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TFN Interview:
The Last Jedi
Co-Author Maya Kaathryn Bohnhoff
Posted By
Maya Kaathryn Bohnhoff is the author of many books, but she is probably best known to Star Wars fans for her collaborative work with fellow author Michael Reaves on EU novels like
Coruscant Nights III: Patterns of Force
Shadow Games
. Bohnhoff's latest collaboration with Reaves,
The Last Jedi
, was released last Tuesday. I spoke with Bohnhoff (and Reaves, whose interview we'll be posting soon) about the genesis of this book, the quirks of its characters, and the importance of its unique story elements.
Did you always intend to transition from Lorn Pavan's story to a series of books about his son? Or did that come about following the popularity of Lorn Pavan and I-5YQ?
I�m not really sure about that, but I suspect �� because Michael started that series �� I suspect it was a reaction to how popular I-Five was, because between the Lorn Pavan book, Darth Maul: Shadow Hunter, there was also the two Medstar books that he did, which was I-Five and Den Dhur, and there was a completely different cast of characters. I think that it was probably something that came up out of that original story.
Tell me about your collaborative work with Michael. Were there elements of the story or specific characters that each of you focused on, or did you go through it piece-by-piece and decide together?
The second way. We really had a handle on the outline of the book, how we wanted the story arc to work. What normally will happen, and it varies slightly from book to book �
Patterns of Force
, when we did that one, Michael wrote the first three chapters or so, or at least pieces or blocks of the first three chapters, and then I did the draft from that. With this one, we worked together really hard on the outline, and came up with a very long, very detailed outline for the book through several iterations, until we had exactly what we wanted and what Del Rey wanted and what LucasBooks wanted.
Then I sat down and basically wrote the first draft of the book. Usually I�ll write four or five chapters in and then Michael and I will look at it and go, �Okay, this is the tone we want,� and then we work �� as things roll along, you�ll be writing along and go, �Hmm, I need a character that fulfills this role in it that will be �� I need another bad guy, or I need this or that,� and a character pops into your head. That sort of thing, I�ll take to Michael, and go, �Gee, what if we bring this character in?� and he�ll look at it and go, �Well, yes, but it should not be another human, it should be an alien,� or whatever.
We�ll work back and forth like that. As I�m writing the draft, Michael and I are comparing notes and talking about what turns we want it to take, what tone we want to strike, characters are coming in and out, how important a character that we create just for this book [should be] �� for example, the Sacha character. We created her out of whole cloth for the book and we had to decide how important to the story was she going to be? As it turns out, she was pretty important. That�s kind of the way we work.
Do you think that you and Michael have different approaches to collaborative work based on your individual writing styles?
Michael and I really work very much �� we�re very much alike as writers, which may be a good thing or a bad thing, I don�t know. I think it�s kind of cool. We rarely do disagree. We were working on a Del Rey original called
Mr. Twilight
, which was one of the first things that Michael and I did. [With] the components that I put in that he took out, he said, �This is something that I don�t do. I won�t have a chapter written from the point of view of a supernatural character,� that kind of thing. Because I�m the Padawan and he�s the Jedi Master, as it were, I go, �Oh, okay, that�s fine. This is where you want it to go.�
With the
Star Wars
books, we have really had no disagreements or places where we had to duke it out. Mostly when we work together, we both get really excited about it, and we start shooting ideas back and forth, going, �Oooh oooh oooh, let�s do this, let�s do this!� and that�s what gets put down on paper. Our writing styles are similar enough that there are times when I look back on something and I can�t tell whether I�ve written it or Michael�s written it. Except if the word �tenebrous� appears in it, I know it�s him, because he loves that word. There are certain words that he uses that I don�t. but other than that, it�s very smooth, and he tends to take �� he has the same kind of sarcastic attitude about certain characters and types of characters that I do too, so I think we�re very simpatico in that area.
You didn�t co-write the first two books with Michael, did you?
No, [for] the first two books in the Coruscant Nights series, I had the privilege of being a beta reader for Michael he would send the manuscripts to me for some editorial feedback on them, and then I came in on
Patterns of Force
, which was the third book. Then, of course, we did
Shadow Games
together, and then this one. And I�ve worked with him on a couple of other things, too, non-
Star Wars
Was the story of Jax Pavan always intended to have four parts, or was this book added on to address things that you felt you hadn't tackled in the trilogy?
It�s interesting, because the way this book came about �� Michael had been, as we were wrapping up
Patterns of Force
, he shot our editor, Shelly Shapiro, an email and said, �Hey, I have an idea for another Jax Pavan story,� and his original idea was that it would take place some years in the future. He had two paragraphs saying, �What if this kind of thing, this kind of setup happens?� Because what Michael and myself are really interested in is the concept of the Force and how it works and the metaphysics in it. I think he wanted to get at some of that background material.
So he sent the email off, and as we were wrapping up
Shadow Games
, Shelly said, �Hey, you sent me this email a while back about this other book. Would you guys want to write that?� And we said, �Oh, sure, that would be great!� We just threw the idea out there at one point and they came back to us and said, �Hey, why don�t you write this book?� Nice confluence there. I don�t know how serious he was about pursuing it, but Del Rey really liked the idea, so we went with that.
This book was originally promoted as the fourth in the Coruscant Nights series, but it was later changed to be a standalone follow-up to the series. Why the change? What did this mean in terms of the story?
I just talked to Shelly about that today, because I was curious too. When the cover was first released at [San Diego] Comic-Con this past year, she looked at it and said, �Oh my gosh, they didn�t put �the Coruscant Nights series� on there.� And they said, �Oh yeah yeah, we�ll do that, we�ll do that when we get closer.� Well as it turns out, they started discussing it, and said, �Well, do we want readers to think they have to have read the first three books in order to understand what this one is about? Do we get more readers interested in this if we put it out as a fourth [book] in the series?�
Patterns of Force
came out several years ago now, so it�s been a while. They ultimately decided, after going back and forth about it for quite a while, to have it be a standalone novel. On the inside cover, there�s the other three books, and if you want to learn more about Jax Pavan and these characters, read these books. That�s the way they decided to handle it. I was surprised that [the series subtitle] wasn�t there.
It does stand alone. We really did try to set up the situation that Jax was in at the beginning. I think the reader won�t have the emotional attachments to the characters if they haven�t read the other books, and that can be really important to one of the very early plot developments, but it should really work either way. But of course, I would like them to go out and read the other books.
Jax has the somewhat unique experience of having been friends with Anakin Skywalker, and in the book he sometimes reflects on the darkness that he saw growing in Anakin. What was that like to develop? How did you go about analyzing Anakin's fall without going beyond what someone like Jax would know?
There�s a key scene in
Patterns of Force
where Jax is dreaming or meditating and having this kind of flashback to the point where Anakin gives him the pyronium crystal. We filled in a little bit of those blanks with that sequence. What fascinated me about it, and I know Michael too, was this idea that the Darth Vader that Jax Pavan is confronting is not the Darth Vader that Luke Skywalker confronts in A New Hope or in Return of the Jedi. It�s not the same creature; it�s not the same person. What�s really inside that suit at the point that Jax comes into the picture is another young man his own age, maybe a little bit older, who is in psychic pain and beyond angry. He is in both psychic pain and physical pain. When they meet in
The Last Jedi
, they meet as two young men who are both in tremendous amounts of pain.
What fascinated me about that relationship is, what does Jax Pavan represent to Anakin Skywalker? He represents what Anakin Skywalker might have been, had he not turned to the DS of the F. I have just found that that relationship is so fascinating and so at the core of this book. That�s something that we tried to get at in
Patterns of Force
but not as successfully. I got some really steamed feedback from one fan that just said, �You got Vader all wrong! He�s this monolithic, cold, towering ice cube!� I just said, �No, at this point in his life, he�s not that. He�s twenty-six years old and he�s miserable. He�s in a horrible amount of pain and he�s angry at the whole world. It�s not the same thing.� That�s really what I wanted to explore, that relationship and who is Darth Vader? This book is in some ways as much [about] who is Darth Vader as it is about who is Jax Pavan.
Tell me about pyronium. What was the thinking behind bringing this metal into the story?
Michael brought the pyronium in pretty early on. It became this duality. It was something that Anakin Skywalker had given to Jax. It was a link with Vader. At the beginning of the series, [Jax] doesn�t know that Darth Vader is Anakin Skywalker. It�s something that he tumbles to as they go and he�s only certain of it around the end of
Patterns of Force
. There�s that aspect of the pyronium and then there�s what it did. It�s this incredibly powerful thing. It was one of two artifacts �� the other being the Sith holocron �� that he�s got. Michael had a vague notion that, at some point, the pyronium crystal has to pay off, but he wasn�t really sure what it was, what it was going to do. It kept coming along [in the series], and I know when we started [The Last Jedi], I said, �You know, Michael, we really have never done anything with that pyronium crystal. It seems to me that at least on two levels, it�s a link between Jax and Darth Vader, and it�s this incredibly potent thing. We really need to do something with that. What do you want to do with it?� And he said, �Oh, um, I don�t know. What do you want to do with it?�
So we looked at it, and as we did the outline for the story, we started thinking about what kind of role could this pyronium crystal play, aside from being a link b/w these two young men. It needs to be more than just a symbol. It needs to have some kind of real effect. I did a lot of thinking about that �� how it would interact with the Sith holocron? Did it really have anything to do with the Sith holocron? Or did the Sith holocron just have information in it about how to use it? That�s ultimately what we went with. It was something that [Michael] planted early on, and we let its purpose and function evolve. We had to be really careful with it, because it was this thing that you could make too powerful or not powerful enough, or not special enough, and then the reader would feel let down, like, �Oh, is that all it was?�
Jax is constantly unsure of himself and rattled. There's a whole subplot about how �indecision is all loss.� Jax vacillates and pays the price once, and he's constantly on the lookout to avoid making that mistake again. What was it like to get inside the mind of a Jedi who thinks that he's the last one and that he carries the weight of the entire Jedi Order on his shoulders?
It�s really the human experience. No matter who you are or what you�re doing, you have those moments where you feel like, �This whole thing is my responsibility or my fault, or I have to take care of this whole thing.� There�s that aspect: Here�s this human being who has sustained tremendous losses in his lifetime, and he�s set up to be insecure, because he�s lost the Jedi Order, he�s lost his friends, he�s lost the head of Whiplash, and [there�s] all this stuff that�s happened to him. Yet underneath that is this core of an indomitable Jedi spirit. That�s part of Jax Pavan: he�s stubborn as all get-out. That�s something that, when it comes to writing yourself into a character, Michael and I both tend to invest Jax with a lot of stubbornness, because we�re both very stubborn people and have to be that. You have to have that in order to overcome the kinds of things that Jax has to deal with.
The struggle there is that he�s the recipient of this gift of Force sensitivity and it really becomes a tug-of-war. There are times that he may wish that he was just a normal human being that could just go off in the corner and lie down ��but he can�t. He has to keep going. That�s what happens to him throughout the book. He�s caught b/w wanting to take a moment and grieve �� take a moment and meditate, go hide, go do whatever �� and the knowledge that he has to keep picking himself up and going on. Getting inside his head is like looking at any traumatized life: what does it take to pick yourself up the fiftieth or sixtieth time that circumstances knock you down, [if] you suspect that you were at fault in causing them to knock you down?
That�s really what he�s dealing with, that guilt: �Did I cause this? Did I make these things happen so that I now have to go out and save the universe one more time?� To me that�s the core of it. He�s a person who has this indomitable stubbornness. He knows he�s the last Jedi. Even though he�s putting himself in jeopardy, he also knows that because he�s the last one, he just has to keep going no matter what. That�s what the core of his personality is: that war b/w what he�d really like to be able to do and what he knows he has to do.
One of the ways that we see Jax connect to the Force is through the miisai tree that Laranth had given him. What kind of message did you want to send by having Jax reach out to this tree as a living extension of the Force?
It really starts with a moment on Toprawa when [Jax and his party] first get there. He�s looking at the big trees, the huge conifers that grow on Toprawa. He has an epiphany �� that he doesn�t realize is an epiphany �� about the nature of the Force and about how it�s not something that you can get cut off from. he has that experience in Jedi Twilight where he gets cut off from the Force a little bit, and Michael�s mindset there, I think, was that he was cutting himself off but didn�t realize it in part. What the tree is really about is the organic nature of the Force: Even if you cut the trunk off the tree, the Force continues to flow. No matter what happens to the Jedi, the Force continues to flow. It doesn�t matter what happens to the individuals, it doesn�t matter what happens to the whole forest. The Force continues to flow and it permeates everything. It�s an inexhaustible supply of these abilities.
