the main characters' winter clothes came back to normal clothes for the rest of the episode.
- This is the second appearance of claymation in the series, The first being the intro to Truth or Square and the third being throughout the entire episode of It's a SpongeBob Christmas!.
- In Indonesia, One Frozen Wasteland Later was translated to Satu Menit Kemudian (One Minute Later).
- Running Gag: Squidward always runs into frozen water, becoming an icicle.
Cultural References
- One of the fish in line for the Chum Bucket yell at Mr. Krabs, Sandy, Karen, SpongeBob, Gary, Squidward and Patrick when they ambush Plankton: "We've been waiting for Krabby Patties for three stinking days!" - this is a reference to the Orcs in "The Lord of the Rings: The Two Towers."
- It says "everyone in Bikini Bottom" is entering, but when Squidward talks to the media, Fred is napping although he lives in Bikini Bottom.
- When Patrick opens the Krabby Patty formula, everyone but Plankton and Patrick, including Karen, yell "Patrick!", though Karen was on Plankton's side and was hoping for him to steal the formula.
- When Plankton preformed a atomic bomb the safe broke though it didn't destroy Plankton.


text:
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Once it is known what type of carbon to use, it is then a case of determining the format, although this may already be determined by the application, e.g. solder-fume removal. Products then break down into filter types, applications, and housings available.
View the wide selection of Active Carbon products.
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An ongoing research and development programme enables GVS Filter Technology to continue to expand its product range and the level of service provided to customers.
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GVS offer CTC, Residual Capacity and DOP testing on filters to determine perfrormance and filter life.
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GVS now have new in house labs to fully support clients with new devepment projects.
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Oury Mountain Grips
The ultimate standard in grip comfort and beauty. The Oury Mountain Grips anti-vibration, large pad design eliminates numbness and slipping for any size hand. The extremely soft rubber will give you excellent control and maximum comfort. Oury's handsomely detailed design and rich colors add beauty to any bike. Try a pair of Oury Mountain Grips.
Love these grips. Even though they're not lockons, they still stick pretty well, especially with a little hair spray. Great grips.
Have used Oury's since I started MTB riding. Feel great, great control, look old school is what I really like. Never had a problem with them.
I've had Oury Grips on my bikes for a while now. I love to comfortable grip and the tacky feel. Only time I've lost grip, it was my fault for forgetting my riding gloves. Would (and probably will) buy again.
I love these grips. They are soft, yet give you great control. Also colors make things more fun.
These are fantastic. They are just large enough to feel great int eh hand and they come in a ton of colors.
Great grip, great price. Spray hair spray on bars lightly to put on - dries and sticks them to the bars - use (depending on bar inside bar diameter) 12 gauge or 20 gauge shot gun shells (spent!) to plug holes.
Have these on my Quad and thought I'd give them a try on my Kona. GREAT GRIPS!! Thicker then most, fit my hands better. Great vibration dampening. IMO BEST GRIPS EVER!! Now time to upgrade to lockons.
put a quarter in the end of the grip to keep the bar from cutting into the rubber and they will last you years, mine are 2 years no problem on my main bike. nice thick grips
What can I say, these are the softest grips you are going to find. Glue ons baby! I did not use these for 20 years, and my friend turned me back on to OURY, and I love them. These glue ons are way softer than the lock ons, so go with whichever style you like. If you don't need glue, great. If you do, read instructions on back. These call for 3M weather strip adhesive as the proper adhesive.
For cheap grips, I think they can't be beat. I've had 3 sets now on multiple bikes, and love the way they feel.
All around the best grips on the market in all weather conditions. Cheap and eay to install. They don't twist and you don't need to spray junk on the bars to keep them still. They last for multiple season. I've been using them for the last 15 years and just replacement when the grip knobs finally start to disappear or I want a fresh look to my bike for less than $10. The only negative with them is if the ends tear from the handlebar opening if you don't use plugs. Once they tear water can get inside and cause them to start turning when riding in the rain. All around trusty and grippy.
These are nice, basic grips that absord a lot of the rattles from the trail. They look good to. The only problem is that they tend to spin on me, I can never get they to stay in one place on the bars.
These are ultra comfy and hold up really well to scrapes.
These are the best basic grips hands down. Tacky squishy bliss.