The tree becomes a symbol for that. It becomes a symbol for Laranth as well, because it is the last thing [of hers that Jax has]. I�m waiting for somebody to pick up on what happens to the tree during the course of the book. [Jax is] very careful about feeding it; he�s very careful about watering it. Then he�s not so careful about watering it. Then he forgets to feed it. Then it falls and shatters, and I-Five takes it and takes care of it for him. And then Sacha does. The tree is really a symbol of Jax�s relationship to the Force and to Laranth and to being a Jedi. It becomes a symbol for a lot of things, actually.
We very deliberately went into �� what happens to that tree as you go through the book is what�s happening inside of Jax; it�s what�s happening with his relationship with the Force and with the people around him. At the point that he tries to cut everybody off, he cuts the tree off too, he forgets about the tree. It was a pretty potent symbol. I chose it because I love trees, I love conifers. W. P. Kinsella, who wrote the book that [the 1989 movie]
Field of Dreams
is based on, says that pine trees have something in their sap that makes you dream. I�ve always thought that was a cool idea, so I had to put the tree in there.
After Laranth's death, Jax almost reaches out to the Force to see if she has become one with it like the Jedi Code suggests, but he stops himself because he's afraid of discovering that he can't sense her. This scene and Jax's subsequent crisis of faith had very religious undertones. How did you approach writing this Jedi who was close to disillusioned, even fed up, with the Force and the spirituality that he had been taught?
Part of it involves drawing on personal experience. It sounds really funky to say, �I�m a spiritual person.� I�m trying to be a spiritual person, let me put it that way. I�m trying to look at �� when I watch discussions on the
Star Wars
boards between fans, it very much is like watching a religious discussion. I know when we did
Patterns of Force
, some of the feedback I got from people said, �Well, the Force is strictly a duality. There�s a Dark Side and a Light Side and the darkness is not within the person.� And then somebody else would say, �No, no! It�s the other way! The Force is just this benign Force, it�s neutral, and the goodness or badness is in the individual person.� I thought that was a really fascinating discussion. It�s something that takes place in what we laughing call �the real world� as well. People discuss the nature of good and evil.
In my research, I discovered that there really was a precedent for that. There�s a bit in [
Jedi vs. Sith: The Essential Guide to the Force
] about the Potentium, which is the idea that the Force isn�t neutral but is benign. It�s a force for good, and the darkness resides within the individual. That�s something that Michael and I have very intentionally looked at and played with in the books, more so in this one than any other. It�s that idea that the Force does not have a Dark Side and a Light Side. The Dark Side is within the individual.
While we�re not stating that as doctrine, that�s probably the position I would take. We were exploring that idea of the darkness not being essential to the Force itself. If you look at the Jedi mantra, it really is a spiritual mantra. It�s about the interconnectedness of all things, which is the heart of all the faiths on Earth �� if you go back to the original writings, anyway. It was really hard to not approach it that way. I think it would have been too mechanical [otherwise]. I really wanted to get at what was going on inside [Jax�s] heart, inside his soul, as he�s working his way through this? There has to be a crisis of faith when you lose somebody that�s close to you. There�s that wanting to reach out and that fear of reaching out and finding out that maybe that spiritual dimension doesn�t exist, or at least not in the way that you think it does. It�s his journey, it�s his spiritual journey, of losing his faith in himself as having the capacity to use the Force wisely �� and then finding it again and realizing that you can only do what you can do.
There's a lot of discussion of time, the implications of nonlinear time, and the human desire to change the past. The second book in this series introduced a time-transcendent species called Cephalons. Why did you want to make the idea of time a central aspect of this book?
It was something that has fascinated Michael for a long time. Hence, the Cephalons. Actually, there was more in the original idea for the story that went even further into that aspect of time. But the folks at Lucas[Books] said, �No, no, back off on that whole time thing. We don�t want anybody literally time-traveling or thinking they can time-travel.� There�s certain things you can�t do in the galaxy far, far away, and that was one of them. But we still wanted to look at that whole idea of cause and effect. As Jax is dealing with looking back at his own decisions or lack of decisiveness and wondering, �Did I cause this? Did I make this happen?� there�s that desire to go back in time and fix it.
In the original idea for the book, we were actually contemplating, �Could he actually do something like that?� [LucasBooks] said that if we bent time, we had to bend it only very slightly, so we did that in the book. It was about wanting to take a metaphor that human beings use �� �If only I had it to do over again� �� and make it more visceral, make it more real. It�s about the potential. One example is when Jax is on Dathomir, at the Infinity Plain, which is my favorite part of the book. I enjoyed writing that so much. He has an experience there of almost believing that maybe he could go back. Of course he can�t. But it was about making that real, making that a possibility, and then having him come to the realization, �What would I do? If I went back, what could I do differently that wouldn�t make something else go wrong?� That�s really what he learns: you can�t even make a teeny, tiny little wiggle in a time current without it having cascade effects that you�re unaware of. It�s almost a cautionary tale to people: don�t say, �If I only had it to do over again,� because nothing you could do would be free of repercussions down the timeline.
When Jax and his party arrived on Mandalore, the chapter began with a recap of the planet's turbulent past. This included mentions of Satine, Death Watch, and the Shadow Collective, all of which appeared in
The Clone Wars
Season Five. Did you collaborate with Dave Filoni in deciding how to describe and depict Mandalore? Why did you want to use this particular planet?
Not exactly. There was originally more description in there, more solid information, about what was going on. We gleaned it from scouring every resource we had about Mandalore at this point in history. Then, after we�d gone through several editing passes, they were just getting ready to send us the galleys for the book, and Shelly said, �I just got an inside scoop about something that�s happening in the TV series this season. We need you to pull back on some of the descriptions of Mandalore.�
Initially, she said, �Could you set it someplace else?� [laughs] And I said, �No! It�s got to be on Mandalore. It�s important that it�s on Mandalore for a bunch of different reasons. If we try to change that now, it will have cascade effects throughout the whole book.� So she said, �You need to pull back, because stuff is happening.� Basically, I went through and fluffed over and took out some of the more detailed references that we�d made to things that were going on on Mandalore. It wasn�t even that we knew what was going on. We just knew something was going on. [Shelly] thought that certain things were going to happen, but she wasn�t sure, so we just pulled back on that whole thing.
How early on did you decide to use Mandalore, and what were some of the things that made it an appealing setting for part of this book?
One of the things was that it was where we needed [the planet] to be. Michael created the concept of Kantaros Station and put it out in the Bothan system, so I thought, �Okay, we need a place that fits a certain criteria. We need a place where they can go to get contraband arms, where they will be able to interface with Black Sun people, where there�s a good, healthy black market.� But it also needed to be out toward that area of space, because timing was essential to everything we were trying to do there. It couldn�t be clear off on the other side of the Rim. I looked at the map and I thought, �Mandalore �� that would be the perfect place.�
When we first started it, we were thinking of having them end up on Concordia, which is the outlaw moon, but I liked the idea of using Mandalore the planet and the capital city Keldabe especially. It was in the right place in the galaxy. From the beginning, we have Darth Vader splitting up his fleet, with half of them going to Coruscant and half of them going out god-knows-where by flying past Mandalore. It was just right there in the space lanes and it had the perfect setup with all the black market activity and Black Sun and all of that. There was also the fact that it was in political upheaval; that was also a really good reason to use it. It�s an outlaw place where Jax could go to be a pirate.
On page 53, Jax is agonizing over the death of his friends and he mentions losing Nick Rostu. I thought Nick survived the fight in the Factory District at the end of
Jedi Twilight
No, he died. It was in the second or third draft of the manuscript, not the first one. I was really unhappy, because Michael sent me the second draft of that manuscript and he was dying and I was like, �Oh, no! I really liked that character!� and Michael said, �Somebody�s got to die.� That happens in every book. Somebody�s got to die. In
Patterns of Force
, I got to pick who died.
The main characters of this book have appeared both throughout this series and in other connected works. What do you think the legacy of these characters will be? What is the impact of this story?
Boy, I don�t know. I really don�t. I know there�s an I-Five. That�s an impact which I thought was pretty cool. There�s this obscure bunch of books and Hasbro makes an I-Five toy.
In terms of legacy, it really is going to depend on what LucasBooks wants to do and what other writers want to do, or maybe what they ask us to do in the future. I don�t have a sense of how the books, even the extremely popular ones, impact the other things that are going on in the GFFA. For example, one of the things that happened was that
The Clone Wars
killed Jax�s Jedi Master [Even Piell] in that series, but they killed him at a point before he dies in the first book of the Coruscant Nights series. In some ways, the impact is unintentional, because there�s not a planned impact for the books to have on the TV show or the TV show to have on the books. It�s almost like there�s two separate streams happening.
I�d like to think that [the reception to this series] would mean that there�d be other books with I-Five or, potentially, I-Five turning up in a TV series or on one of the new movies or something. Because he�s really the star of the show.
Do you have any other projects on the horizon, either alone or with Michael?
Michael and I are working on something called the Solar Guard, which is a series of books where basically Michael said, �You know what? I want to have my own galaxy far, far away. Let�s build our own universe.� It�s an alternate solar system [book] series. There are people living on Venus and Mars. It�s taking the Edgar Rice Burroughs or John Carter of Mars approach. It�s almost like stepping off from the 1950s science-fiction but set in the future. We�ve also got another fantasy project that we�re working on for some friends. Also, our co-collaborator Mark Zicree, who is a teleplay writer (I did the second book in his Magic Time series), has asked Michael and I to write books to bridge between his new series of movies. So we�re working on that too. I�m re-releasing a series of fantasy novels through Book View Caf�, which is my first trilogy.
Are there any other
Star Wars
eras you�d be interested in writing in if you got the chance?
We�ve actually shot a couple of ideas to our editors. Michael really wants to write a book about the droids, like I-Five and C-3PO, having a mission of some sort. The idea is that all the main characters are droids. That�s an idea that he would love to do. I�d love to write another Dash Rendar novel. I think it would be a lot of fun. I�ve got an idea for a follow-up to Shadow Games that I�d really like us to get the chance to write. I�ve pushed those ideas out there and hopefully at some point [LucasBooks] will say, �Hey, would you guys like to write one or both of these books?�
I really would like to do some more. I like stuff that takes place in this time period, but I realize we�re running out of room in the timeline. It�s like, yes, it�s a big galaxy, but there�s only so much story you can tell. Michael had originally intended [
The Last Jedi
] to take place six or seven years after the action in
Patterns of Force
, so we�d be dealing with an older Jax Pavan and an older Darth Vader. But LucasBooks looked at the timeline and said, �There�s really no room for it [there]. It needs to happen in this three-month period b/w the end of
Patterns of Force
and the next set of books.� There was just a little sliver of the timeline that we could inhabit with Jax. It�s filling up! I guess I�ll have to start thinking about what happens after
A New Hope
Big thanks to Maya Kaathryn Bohnhoff for taking the time to discuss
The Last Jedi
with me. The book is on sale now. Check it out!
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March 7, 2013
TFN Interview:
The Last Jedi
Co-Author Michael Reaves
February 26, 2013
On Sale Today:
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Rebelscum Breast Cancer Awareness Charity Patch
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Thanks to everybody that ordered patches. I sent a check for $1,600.00 to the National Breast Cancer Foundation on Monday. While it's not as much as I hoped for, it's still very much appreciated. They will remain for sale in the store for anybody that still wishes to purchase them. Details after the jump.
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The Cardinals strategy would be "throw it to Fitz on every play". He will catch 9 out of 10 balls against any college CB, and the Cardinals O-line is better than any college D-line. Same with all of the other receivers on Arizona. Arizona 70 Bama 0
The Browns would simply put in McCoy or Weeden who have talent around them that is equal or better to what they had in college, though the defense would overwhelm Bama on all levels. Cleveland 56 Bama 0
Alabama would get blown out by the 01 Hurricanes or the 04 Trojans and most assuredly would get destroyed by the Chiefs. That team doesn't even know how to throw the football and they do not play a good pass defense. They are dominating their level of competition simply because they're bigger, faster and stronger than most but that doesn't matter in the nfl where everyone is big fast and strong and playing in pro style schemes light years ahead of Sabans faux pro defenses. There's a reason Saban couldn't handle the NFL.

subset: commoncrawl


text:
Battle Of The Boy Bands: Hottest Of 2012 — See Pics & Vote
2012 has definitely been the year of the boy band! From One Direction to Mindless Behavior, click through our gallery to see the biggest boy bands of the year and VOTE on your fave!
From Big Time Rush's tour with One Direction to The Wanted's smash single "Glad You Came," boy bands have definitely ruled this year! Ever since One Direction exploded onto the scene with their debut album in March, we've had the fever!
We loved when Emblem 3 stole our hearts when they auditioned for The X Factor in September, and can't wait to see IM5's "Can't Stay Away" music video with Bella Thorne!
Check out these hot pics and tell us which band you love the most, HollywoodLifers!
— Dory Larrabee
More Boy Band News:
- One Direction Boys Have A 'Crazy' Pajama Party — Watch Video
- 'X Factor': Is Emblem 3 The New One Direction? Simon Cowell Speaks
- One Direction Plays With Puppies In Adorable New Pics


text:
Brazil opens largest natural gas pipeline in South America
RIO DE JANEIRO, Feb. 3 (Xinhua) -- Brazilian President Luiz Inacio Lula da Silva on Wednesday inaugurated the largest gas pipeline in South America.
The 1.38-billion-U.S. dollar Cabiunas-Reduc III pipeline was built and will be operated by state-owned oil and gas giant Petrobras.
According to the company, the 179-km pipeline can transport 40 million cubic meters of natural gas a day, the highest capacity among the gas pipelines in the country and higher than that of the Bolivia-Brazil gas pipeline, which can deliver 30 million cubic meters per day.
In order to avoid damage to vegetation, Petrobras built a 3.5-km tunnel under the Santana Mountain.
Petrobras said the new pipeline boosts both the country's supply flexibility and transportation capacity to meet the needs of the southeastern region, which has the biggest demand for natural gas in Brazil.
With the pipeline, Brazil's natural gas transportation network reaches 9,217 km in length, up from 5,398 km at the beginning of the Lula administration in 2003.