Huge Oury fan here. The last better than any other grip I have tried. They have more cushion then most other grips, but don't make your control seem sloppy. Good with or without gloves. They don't seem to break down and leave residue on your hands if your just going for a few minute ride around the neighborhood with kids either.
Running carbon handlebars I didn't want to use lock-on grips so I took a chance with these and I was instantly attached. (did you see what I did there? Attached? Get it?) I have an average size hand and I thought they were going to be difficult to hang on to because of the size - I was wrong. They are very comfortable and very easy to grip in any weather and any terrain. I always ride with full finger gloves (even in summer). I like the choice of colors and a price under $15 is hard to beat! OURY - You have a customer for life!
Tacky, big, simple and well worth it for the money. Gloves or not, rain or shine they work great.
Love these grips, they are nice and tacky especially when wearing gloves. Great price too! Thick grips for big hands!
Been riding these grips for over 10 years now, on every bike I own. They last forever and provide great cushioning without seeming bulky. Install them and forget about them!


text:
- You may be looking for the product with the same name.
- "Looking for something special? I got what you need! Thanks for the money, sucker!"
- — The drug dealer.
Love Juice is the first mission in Grand Theft Auto: Vice City given to protagonist Tommy Vercetti by rock band Love Fist from their recording studio in Downtown, Vice City.
Tommy meets up with Kent Paul and is introduced to the Love Fist band. The band wants a specific drug called Love Juice and wants Tommy to get it for them. Tommy heads to a location to meet with the drug dealer. The drug dealer has what Tommy needs but takes off with the money and attempts to escape on his PCJ 600. Tommy chases and kills the drug dealer and manages to retrieve the drug. Seconds later, Kent Paul calls and informs Tommy that Love Fist wants some company. Tommy heads to Mercedes' apartment to pick her up for the band. Tommy and Mercedes manage to reach the recording studio before the band is needed on stage.
Mission objectives
In order to complete the mission the player must:
- Go and collect the 'Love Juice' ingredients from the dealer
- Sound the horn
- Kill the dealer and get the drugs
- Go and collect Mercedes from her apartment
- Get the 'Love Juice' and Mercedes to the band before they are needed on stage
Post mission phone call
Kent Paul: How you doin' mate? It's Paulo again. Look Tommy, I forgot to mention we're going to need some extra muscle for the concert. A bit of security. There's a biker gang led by Mitch Baker, it would be great publicity. Very rock and roll, baby. Sort this out for me and I'll get you some back stage passes for the gig, alright?
Sometimes, when you enter the marker where you get the drugs, you sound the horn, the dealer says 'Looking for something special? I got what you need!' and the game freezes after that. Do the ALT+F4 there, nothing happens. If you get this glitch, to close the game you have to restart your computer.
Video Walkthroughs
|PC Version
|iPad 2 Version


text:
Topic: Reconnect With Those You Love!
Air Date: September 10, 2013 at 7:30 p.m. on WPTA-TV 21 Alive
Over time, hearing loss creates a barrier between the person with the hearing loss and those they love. Are you withdrawn? Feeling left out of conversations and family gatherings? Or does this describe someone you know? Join Summit Hearing Solutions' Ted Blanford and Joy Conley-Fulk as they talk about ways to help families separated by a loved one's hearing loss. Learn more about what a hearing evaluation can do for you and your entire family and answers to other hearing questions on this Docs on Call show.
What are your thoughts CLICK HERE to leave us a "QUESTION OF THE DAY" comment.
TextCaster alerts from 21Alive.com are your defining source for instant information delivered right to your cell phone and email. It's free, easy and instant. Sign-Up Now!
Powered by Summit City Chevrolet
© Copyright 2015, A Granite Broadcasting Station. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text:
31 U.S. Code § 3126 - Losses and relief from liability related to redeeming savings bonds and notes
prev | next
(a) Under regulations prescribed by the Secretary of the Treasury, a loss resulting from a payment related to redeeming a savings bond or savings note shall be replaced out of the fund established by section 17303 (a) of title 40. A Federal reserve bank, a paying agent allowed to make payments in redeeming a bond or note, or an officer or employee of the Department of the Treasury is relieved from liability to the United States Government for the loss when the Secretary decides that the loss did not result from the fault or negligence of the bank, paying agent, officer, or employee. The Secretary shall relieve the bank, agent, officer, or employee from liability when the Secretary decides that written notice of liability or potential liability has not been given to the bank, agent, officer, or employee by the Government within 10 years from the date of the erroneous payment. However, the Secretary may not relieve a paying agent of an assumed unconditional liability to the Government.