text:
Updated 02/05th
Please PM me if you are interested in a Second run, as no addtional info will be posted in this thread.
For the Second run we will be taking deposits for groups of ten.
Again PM me for details.
Thanks Spidey.
Now that Fettpride is back full time on TDH... We wanted to gauge interest on the possiblity of an Aluminum Rocket with a Copper tip for his upcoming Gauntlet run.
Most fan made Aluminum Rockets made to date have been based on an aluminum body and a Brass head...but none with a copper head, as this, In My Opinion and the opinion of many others I respect on TDH, looks more like the real Fett gauntlet used on screen.
Prior to Fp's recent departure we had talked about doing an up-grade to his gauntlet kits with a high-end Rocket with a Copper tip...so we had a proto type made for the resin version for all FP Gauntlet kits in the mean time.
If you have not signed up for ESB gauntlets please do here: http://www.thedentedhelmet.com/showthread.php?t=29924
*not sure many people know this but this rocket is based and measured off a REAL Boba Fett Rocket....YES, that's what I said.....don't ask how...cause I'm not telling...I will let Chris explain that. Just another exciting feature of this rocket!!
Now as most of you know, Copper is Not cheap these days...and is extremely fragile when machined... so this will Definately add to any costs. So again, this is NOT going to be cheap!! This will also be a One time limited run only...again if we actually do it.
So please let us know if you are interested... if there is enough support this WILL become a run.
Proto type posted below, as well as a painted FP rocket.(pics)
Interest List:
- Spideyfett
- Fettpride
- Rebelscum
- Darthmiller
- Galactic Bounty Hunter
- Ripcode
- shabad
- tk1450
- cr4nky
- Boba Leo
- cojake
- mckenic
- stormtrooperguy
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- Grifter
- SlabFett
- Son of the Baptist
- Indy_Solo
- Fettofficer
- Predatormv
- Replicant Shadow
- yodakiller1138
- Jango's kid
- deebo27
- jackpot76
- jedi.paramedic
- Crimson Phoenix
- 99centTaco
- Spankuh
- kbrosseau
- godaking
- Zanenigma
Thanks all.


text:
Magazine News
Campus Q&A
Dr. Andrew Williams discusses how the power of robotics and artificial intelligence can improve the world.
Williams, Grad '95, is John P. Raynor, S.J., Distinguished Chair and director of the Humanoid Engineering and Intelligent Robotics Lab in the College of Engineering. His current research focus is on using those technologies to address childhood obesity.
MM: You began using robots as a teaching tool early on. Why robots?
AW: Before I became a professor, I wanted to learn more about software but also artificial intelligence, which is getting a computer to think, reason, act and learn like a human being. When I became a faculty member, I became fascinated with using robotics as a teaching tool. Robotics is hands-on, and it provides a way to keep students who have different learning styles engaged.
MM: Aren't robots just toys?
AW: In 2007, Bill Gates wrote an article in Scientific American titled "A Robot in Every Home." I believe we're not far from the day when there will be a robot in every home and every person will have a personal robot.
MM: Why focus on childhood obesity?
AW: Marquette students always want to focus on doing something to make the world a better place. I was thinking about how robots could be used to solve a social or health problem. A recent study from the University of Washington says, globally, obesity is a bigger health crisis than hunger and is the leading cause of disabilities.
MM: How can a robot fight childhood obesity?
AW: Kids think of robots as toys. We can leverage that idea of having fun. We have a prototype robot that can teach a student how to do pushups and leg stretches and sit-ups and other physical activity. Then we've taken the NIKE+ Fuel Band which is an accelerometer that measures physical activity, calories, number of steps and we're using it to gauge the effectiveness of the human-to-robot interaction. We look forward to seeing the results and then improving the robot algorithms and trying this technology out in the community. There isn't anyone else doing what we are with robots and wearable technology.
MM: What research is next for you?
AW: I'm interested in robot ethics and how to help our society develop policies to ensure robots will be used ethically to benefit people. This issue has been highlighted with the use of drones, which are human-controlled robots that are being used for national security. There are philosophical, technical and moral issues that need to be addressed as these robots become more sophisticated and intelligent. I also want to make sure there is an ethical voice for minorities and under-resourced communities related to robotics. I want Marquette students to be part of the next generation of technical leaders who are thinking about ethical concerns related to new technology to promote policies that are beneficial to everyone. JMM
Blackmoney.com named Williams one of its 50 Most Important African-Americans in Technology.
Andrew Williams offers more insights in his book, Out of the Box: Building Robots, Transforming Lives, and the blog on his website, andrewbwilliams.com.


text:
The Clinical Immunodiagnostic and Research Laboratory (CIRL) provides state-of-the-art evaluation of primary immunodeficiencies. The CIRL is part of the the Jeffrey Modell Diagnostic Center for primary immunodeficiencies.
The CIRL is a collaborative effort between technicians, clinicians, and researchers at the Medical College of Wisconsin. This team pools its knowledge of immunology and technical resources to develop and perform specialized tests on patient samples from all over the world. The CIRL is dedicated to using the latest laboratory and scientific advancements to improve patients' lives.
Our clients include local, regional and national laboratories, pharmaceutical companies and physician practices.
Our job does not end with the communication of test results. We also provide interpretation and explanation of those results, consultation with physicians on the meaning of the test results and recommendations for further testing. We offer all of these services in order to provide the highest-quality care.
The CIRL plays a crucial role in helping to translate scientific observations into clinical applications. The genesis of novel diagnostics originates from collaborative efforts with the Asthma/Allergy Center, Primary Immunodeficiency Program, Blood and Marrow Transplant Program, Hematology and Oncology.
Access the complete list of test descriptions and order forms.
James Verbsky, MD, PhD
Vikram Dasu, PhD
Call the Clinical Immunodiagnostic and Research Laboratory at (414) 456-4165.


text:
Positive Change - The Bert Book Project
"Supporting Girls is the key to positive change"
Project: The Bert Book Project
Duration: 2005 to date
Supported by: Private donations
The Bert Book Project is an initiative taken by Green Scenery and Mrs. Siobhan Keating, an Irish woman, with an initial support from Bertie Gowen. The project is providing basic support for girls in secondary schools in the Western Area and Southern Province. The criteria for the stipends are based on academic performance and difficulty in paying school charges. The initiative is making it possible for young women to continue their education who otherwise would be forced to drop out of the education system thereby increasing the state of poverty of women in Sierra Leone.
Since the academic year 2005/6 to date, the project has been supported 52 girls and 9 have been traced at present in tertiary and vocational institutions in the three regions.
The academic year of 2009/10 was a success for the project as many beneficiaries from 2008/09 passed their public exams and were fortunate to enter tertiary and vocational institutions in the project areas.
In spite of challenges of raising funds, making the funds reach on time to beneficiaries, and, compiling data on beneficiaries, the Bert Book project is a huge success as it made a big difference in the life of the beneficiaries and brought smiles to hard pressed parents.
Each beneficiary receives a lump sum of 237,500.00 Leone (USD 60). This amount is scheduled to pay for the following items:
The annual school charges
One set of school uniform
One felt hat
One dozen exercise books
Some received a further support of 118,750.00 Leone which is meant to pay for grind or extra lessons for those attempting public examination.
The distribution of grants takes place in Freetown and Bo. Beneficiaries are accompanied by their parents and teacher supervisors through whom these girls were selected in their various schools. Green Scenery officers travelled to Bonthe to be part of the final selection process of new Bert girls and also distributed the funds in the St. Joseph's Secondary School.
The project has impacted positively on the girls by keeping them in schools. It has also enhanced their performance due to regular attendance in school and their human dignity restored as opposed to humiliation for being driven from school for school charges. In the overall school performance, these girls are exhibiting good performance in the West Africa School Certificate.
Currently, the project is targeting twenty girls in all the project areas and they have been promoted to the next stage in the Senior School.
An educated girl is better equipped to break the cycle of child labour and poverty. With USD 60 we pay school fees, uniforms and necessary books. Donors are kept informed on the performance of the beneficiaries.
Please donate to the Bert Book Project. Thank you!


text:
Pulaski Technical College will host the second Star Search event of the week on Saturday, April 12 from 10 a.m.-1 p.m. at Pulaski Technical College-West, located at 8901 Kanis Road in Little Rock. Star Search is an event designed to recruit full-time and part-time faculty and staff for future job positions.
College officials will be on hand to provide information about employment opportunities and to assist prospective employees with the job application process.
Faculty may be needed for future openings in the areas of English, fine arts, foreign languages, Education and Academic Success, math, social sciences, natural sciences, technical and industrial, business, information technology, Allied Health and Human Services and Continuing Education/Business Outreach.
Professional and support staff may be needed in student services, library, computing services, physical plant, campus police and public safety, and administration and clerical work.
Faculty candidates should bring a resume and unofficial copies of college/university transcripts. Applications are available online at http://www.pulaskitech.edu/employment_opportunities
The first event was held on Tuesday on Pulaski Tech's main campus in North Little Rock.
For more information, call (501) 812-2200.
Pulaski Technical College


text:
Florida physician John Gorrie uses his mechanical ice-maker to astonish the guests at a party. It's the first public U.S. demonstration of ice made by refrigeration.
All posts tagged 'yellow fever'
July 14, 1850: What a Cool Idea, Dr. Gorrie
- July 14, 2011 |
- 7:55 am |
- Categories: 19th century, Food and Drink, Inventions


text:
Name: Julia Bueren
Title: Public Works Director
Where: Contra Costa County, Calif.
Population: 1.1 million
What: 480 employees maintain 660 miles of roads; 150 miles of streams, channels, and other drainage facilities; and 93 buildings.
Operating budget: $155 million
Capital budget: $47 million
Julia Bueren was promoted to public works director at the height of California's financial chaos in 2008. With the state near bankruptcy, she worked to make sure Contra Costa County's funding — dedicated restricted funds, developer fees, fees for service, and grants — would continue, and that they'd be used for their specified purposes. An extremely active member of the County Engineers Association of California, she pushed legislators to give locals their share of the state budget, particularly for transportation.
"We're doing much better, but it's been a long, slow recovery," she says.
Yet she's proudest of her role in developing the county's current public works team. When she was appointed director, Bueren updated the department's strategic plan by getting input from employees at all levels, all divisions, and all functions. The result was a Balanced Scorecard centered around five focus areas: Finances, Customer Services, Safety, Organization Health, and Environment. This approach enables employees to track their efforts and shape their priorities against overall department goals.
Bueren started with the county 32 years ago as an entry-level civil engineer and got to see many aspects of public works through the county's engineer rotation program. "It gives you an opportunity to see civil engineering throughout public works and see where your strengths are," she says. Her main goal is to continue to build a good team and provide good customer service.


text:
I'm a small time bee keeper. 30 hives this year at some point plan to be at 100 but don't think I will go higher than that. I'm about 60 miles north of Minneapolis. I'm looking to have my bees moved to somewhere warmer than MN for the winter. I've struggled with over wintering.
If I can find someone I can trailer them to the location needed. I'm also going to build the proper pallets so they could be used on almonds if needed.
Any information would be helpful.
I will reach out to the Minnesota Honey Producers too.


text:
Air Conditioners | Dehumidifiers | Dishwashers | Disposals | Dryers | Freezers | Humidifiers | Ice Makers | Microwave Ovens | Ovens, Ranges, Stoves | Refrigerators | Trash Compactors | Washers | Water Filters
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- > Do-It-Yourself Appliance Repair Help > Heating, Ventilation, and Air Conditioning (HVAC) > Troubleshooting Direct Spark Ignition Systems
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|Troubleshooting Direct Spark Ignition Systems
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|Posted: Thu Feb 12th, 2009 10:27 pm
|1st Post
Flame Rectification Is Vital Knowledge For Gas Heat Troubleshooters.
This article deals with flame rectification as it applies to direct spark ignition (DSI) modules. They are manufactured by a few different companies — Fenwal, Honeywell, Robertshaw, and White Rodgers, to mention a few.
The procedures for DSI flame rectification are pretty much the same for all manufacturers. It is a good idea, however, to check the specification sheets for the particular manufacturer's equipment you are working on.
One of the primary uses for DSI systems has been on some power gas conversion burners. The initial problems with DSI systems have been eliminated by today's technology — such things as multiple-try systems and what is called "soft lockout" (where the system will attempt several tries at ignition and, if it fails to ignite the burner, the system will shut down for 60 minutes, then go through another series of tries). This has prompted a comeback of DSI use with some manufacturers.
DSI Components And Specs
Standard DSI systems include the following components:
· A system control module that contains the electronics for regulating the system's sequence of operation;
· A dual valve combination control (or two in-line single valve gas controls) that provides for positive gas shutoff and control of the main burner gas;
· Ignition hardware that provides for spark ignition of the main burner and monitors the presence of the main burner flame; and
· Auxiliary controls that complete the system — temperature controller, high limit control, transformer, etc.
Honeywell DSI control modules include the S825A, B, C, and D; the S87A, B, C, and D; and the S89A. All modules are for low-voltage (24 VAC nominal) application on gas-fired furnaces.
When powered by a suitable 24-VAC, 60-Hz transformer and activated by the system's temperature controller, they perform the following functions:
1. Check for a false flame condition (short to ground) before each startup. If a false flame condition is present, the module does not allow startup.
2. Generate a potential of 30,000 V (open circuit) at the spark igniter for direct ignition of the main burner.
Note: The S89A does not include a spark generator circuit. The S89A has an internal relay for activating a separate spark generator for ignition of the main burner.
3. Open the main valve(s) of the gas control(s) to allow gas to flow to the main burner.
4. Sense the presence of a main burner flame and discontinue ignition spark. If the burner fails to ignite within the trial-for-ignition period, the module goes into safety lockout.
5. If there is a loss of power, the systems will shut down safely. Startup is initiated when power is restored.
6. If there is a loss of the main burner flame, the trial for ignition is repeated. Safety shutdown occurs if the flame is not re-established within the trial-for-ignition period.
The American National Standards Institute (ANSI) requires that all new DSI-equipped gas-fired appliances must have dual gas controls for positive shutoff of the main burner gas. This requirement can be met by using any of the following methods:
· By installing a dual-valve, "VR"-type combination gas control in the gas supply piping .
With a direct burner ignition valve , where the direct spark or hot surface systems use the same valve, and the two main valve operators work simultaneously under the control of the electronic module;
Note: For direct burner ignition, there is no pilot; leave the plug in the pilot outlet.
Ignition, Flame-Sensing Hardware
Ignition and flame-sensing hardware for DSI systems is available in several configurations:
· Separate flame sensors and spark igniters;
· Combination spark igniters and flame sensors that are mounted on a common bracket; and
· A single electrode igniter-sensor.
Generally speaking, the separate flame sensors and spark igniters are used together, or the single electrode igniter-sensor is used alone. However, some appliances use a different combination of these components; for example, an igniter-sensor for ignition and a separate flame sensor and spark igniter for flame sensing.
Whatever the combination, the system must have components, or a combination of components, for spark ignition and flame sensing.
Check Safety Lockout
1. With the system power off and the temperature controller set to call for heat, manually shut off the gas supply cock.
2. Turn the power on to energize the control module; begin spark ignition; immediately start timing.
3. Determine the number of seconds to safety lockout (spark cutoff). It should not exceed the time specified by the manufacturer.
4. After spark cutoff, manually reopen the gas supply cock. No gas should flow to the main burner.
5. Reset the system control module as described here:
· If the control module goes into safety lockout, it will remain locked out until the system is reset.
· To reset the system, adjust the temperature controller below room temperature, wait 30 seconds, and turn the temperature controller up to call for heat. Normal ignition should occur.
Final System Checkout
Start the system and observe operation through at least one complete cycle to make certain all controls are operating safely, according to the manufacturer's specifications.
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text:
"Son of the Lumberjack is a ninja, and wears dressy sweatpants."
by D00bsan April 15, 2003
A cock so powerful and overwhelming that you have no idea what to do with it. An elite warrior. It is very speedy and unable to be tamed, specialising in a vast array of martial arts. The ninja cock has multiple times the power of a normal cock, and those who possess a ninja cock have a high ranking within their society. Only the very worthy come into contact with the ninja cock as it is very special.
Renee's ninja cock was so powerful and strong that Jess became un-conscious when she witnessed it.
The ninja cock knocked me out cold.
The ninja cock knocked me out cold.
by Patty Mayonaisse August 28, 2008
Your penis is the sword. When fruit is tossed into the air you slice it with your rock hard cock. i.e. your ninja cock
by NinjaC0ck69 March 30, 2016
A cock that is lean and strong, able to move from position to position with incredible sensual speed. The ninja cock is secretly wanted by all females and unlocks secret, unknown depths of pleasure when used properly.
by ?Ninja May 12, 2005
Cleveland Steamer Plush
The vengeful act of crapping on a lover's chest while they sleep.Buy the plush
A giant cock that hits a bitch so hard she can't feel or even comprehend it's awesomeness, and therefore cums 9,200 times after the ninja cock leaves.
Women become pregnant by the mere thought of it. It is impossible to ignore. Shit, the ninja cock is inescapable and every bitch feels it before she dies.
by bleeding gums murphy April 22, 2005
The vengeful act of crapping on a lover's chest while they sleep.Buy the plush


text:
Fukoroi: Outdoor Tea Stall
Fukoroi: Outdoor Tea Stall
Fifty-three Stations on the Tokaido Road
Gift of Richard and Phyllis Speer
This object record may be incomplete and may include outdated information. Other information may exist in a non-digital form. The Museum continues to update and add new research to collection records. We welcome your comments, but please be aware that we may not be able to respond to every comment submitted online.