Source(Pub. L. 97–258, Sept. 13, 1982, 96 Stat. 946; Pub. L. 107–217, § 3(h)(4),Aug. 21, 2002, 116 Stat. 1299.)
|Revised Section
|Source (U.S. Code)
|Source (Statutes at Large)
|31:757c(i)(1st–4th sentences).
|Sept. 24, 1917, ch. 56, 40 Stat. 288, § 22(i)(1st–6th sentences); added Apr. 11, 1943, ch. 52, § 3, 57 Stat. 63; restated Apr. 3, 1945, ch. 51, § 3, 59 Stat. 47; Sept. 22, 1959, Pub. L. 86–346, § 103, 31 Stat. 622; Oct. 17, 1968, Pub. L. 90–595, § 2, 82 Stat. 1155.
|31:757c(i)(5th, 6th sentences).
In subsection (a), the words "qualified" and "authorized or" are omitted as surplus. The words "officer or employee of the Department of the Treasury" are substituted for "Treasury of the United States" and "Treasurer" because of the source provisions restated in section 321 of the revised title and for consistency with other titles of the United States Code. The text of 31:757c(i)(3d sentence) is omitted as surplus because of 39:410. The words "under regulations prescribed by him" are omitted as unnecessary.
2002—Subsec. (a). Pub. L. 107–217, § 3(h)(4)(A), substituted "section 17303 (a) of title 40" for "section 2 of the Government Losses in Shipment Act (40 U.S.C. 722)".
Subsec. (b). Pub. L. 107–217, § 3(h)(4)(B), substituted "Section 17304 (c) of title 40" for "Section 3 of the Government Losses in Shipment Act (40 U.S.C. 723) (related to finality of decisions of the Secretary)".
LII has no control over and does not endorse any external Internet site that contains links to or references LII.


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Free forum : A discussion forum where folks across the United States can exchange ideas and learn.
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text:
...it's an HD DVD player.
Toshiba HD-XA2. Just received it a few minutes ago. I also have "300" on HD DVD coming (hopefully tomorrow because I really want to see it on HD DVD) and it was a freebie for getting the player (along with another title which I chose Backdraft).
I'll post a few pics as I figure everything out.


text:
Toronto, ON (Sports Network) - A pair of Eastern Conference cellar dwellers clash on Saturday as Toronto FC welcomes D.C. United to BMO Field.
Toronto FC has struggled mightily this season having won just four games to sit in ninth place in the East with 23 points. The club is coming off a 2-1 defeat against Sporting Kansas City last week.
Toronto FC fell behind just 18 minutes into the contest when C.J. Sapong got loose in the TFC penalty area for a free header past goalkeeper Joe Bendik to give the visitors the lead.
The home side pulled one back in the 38th minute through Darel Russell, but SKC engineered a winning moment in the 53rd minute when Sapong once again got the better of the TFC backline and headed in his second of the game via a cross into the Toronto box from right back Chance Myers.
"It was always going to be a mistake game," Toronto head coach Ryan Nelsen said. "It was a game where whoever makes the most mistakes was probably going to lose the game. Unfortunately we gave away two really soft goals."
D.C. United, meanwhile, is coming off another defeat -- their 20th of the season -- in a 2-1 setback against the New England Revolution last weekend.
United struck first in the 11th minute to claim its first away lead of the campaign with some help from the Revolution defense.
Luis Silva created a yard of space on the right and curled a cross into the penalty area. New England defender Stephen Caldwell lunged to clear, but he poked the ball back past the onrushing Matt Reis to hand United their first road advantage since Oct. 6, 2012.
But the home side responded with the equalizer 10 minutes into the second half as Diego Fagundez made a clever run to latch onto Saer Sene's through ball. The blossoming midfielder made no mistake to bring his side level and notch his 11th goal of the season.
New England then claimed the winner seven minutes from time as Lee Nguyen dispatched a penalty kick to hand the home side a crucial three points.
"What do you want me to say? We had stretches (in the first half.) We had chances. We were going up against too much today. Take that for what its worth," said a frustrated D.C. United coach Ben Olsen.
"I thought, in the first half, we had a little bit of momentum, created some opportunities, but in the second half they threw a lot of numbers at us," United midfielder Chris Pontius added. "When we did win the ball, we weren't clean enough with it, coming out of it. Then you get heavy legs and make it even harder on yourself. So we just weren't able to do the simple things in the game to really pressure for ourselves."


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The Sword of Kahless (episode)
this wiki
(written from a Production point of view)
|"The Sword of Kahless"
|DS9, Episode 4x09
Production number: 40510-481
First aired: 20 November 1995
|79th of 173 produced in DS9
|79th of 173 released in DS9
|390th of 728 released in all
| Teleplay By
Hans Beimler
Story By
Richard Danus
Directed By
LeVar Burton
|Unknown (2372)
|Arc: Worf vs. Duras (6 of 6)
Klingon Dahar Master Kor, Jadzia Dax, and Worf search for the fabled Sword of Kahless on a remote planet in the Gamma Quadrant.
Dahar master Kor is seated in Quark's, regaling a crowd with the story of the glorious battle between Kor, Kang, and Koloth, and the forces of T'nag. Almost the entire bar is gathered around the old Klingon, except Worf, who huddles uncomfortably at the bar. When Kor finishes, Jadzia Dax notices Worf and invites him to meet her old friend. Worf declines, reminding her that he is considered an outcast by most Klingons, but she insists. Introduced by Jadzia anyway, Kor calls Worf a traitor and a pariah, followed by a long uncomfortable pause – after which he smiles, extends his hand, assures a visibly upset Worf that anyone so disliked at the highest levels of the Klingon Empire is a friend of his.
Worf prepares to accompany Jadzia Dax and Kor, a legendary Klingon warrior, on a mission to recover the Sword of Kahless, the mythical, millennia-old weapon of the Klingon Empire's first leader – an artifact missing for centuries. A Vulcan geological survey team discovered evidence of the sword's presence without realizing its significance and gifted the Shroud of the Sword to Kor when he was ambassador to Vulcan. When the drunken Kor finally retires to his quarters after first speaking with Worf, he is attacked by a Lethean, who reads his mind, then erases the incident from Kor's mind.
The next day, Dax finds Kor passed out following the attack and assumes he is merely hung over. She explains that she has verified the authenticity of the Shroud, particularly since it shows evidence of Hur'q DNA. Captain Sisko – hoping to restore Federation/Klingon relations – allows them the use of a runabout for travel to the Gamma Quadrant world where the sword is believed to be located. Upon arrival in a subterranean vault, the three get into a deserted, protected chamber, but find that all the artifacts hidden there have been removed. But Worf, unwilling to give up, discovers another hidden chamber, where they finally find the Sword of Kahless.
When they exit the chamber, they are confronted by several Klingons led by Toral, son of Duras, who hired the Lethean to attack Kor and learn about their plans to recover the Sword. Though outnumbered, Kor, Worf, and Dax brawl their way past Toral's group and escape into the caves. Toral's ship was jamming their communications with the runabout, though, so Dax advises that they try to exit the caves so they can break through the jamming when they reach the surface.
As they trek through the caves, Kor grows increasingly bombastic about plans for the Sword and the Empire when they return. He expresses that it would require a true warrior to unite the Klingon people, not someone like Gowron or even the reborn Emperor Kahless. Later, Worf decides that it is his destiny, not Kor's, to possess the Sword and lead his people. The long journey takes the three of them to an abyss, where Kor slips and loses his footing, but still holds the Sword. Worf saves Kor by grabbing the other end. Straining, he tries to convince Kor to let go and land on a dangerously small ledge, but Kor refuses. Dax helps pull up Kor and holds on to the sword herself as the other two squabble over it. She holds it even as she sleeps.
Dax is awakened by the sound of Worf and Kor, ready to fight to the death. They are interrupted when Toral's party catches up to the trio and begins another battle, which Toral looses again. Then, Worf and Kor turn on each other, and Worf is on the verge of killing Kor when Dax stuns each of them with her phaser. She forces Toral to deactivate the jamming signal, then transports the three of them back to the runabout. Later, on board, Worf and Kor realize that the Sword turned the two of them against each other, and will probably divide the Klingon people as well. They make the decision to beam the sword into space, leaving it to destiny to decide when it should be revealed to the Klingon people.