text:
A taste of what's to Come on Playboy.com
2013 may be well under way, but are you ready for what we have in store for you?
With 2012 wrapped up and our Cyber Girl of the Year Voting underway, it's time to bring you a taste of what we have in store for 2013.
Your favorites have been brought back (think Leanna Decker, Sophia Beretta, Ashley Zeitler, Mosh, Kimberly Kisselovich,and Playmate Hiromi Oshima) along with along with a few new comers that you'll be thanking us for later. This year we're scouring the world for the hottest models, the best locations, and are pushing boundaries only the way that Playboy.com can.


text:
'Gift Worth Giving' charity wedding opens applications for third year
BOZEMAN, Mont. - The Gift Worth Giving aims to give one lucky couple a dream wedding they couldn't otherwise have.
It started as an idea hatched by a wedding photographer, wedding dress shop owner and wedding planner a few years ago.
Now, the Gift Worth Giving has turned into an annual event.
And the founders are looking for a couple for next year's wedding- which is the third Gift Worth Giving.
After 5 and Weddings owner Megan Jacks said they'll start accepting applications on November 3rd.
She said any deserving couple can- and should- apply.
"Deserving can be defined in many ways. Maybe our couple is experiencing financial hardship, military deployment or an illness, or they might be very community-minded and deserve this gift because they themselves are so giving of their time as volunteers" Jacks said, in a press release. "Couples will be considered for many reasons."
The wedding date is June 11, 2013 at the Springhill Pavilion in Bozeman. Jacks said several local wedding sponsors will donate their services- including the venue, event design, bridal party wear, photography, flowers, catering, music, rings, make-up, beverages and more.
The bride and groom must have ties to Montana and be able to have their wedding on the exact date to be considered.
Applications will close January 3rd, and the finalists will be announced at the Bridal Affair on January 12th. The organizers will announce the final couple on Valentine's Day, February 14th.
To apply for the Gift Worth Giving, or recommend a couple, click here.


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Make a Donation to the Tredyffrin/Easttown School District
Thank you for considering a donation to the Tredyffrin/Easttown School District. Your donation will help support the educational programs that promote the academic success of T/E students and the fiscal sustainability of the District.
How to Make a Donation:
Tredyffrin/Easttown School District
All donations are fully tax deductible and will be deposited to the District's General Fund and used at the Board's discretion.


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You are an integral part of our law school community.
University of Baltimore School of Law graduates are a crucial and integral part of our law school community. We are grateful for your continuing commitment and generosity as you contribute your time, talents and resources.
Being a lawyer, we would learn, was to embark on a lifelong series of daily challenges, entrusted with finding solutions that would make a difference in the life of someone willing to put those challenges in your hands. UB uncovered the practical side of law, in an almost clinical approach, underscoring the need to focus attention on the single, exclusive importance of each and every case in turn.
We hope that you will keep us up to date as you celebrate new milestones in your career. Please use the alumni update form to let us know about your news or updates on your contact information. We look forward to hearing from you!


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A yawning gape characterised by a complete loss of all natural elasticity. Often found near massive beans.
Oh my god have you seen her lumhole? It's awfully roomy in there.
Where's Alice? She got lost up the lumhole.
Where's Alice? She got lost up the lumhole.
by seg unit September 23, 2010
A monsterous vacuum. Identifiable by its wizard-sleeve shape and cavenous space. Often simultaneously inhabited by numerous Lumfillers.
by The Smooth Operator September 21, 2010


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I have a book habit that's horrifying to many of my friends.
I read series out of order.
I've even been known, when deciding to buy a book, to go ahead and look at the last page before purchasing.
I was reminded of this by Amy Kraft's post on GeekMom yesterday about introducing her daughter to Episode IV of Star Wars before the prequels and even more strongly as I was reading two books that I borrowed from my local library, Foundation by Mercedes Lackey and Dreamsongs Volume II by George R.R. Martin. The first is the first book in Lackey's latest Valdemar series but it's set at a time period prior to many of the stories. The second is a collection of Martin's short stories, including a few series that he never quite returned to, instead going on to A Song of Fire and Ice.
The Lackey book reminded me that the very first of her stories that I read was Magic's Promise, which is the middle book of the Herald-Mage Vanyel trilogy. I also read several other of her stories out of sequence, including By the Sword.
I was perfectly happy to do this and always recommend By the Sword as a place to start for readers new to Lackey because it's a complete stand-alone story. Most of her books, even ones in a series featuring one character, like Vanyel, have a complete plot and character growth in each book. It's great to read the others but a single story can be absorbed without the rest if necessary and if you don't mind some spoilers.