Memorable Quotes
"You know what I like about Klingon stories, Commander? Nothing. Lots of people die, and nobody makes any profit."
- - Quark, to Worf
"Which of us had slain him? No one could say for certain, so we cut out his heart and all three of us feasted on it together!"
"Big heart."
"Kor! I have someone I'd like you to meet."
"I'd like you to meet our strategic operations officer, Commander Worf."
"Ah, Worf the traitor, the pariah, the lowest of the low. (big pause then a grin) It's a pleasure to meet you. Any enemy of Gowron and the High Council is a friend of mine."
"This is a great honor."
"No doubt."
"Worf is a great admirer of yours."
"Yes. Please. (they sit) I have heard stories about you since I was a child. Your confrontation with Kirk on Organia, your attack on Romulus, your defense of the Korama Pass..."
"Everything I have done pales in comparison to what I am about to achieve. I am on a quest. A quest for the most revered icon in Klingon history..."
- - Jadzia Dax, Kor and Worf
"Damn that Ferengi and his replicated bloodwine!"
- - Kor
"A true warrior has no need to exaggerate his feats."
"You'd better hope that I exaggerate, or else when they start singing songs about this quest and come to your verse, it will be "and Worf came along.""
- - Worf and Kor
"The sword will unite us if it's held in the hands of a true Klingon, not a politician like Gowron, or some toothless figurehead like the Emperor. The sword must rest in the hands of someone who has been hardened by battle, pure of heart, who understands loyalty and honor. A warrior like Kang and Koloth."
"Someone like you?"
"The Empire could do far worse."
- - Kor and Worf
"Did you see the look on the face of that Klingon that I killed? It was as if he understood the honor bestowed upon him. The first man in a thousand years to be killed by the Sword of Kahless."
"I'm sure he was very proud."
- - Kor and Dax
Background Information
Story and script
- This episode was written in an effort to more fully integrate the character of Worf into the Deep Space Nine world. All of the fourth season episodes to that date, with the exception of "The Way of the Warrior", had been green-lit prior to the confirmation of Michael Dorn's arrival, and as such, Worf tended to be confined to the B-stories of these episodes, if he even figured in them at all. "The Sword of Kahless" was the first show put together after Worf joined the cast, and as such, the producers felt it should focus on him. (Star Trek: Deep Space Nine Companion)
- In Hans Beimler's original draft of the teleplay, the scenes in the caves as Worf, Dax and Kor escape were much more elaborate, and involved a running battle with Toral's forces as well as booby traps exploding, floors falling out and arrows shooting from the walls. These scenes were no doubt inspired by the opening sequence of the 1981 Steven Spielberg film Raiders of the Lost Ark, but early in the pre-production process, Steve Oster made the decision to cut them, not for budgetary reasons, but for time considerations. To set up and execute all of Beimler's gags, Oster estimated, would have added an entire day onto the shooting schedule, and that was something that they simply could not allow to happen at the time. (Star Trek: Deep Space Nine Companion)
- In an early draft of the script Kor referred to the warship IKS K'Tanco, a vessel commanded by Kang. It is possible that this ship is the Template:ShipClass battle cruiser Kang commanded in VOY: "Flashback". For more information of that ship, see Kang's battle cruiser. (Star Trek: Deep Space Nine Companion - A Series Guide and Script Library)
- This episode is probably the closest to the Indiana Jones series that the Star Trek franchise will ever get, with the search for the Sword of Kahless being similar to that of the search for the Holy Grail in Indiana Jones and the Last Crusade. Indeed, of this episode, director LeVar Burton says, "it's the search for the Holy Grail and it's about how the importance placed on the end of the quest, or on the object, affects who we are. The truth is that life is not about the destination, it's about the journey." (Star Trek: Deep Space Nine Companion)
- In the original script, the USS Mekong was to be the runabout used by Dax, Worf and Kor, with the Rio Grande being the runabout used in the final episode, as the Mekong was presumed destroyed in "The Die is Cast". (Star Trek: Deep Space Nine Companion - A Series Guide and Script Library)
- The final design of the Sword of Kahless was done by Dan Curry, based upon an illustration by John Eaves. Originally, Eaves was assigned to design the sword himself, but after making some preliminary drawings, he went to Curry, who was the original designer of the bat'leth, and allowed him to finish the project. (Deep Space Nine Sketchbook: John Eaves, DS9 Season 4 DVD, Special Features)
- This episode was somewhat unpopular with viewers, something which disappointed writer Hans Beimler and producer René Echevarria. What particularly disappointed them was the fact that many viewers were unable to accept the notion that the bat'leth itself had no actual power. According to Echevarria, "A lot of fan reaction was that there must be a tech explanation, that the sword must be emitting something. I was astonished." Beimler explains Echevarria's astonishment when he says, "the sword itself doesn't have any magic. It's the concept of the sword that has the power. We wanted to explore the notion that there were some dark streaks to be revealed within these characters. The minute anyone starts talking about the sword it starts infecting them, so Worf gets caught up from the very beginning." Both men were disappointed that many fans missed this point, instead assuming that the Sword of Kahless had some mysterious power that simply wasn't revealed in the episode. (Star Trek: Deep Space Nine Companion)
- This is the second episode of Star Trek: Deep Space Nine to be directed by LeVar Burton.
- Toral was last seen in the TNG episode, "Redemption II". where he was played by J.D. Cullum.
- The Hur'q are also mentioned in the Star Trek: Enterprise episode "Affliction".
- A certain degree of knowledge of Worf's backstory from the USS Enterprise-D is necessary to fully understand this episode, especially the events portrayed in the episode "Rightful Heir". In that episode, the clerics of Boreth create a clone of Kahless the Unforgettable and try to convince the Klingon people that it is the real Kahless returned from Sto-vo-kor and that he must assume his post as leader of all Klingons. However, after he is defeated in combat by Gowron, the identity of the clone is revealed, and Worf suggests that he be made into a figurative Emperor, with Gowron still in control of the Klingon High Council. The clone accepts and becomes the moral leader of the Klingon people.
- Worf makes a reference to Kor's battle "with Kirk on Organia," a reference to TOS: "Errand of Mercy" where Kor made his first appearance.
- Upon the opening of the wormhole, Kor remarks that their quest for the sword, "will be glorious." He says something similar to Kirk towards the end of "Errand of Mercy" regarding the possibility of facing the USS Enterprise captain in war.
- Cirroc Lofton (Jake Sisko) does not appear in this episode.
Video and DVD releases
- UK VHS release (two-episode tapes, CIC Video): Volume 4.5, 13 May 1996.
- As part of the DS9 Season 4 DVD collection.
- As part of the Star Trek: Fan Collective - Klingon collection.
Links and references
Also starring
- Rene Auberjonois as Odo
- Michael Dorn as Lt. Commander Worf
- Terry Farrell as Lt. Commander Dax
- Cirroc Lofton as Jake Sisko
- Colm Meaney as Chief O'Brien
- Armin Shimerman as Quark
- Alexander Siddig as Doctor Bashir
- Nana Visitor as Major Kira
Guest Stars
- John Colicos as Kor
- Rick Pasqualone as Toral
Uncredited Co-Star
- Chester E. Tripp III (stunt actor)
Alvanian cave sloth; Ambassador; Bajoran wormhole; bakrinium; bat'leth; bloodwine; Cardassia; cave-rat; caves of No'Mat; cleric; Dahar master; Degebian mountain goat; Earth; Emperor's Crown; Federation; Fek'lhri; Ferengi; First Empire; Gamma Quadrant; Gowron; Great Domes of Qo'noS; Hall of Heroes; heart; House of Duras; Hur'q; jamming signal; Kang; Kirk, James T.; Kahless (clone); Kahless the Unforgettable; kilometer; Klingons; Klingon-Cardassian War; Klingon Empire; Klingon High Council; Koloth; Korma Pass; legion; Letheans; Lukara; meter; Milky Way Galaxy; mining; Mogh; Molor; "Old Man"; Organia; Pakleds; poison; Qo'noS; Quark's; Right of Vengeance; Rio Grande, USS; Romulus; Rozhenko, Helena; Rozhenko, Sergey; runabout; Sabak; Sabak's armor; serpent of Xol; Shroud of the Sword; Sword of Kahless; T'nag; Torch of G'boj; Torna IV; tricorder; Vulcan; Vulcan (planet); Yridian brandy
External links
| Previous episode:
"Little Green Men"
| Star Trek: Deep Space Nine
Season 4
| Next episode:
"Our Man Bashir"


text:
May 4, 2016
(NBC) We've all seen kids tune out the rest of the world, totally engrossed in technology.