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Brian Hayes
Every generation has to reinvent the practice of computer programming. In the 1950s the key innovations were programming languages such as Fortran and Lisp. The 1960s and '70s saw a crusade to root out "spaghetti code" and replace it with "structured programming." Since the 1980s software development has been dominated by a methodology known as object-oriented programming, or OOP. Now there are signs that OOP may be running out of oomph, and discontented programmers are once again casting about for the next big idea. It's time to look at what might await us in the post-OOP era (apart from an unfortunate acronym).
The architects of the earliest computer systems gave little thought to software. (The very word was still a decade in the future.) Building the machine itself was the serious intellectual challenge; converting mathematical formulas into program statements looked like a routine clerical task. The awful truth came out soon enough. Maurice V. Wilkes, who wrote what may have been the first working computer program, had his personal epiphany in 1949, when "the realization came over me with full force that a good part of the remainder of my life was going to be spent in finding errors in my own programs." Half a century later, we're still debugging.
The very first programs were written in pure binary notation: Both data and instructions had to be encoded in long, featureless strings of 1s and 0s. Moreover, it was up to the programmer to keep track of where everything was stored in the machine's memory. Before you could call a subroutine, you had to calculate its address.
The technology that lifted these burdens from the programmer was assembly language, in which raw binary codes were replaced by symbols such as load, store, add, sub. The symbols were translated into binary by a program called an assembler, which also calculated addresses. This was the first of many instances in which the computer was recruited to help with its own programming.
Assembly language was a crucial early advance, but still the programmer had to keep in mind all the minutiae in the instruction set of a specific computer. Evaluating a short mathematical expression such as x2+y2 might require dozens of assembly-language instructions. Higher-level languages freed the programmer to think in terms of variables and equations rather than registers and addresses. In Fortran, for example, x2+y2 would be written simply as X**2+Y**2. Expressions of this kind are translated into binary form by a program called a compiler.
With Fortran and the languages that followed, programmers finally had the tools they needed to get into really serious trouble. By the 1960s large software projects were notorious for being late, overbudget and buggy; soon came the appalling news that the cost of software was overtaking that of hardware. Frederick P. Brooks, Jr., who managed the OS/360 software program at IBM, called large-system programming a "tar pit" and remarked, "Everyone seems to have been surprised by the stickiness of the problem."
One response to this crisis was structured programming, a reform movement whose manifesto was Edsger W. Dijkstra's brief letter to the editor titled "Go to statement considered harmful." Structured programs were to be built out of subunits that have a single entrance point and a single exit (eschewing the goto command, which allows jumps into or out of the middle of a routine). Three such constructs were recommended: sequencing (do A, then B, then C), alternation (either do A or do B) and iteration (repeat A until some condition is satisfied). Corrado Böhm and Giuseppe Jacopini proved that these three idioms are sufficient to express essentially all programs.
Structured programming came packaged with a number of related principles and imperatives. Top-down design and stepwise refinement urged the programmer to set forth the broad outlines of a procedure first and only later fill in the details. Modularity called for self-contained units with simple interfaces between them. Encapsulation, or data hiding, required that the internal workings of a module be kept private, so that later changes to the module would not affect other areas of the program. All of these ideas have proved their worth and remain a part of software practice today. But they did not rescue programmers from the tar pit.
The true history of software development is not a straight line but a meandering river with dozens of branches. Some of the tributaries—functional programming, declarative programming, methods based on formal proofs of correctness—are no less interesting than the mainstream, but here I have room to explore only one channel: object-
oriented programming.
Consider a program for manipulating simple geometric figures. In a non-OOP environment, you might begin by writing a series of procedures with names such as rotate, scale, reflect, calculate-area, calculate-perimeter. Each of these verblike procedures could be applied to triangles, squares, circles and many other shapes; the figures themselves are nounlike entities embodied in data structures separate from the procedures. For example, a triangle might by represented by an array of three vertices, where each vertex is a pair of x and y coordinates. Applying the rotate procedure to this data structure would alter the coordinates and thereby turn the triangle.
What's the matter with this scheme? One likely source of trouble is that the procedures and the data structures are separate but interdependent. If you change your mind about the implementation of triangles—perhaps using a linked list of points instead of an array—you must remember to change all the procedures that might ever be applied to a triangle. Also, choosing different representations for some of the figures becomes awkward. If you describe a circle in terms of a center and a radius rather than a set of vertices, all the procedures have to treat circles as a special case. Yet another pitfall is that the data structures are public property, and the procedures that share them may not always play nicely together. A figure altered by one procedure might no longer be valid input for another.
Object-oriented programming addresses these issues by packing both data and procedures—both nouns and verbs—into a single object. An object named triangle would have inside it some data structure representing a three-sided shape, but it would also include the procedures (called methods in this context) for acting on the data. To rotate a triangle, you send a message to the triangle object, telling it to rotate itself. Sending and receiving messages is the only way objects communicate with one another; outsiders are not allowed direct access to the data. Because only the object's own methods know about the internal data structures, it's easier to keep them in sync.
This scheme would not have much appeal if every time you wanted to create a triangle, you had to write out all the necessary data structures and methods—but that's not how it works. You define the class triangle just once; individual triangles are created as instances of the class. A mechanism called inheritance takes this idea a step further. You might define a more-general class polygon, which would have triangle as a subclass, along with other subclasses such as quadrilateral, pentagon and hexagon. Some methods would be common to all polygons; one example is the calculation of perimeter, which can be done by adding the lengths of the sides, no matter how many sides there are. If you define the method calculate-perimeter in the class polygon, all the subclasses inherit this code.
Object-oriented programming traces its heritage back to simula, a programming language devised in the 1960s by Ole-Johan Dahl and Kristen Nygaard. Some object-oriented ideas were also anticipated by David L. Parnas. And the Sketchpad system of Ivan Sutherland was yet another source of inspiration. The various threads came together when Alan Kay and his colleagues created the Smalltalk language at the Xerox Palo Alto Research Center in the 1970s. Within a decade several more object-oriented languages were in use, most notably Bjarne Stroustrup's C++, and later Java. Object-oriented features have also been retrofitted onto older languages, such as Lisp.
As OOP has transformed the way programs are written, there has also been a major shift in the nature of the programs themselves. In the software-engineering literature of the 1960s and '70s, example programs tend to have a sausage-grinder structure: Inputs enter at one end, and outputs emerge at the other. An example is a compiler, which transforms source code into machine code. Programs written in this style have not disappeared, but they are no longer the center of attention. The emphasis now is on interactive software with a graphical user interface. Programming manuals for object-oriented languages are all about windows and menus and mouse clicks. In other words, OOP is not just a different solution; it also solves a different problem.
Most of the post-OOP initiatives do not aim to supplant object-oriented programming; they seek to refine or improve or reinvigorate it. A case in point is aspect-oriented programming, or AOP.
The classic challenge in writing object-oriented programs is finding the right decomposition into classes and objects. Returning to the example of a program for playing with geometric figures, a typical instance of the class pentagon might look like this: . But this object is also a pentagon: . And so is this: . To accommodate the differences between these figures, you could introduce subclasses of pentagon—perhaps named convex-pentagon, non-convex-pentagon and five-pointed-star. But then you would have to do the same thing for hexagons, heptagons and so forth, which soon becomes tedious. Moreover, this classification would give you no way to write methods that apply, say, to all convex polygons but to no others. An alternative decomposition would divide the polygon class into convex-polygon and non-convex-polygon, then subdivide the latter class into simple-polygon and self-intersecting-polygon. With this choice, however, you lose the ability to address all five-sided figures as a group.
One solution to this quandary is multiple inheritance—allowing a class to have more than one parent. Thus a five-pointed star could be a subclass both of pentagon and of self-intersecting-polygon and could inherit methods from both. The wisdom of this arrangement is a matter of eternal controversy in the OOP community.
Aspect-oriented programming takes another approach to dealing with "crosscutting" issues that cannot easily be arranged in a treelike hierarchy. An example in the geometry program might be the need to update a display window every time a figure is moved or modified. The straightforward OOP solution is to have each method that changes the appearance of a figure (such as rotate or scale) send a message to a display-manager object, telling the display what needs to be redrawn. But hundreds of methods could send such messages. Even apart from the boredom of writing the same code over and over, there is the worry that the interface to the display manager might change someday, requiring many methods to be revised. The AOP answer is to isolate the display-update "aspect" of the program in a module of its own. The programmer writes one instance of the code that calls for a display update, along with a specification of all the occasions on which that code is to be invoked—for example, whenever a rotate method is executed. Then even though the text of the rotate method does not mention display updating, the appropriate message is sent at the appropriate time.
An AOP system called AspectJ, developed by Gregor Kiczales and a group of colleagues at Xerox PARC, works as an extension of the Java language. AOP is particularly attractive for implementing ubiquitous tasks such as error-handling, the logging of events, and synchronizing multiple threads of execution, which might otherwise be scattered throughout a program. But there are dissenting views. Jörg Kienzle and Rachid Guerraoui report on an attempt to build a transaction-
processing system with AspectJ, where the key requirement is that transactions be executed completely or not at all (so that the system cannot debit one account without crediting another). They found it difficult to cleanly isolate this property as an aspect.
Surely the most obvious place to look for help with programming a computer is the computer itself. If Fortran can be compiled into machine code, then why not transform some higher-level description or specification directly into a ready-to-run program? This is an old dream. It lives on under names such as generative programming, metaprogramming and intentional programming.
In general, fully automatic programming remains beyond our reach, but there is one area where the idea has solid theoretical underpinnings as well as a record of practical success: in the building of compilers. Instead of hand-crafting a compiler for a specific programming language, the common practice is to write a grammar for the language and then generate the compiler with a program called a compiler compiler. (The best-known of these programs is Yacc, which stands for "yet another compiler compiler.")
Generative programming would adapt this model to other domains. For example, a program generator for the kind of software that controls printers and other peripheral devices would accept a grammar-like description of the device and produce an appropriately specialized program. Another kind of generator might assemble "protocol stacks" for computer networking.
Krzysztof Czarnecki and Ulrich W. Eisenecker compare a generative-programming system to a factory for manufacturing automobiles. Building the factory is more work than building a single car by hand, but the factory can produce thousands of cars. Moreover, if the factory is designed well, it can turn out many different models just by changing the specifications. Likewise generative programming would create families of programs tailored to diverse circumstances but all assembled from similar components.
Another new programming methodology draws its inspiration from an unexpected quarter. Although the term "computer architecture" goes back to the dawn of the industry, it was nonetheless a surprise when a band of software designers became disciples of a bricks-and-steel architect, Christopher Alexander. Even Alexander was surprised.
Alexander is known for the enigmatic thesis that well-designed buildings and towns must have "the quality without a name." He explains: "The fact that this quality cannot be named does not mean that it is vague or imprecise. It is impossible to name because it is unerringly precise." Does that answer your question?
Even if the quality had a name, it's not clear how one would turn it into a prescription for building good houses—or good software. Fortunately, Alexander is more explicit elsewhere in his writings. He urges architects to exploit recurrent patterns observed in both problems and solutions. For the pattern of events labeled "watching the world go by," a good solution is probably going to look something like a front porch. Taken over into the world of software, this approach leads to a catalogue of design patterns for solving specific, recurring problems in object-oriented programming. For example, a pattern named Bridge deals with the problem of setting up communications between two objects that may not know of each other's existence at the time a program is written. A pattern named Composite handles the situation where a single object and a collection of multiple objects have to be given the same status, as is often the case with files and directories of files.
Over the past 10 years a sizable community has grown up around the pattern idea. There are dozens of books, web sites and an annual conference called Pattern Languages of Programming, or PLoP. Compared with earlier reform movements in computing, the pattern community sounds a little unfocused and New Age. Whereas structured programming was founded on a proof that three specific structures suffice to express all algorithms, there is nothing resembling such a proof to justify the selection of ideas included in catalogues of design patterns. As a matter of fact, the whole idea of proofs seems to be out of favor in the pattern community.
Software Jeremiahs usually preach that programming should be an engineering profession, guided by standards analogous to building codes, or else it should be a branch of applied mathematics, with programs constructed like mathematical proofs. The pattern movement rejects both of these ideals and suggests instead that programmers are like carpenters or stonemasons—stewards of a body of knowledge gained by experience and passed along by tradition and apprenticeship. This is a movement of practitioners, not academics. Pattern advocates express particular contempt for the notion that programming might someday be taken over entirely by the computer. Automating a craft, they argue, is not only infeasible but also undesirable.
The rhetoric of the pattern movement may sound like the ranting of a fringe group, but pattern methods have been adopted in several large organizations producing large—and successful—software systems. (When you make a phone call, you may well be relying on the work of programmers seeking out the quality without a name.) Moreover, beyond the rhetoric, the writings of the software-patterns community can be quite down-to-earth and pragmatic.
If the pattern community is on the radical fringe, how far out is extreme programming (or, as it is sometimes spelled, eXtreme programming)? For the leaders of this movement, the issue is not so much the nature of the software itself but the way programming projects are organized and managed. They want to peel away layers of bureaucracy and jettison most of the stages of analysis, planning, testing, review and documentation that slow down software development. Just let programmers program! The recommended protocol is to work in pairs, two programmers huddling over a single keyboard, checking their own work as they go along. Is it a fad? A cult? Although the name may evoke a culture of body piercing and bungee jumping, extreme programming seems to have gained a foothold among the pinstriped suits. The first major project completed under the method was a payroll system for a transnational automobile manufacturer.
Frederick Brooks, who wrote of the tar pit in the 1960s, followed up in 1987 with an essay on the futility of seeking a "silver bullet," a single magical remedy for all of software's ills. Techniques such as object-oriented programming might alleviate "accidental difficulties" of software development, he said, but the essential complexity cannot be wished away. This pronouncement that the disease is incurable made everyone feel better. But it deterred no one from proposing remedies.
After several weeks' immersion in the how-to-program literature, I am reminded of the shelves upon shelves of diet books in the self-help department of my local bookstore. In saying this I mean no disrespect to either genre. Most diet books, somewhere deep inside, offer sound advice: Eat less, exercise more. Most programming manuals also give wise counsel: Modularize, encapsulate. But surveying the hundreds of titles in both categories leaves me with a nagging doubt: The very multiplicity of answers undermines them all. Isn't it likely that we'd all be thinner, and we'd all have better software, if there were just one true diet, and one true programming methodology?
Maybe that day will come. In the meantime, I'm going on a spaghetti-code diet.
© Brian Hayes
You can find this online at http://www.americanscientist.org/issues/num2/the-post-oop-paradigm/3
© 2016 Sigma Xi, The Scientific Research Society