Now new research suggests parents can be just as drawn to the light of tablets and smartphones as kids are.
Dr. Jenny Radesky and colleagues at Boston Medical Center did a study in which they observed how 55 caregivers interacted with young children while they were eating at fast food restaurants.
Some of the adults were absorbed in their devices, texting, swiping and scrolling their way through the meal, ignoring the kids.
Experts say face-to-face conversations are crucial to kids' development of language and social skills.
"How to take turns in a conversation and build those sorts of social skills, how to build empathy, you need to be take someone else's perspective, watch their facial reactions," said Radesky.
Researchers readily admit that this snapshot of caregiver/kid relationships is not meant to give a clear picture of all parents, but it's a good reminder for even the most well-intentioned moms and dads to turn off their phones and tune in to their kids.
Click Here to access the online Public Inspection File
Viewers with disabilities can get assistance accessing this station's FCC Public Inspection File by contacting the station with the information listed below. Questions or concerns relating to the accessibility of the FCC's online public file system should be directed to the FCC at 888-225-5322, 888-835-5322 (TTY), or email@example.com.


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- Friends of The National Archives
- Volunteering
- Free enewsletter
- Social media
- Have your say
- Outreach
- 'Files on Film' competition
Friends of The National Archives
Friends of The National Archives care about the future of the nation's records. Join us and play a part in safeguarding our documentary heritage.
Donations from Friends help The National Archives with its vital work. Friends also carry out voluntary projects to make the records more accessible to all.
Who we are
Find out more about our charitable organisation and how you can contact us.
What we do
Learn about the many ways in which we support the work of The National Archives.
Why join
Discover the benefits of joining the Friends of the National Archives, both to you and to the organisation.
Raise money online
Help to raise money for the Friends while shopping online, at no extra cost.
News and events
Keep up to date with our latest talks, behind the scenes tours and other special Friends-only events.
The Friends' magazine
Find out more about our magazine, and how you can submit material.


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The Centre for Community
Research Learning and Action (CCRLA) is an interdisciplinary research
centre located within Lauriers Faculty of Science.
Our work is focused on
developing community partnerships and producing research, learning and action
that advances community well-being and social
justice. CCRLA facilitates community-based research (CBR) by brokering
linkages between community partners and Laurier student and faculty
Research projects are
either community- or university-initiated and fall within four key streams:
1) Community, Environment, and Justice; 2) Equity, Sexual Health and HIV; 3)
Indigenous Health and Social Justice; and 4) Poverty Reduction. Each stream
is organized in research groups which operate under the CCRLA umbrella.
CCLRA also organizes a
public lecture series and relevant workshops for community members, students,
and faculty members.
In addition, many
students at all levels have been trained in CBR within the centre.
CCRLAs work in community
scholarship reflects Lauriers dedication to active
corporate citizenship and high quality education. We
host speaker series and workshops aimed at educating the public on our work
and research partnerships. Through these we succeed in addressing research
and evaluation needs of community partners while providing rich community
service learning research opportunities for students as well as institutional
support in community-engaged research for university faculty.
Through the mentoring of
students, faculty and community partners, CCRLA works to sustain
long-term community partnerships for action research, which
ultimately fosters and facilitates knowledge translation and mobilization of
such projects.
For more information,
contact us at email@example.com.


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The popular book, The Best Supplements For Your Health, is now being updated. During the revision process, read it here. Free.
Samples, Demos, Book Signings?
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Visit Don Goldberg's Blog for comments, opinions and Insights on Nutrition, Supplements and Health.
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Age Related Macular Degeneration: Don Goldberg's product recommendations
New Information on Omega-3 Oils and Bleeding Concerns
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Read these informative reprints from Willner Chemists catalogs, "Willner Window" newsletters and other Willner articles.
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