text: A co-worker had a pine cut down in his yard this week. I told him I would remove the log if the guy wanted to charge him to take it. So today we went over to load the trailer down with some wood. When I got there I wished I had looked at the log before I opened my mouth. We ended up cutting 5 logs all where 12 foot long except for 2 and they were 8 foot. Which all of them measured 6 to 8 inches longer then the foot mark. Well after alot of tugging, rolling, breaking 4 post we was using for ramps for the log to go up and crushing the fender on my trailer we was able to get the two biggest cuts loaded. You can see in one of the pictures the log was not easy on my trailer fender or side rail. But once we got to the sawmill the owner said just pull your trailer down beside mill we will go ahead and cut them and you can stack it back on your trailer. So we got our first chance at helping run a sawmill plus he knocked a little more off sense we helped him. We ended up with 600 board feet out of these two logs and we still have the top three logs still to pick up and take and have cut. We have a few boards that measure almost 20 inches across. We are beat. Here are some pictures of the day.


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26845 Ynez Rd
Directions Temecula, CA 92591
Once you find the right new or used vehicle that fits your lifestyle, let our Temecula & Escondido Chrysler, Dodge, and Jeep dealership finance team help you with an auto loan or lease. Our experts can help you secure a car loan in Temecula, regardless of credit. Visit our Temecula, California used car lot today! Our used Chrysler, RAM, Dodge, FIAT & Jeep Inventory is convenient to Escondido & Perris.
* The advertised price does not include sales tax, vehicle registration fees, other fees required by law, finance charges and any documentation charges.
* Images, prices, and options shown, including vehicle color, trim, options, pricing and other specifications are subject to availability, incentive offerings, current pricing and credit worthiness.


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Recently Viewed:Family Fun on Oahu Family Fun on Oahu
Explore more:
Family Fun on Oahu
Make room in the family photo album. On Oahu there's a wealth of activities that will create indelible family memories. Of course your kids can always build a sand castle on Oahu's beautiful beaches, but how about taking them inside a real submarine at Pearl Harbor or letting them pat a dolphin at Sea Life Park?
You'll find family fun everywhere on Oahu. Take your kids to see the fish at the Waikiki Aquarium or get a bird's eye view of a giraffe at the Honolulu Zoo. Explore Hawaiian artifacts in the Bishop Museum or get lost together in the 2.7-kilometre garden maze at Dole Plantation. Or play authentic Hawaiian games and eat at a luau at venues like the Polynesian Cultural Center. Many of Oahu's resorts even offer fun programs for the keiki (kids).
On Oahu you'll find something here to charm any child, from surfing lessons in Waikiki to horse riding at Kualoa Ranch. Whatever you choose to do, just don't forget to bring your camera.
- Historic Places of Oahu
From Iolani Palace to Pearl Harbor, explore the historic places of Oahu and enrich your holiday to Hawaii.
- Natural Wonders of Oahu
From scenic mountain vistas to spectacular beaches, Oahu's landscape is filled with incredible natural beauty.


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The Greek economy is in a prolonged downturn. Following a sovereign debt crisis, GDP has contracted for six successive years and the rate of unemployment rose to 26% in late 2012. Severe structural problems underpin the economic crisis, including poor competitiveness. Prices in many sectors are not falling, suggesting competition problems that will add to the hardship of poorer consumers as their incomes fall. Longer term, uncompetitive markets harm growth. The OECD's product market regulation indicators suggest that in Greece many of the constraints on competition arise from regulation.
Against this background, the Greek government asked the OECD to conduct an assessment of regulatory constraints on competition in four sectors: tourism, retail trade, food processing and construction materials.
The process
Making use of the methodology in the Competition Assessment Toolkit, a project team composed of competition experts, economists and lawyers from OECD and the Hellenic Competition Commission completed an assessment of the costs and benefits of regulations restricting competition in the designated sectors and proposed specific recommendations for change.
Stakeholder involvement is central to the work of the OECD and the project team worked closely with the Ministry of Development, Competitiveness, Infrastructure, Transport and Networks and other key stakeholders throughout. A High-level Committee of seven secretaries general from the relevant ministries was appointed to oversee and support the work of the project team. These High-level Committee members will also play an important role now that the project is completed as they will be in charge of implementing the policy recommendations proposed.
Building capacity
Working alongside the project team in Athens has also helped to build the capacity of officials from the government and the Hellenic Competition Commission to conduct competition assessment independently in line with international best practices through the application of the Competition Assessment Toolkit. The substantive knowledge gained can then be applied to similar exercises in other sectors or to new laws and regulations.
Competition Assessment Toolkit
OECD Recommendation on Competition Assessment
Pro-competitive Policy Reforms
Liberalisation and competition intervention in regulated sectors
Athens - 3 December 2012: OECD and Greek government officials meet to
finalise and sign the Memorandum of Understanding for this project.
Left to right: Mr. Lazaros Tossounidis, Advisor to the Minister, Ministry of Administrative Reform & Electronic Governance; Mr. Panos Karvounis, Chief Representative of the European Commission in Athens; Mr. Manousos G. Voloudakis, Deputy Minister, Ministry of Administrative Reform & Electronic Governance; Mr Antonis Manitakis, Minister, Ministry of Administrative Reform & Electronic Governance; Mr. Kostis Hatzidakis, Minister, Ministry of Development, Competitiveness, Infrastructure, Transport and Communications; Mr Luiz de Mello, Deputy Chief of Staff, Office of the Secretary-General, OECD
Left to right: Mr. Kostis Hatzidakis, Minister, Ministry of Development, Competitiveness, Infrastructure, Transport and Communications; Mr Luiz de Mello, Deputy Chief of Staff, Office of the Secretary-General, OECD
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Mike Carbonell Mike Carbonell live at Tryst
The Los Angeles native and 17 year veteran spent most of the late 90's and Early 2000's perfecting his craft by winning DJ battles and creating smooth energetic sets that keep dance floors moving from LA and Hollywood Nightclubs to Massives and Electronic Dance Music festivals all over Southern California.
10 pm – 4 am
No Cover
Experience A-list nightlife at its best at Tryst, the Nightclub at Wynn Las Vegas. The club's 12,000-square-foot space exudes sensuality from the intimate entrance lounge to the terraced outdoor lagoon, as well as the hideaway VIP library complete with exhibition pole, making it one of the most desirable spots on The Strip.
Las Vegas, NV 89109 (702) 770-3375
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text: As everyone knows, I hate how crappy the LS engines look. Plastic everywhere, wires and plastic shrouding really really make these LS engines look ugly as sin in my opinion. As more and more people but these in old muscle and hot rods, the market to clean up these engines is growing. I was bored while writing a paper for my college class, and stumbled across this new valve cover set up. After talking to the company, they said since these covers are a bit taller some modifications may need to be done with wiring harnesses and what not to make it fit. As you can see they mount the coil packs above the valve covers to help clean up the look. You will need to buy longer wires such as the Katech for $55 bucks. What do you all think? Looks good or not? PS after check sources, the covers cost around $250, coil pack bracket $60, and like I mentioned wires $55.


text: A Winamac man was killed in a single-vehicle motorcycle crash Sunday morning on an interstate in southeast Missouri. Michael Blinn, 50, was northbound on Interstate 55 in Portageville on a 2004 Harley-Davidson, ran off the left side of the roadway and was thrown from the bike, according to a crash report from the Missouri State Highway Patrol. He was wearing a helmet. The wreck happened at 8:30 a.m., and he was pronounced dead a short time later by the New Madrid County Coroner. Blinn sold tractors at Gilsinger Implements in Winamac and wrote a weekly newspaper column for The Pulaski County Journal. He also starred in the locally-produced movie And Then You Die. Arrangements are pending at Frain Mortuary in Winamac.


text: Call his bluff and let him gamble with his option year at the 2.8 mil. If he has a great year and they think he's worth 10+ mil and have the money they can offer it to him after the season. If he decides to walk anyway after the season we can get another top receiver for that kind of money. I say no way Cruz will gamble and will sign for the 7+ mil.