text:
John Hinrichs
Did you start dancing in Illinois?
Yeah, at the University of Illinois in Champaign-Urbana.
So you were older. What did you do before dance? Were you involved in sports?
I did some sports when I was young. Basketball, baseball, soccer, golf in high school. Golf was probably the most intensive sport I got into. I was competitive in it. Played it in high school. We actually won our state championship in high school. Also, in high school I got into theater—first in musicals, then straight acting. I did that through college. So dancing was a natural extension of that. I remember at Christmas I would watch Holiday Inn with my grandpa and Fred Astaire danced in that, but I never thought much. And then in high school when I started doing theater and musicals, it related a little more. Like I thought, Oh that's really cool. I wonder how they do that? So for musical-theater, I took tap dancing lessons when I got to college and watched tons of Gene Kelly and Fred Astaire movies and wanted to be like them. I started studying jazz and a little ballet. I took a survey class of modern dance my second semester of college for an academic requirement.
Were you a theater major?
I was in general engineering as a freshman. But after my first year, I tried to move to theater education. I probably would be a high-school theater teacher right now, but they didn't have a program for it at Illinois. I got into math education instead. I wanted to get out of engineering, and I was going to get a certificate to be able to teach theater at the same time. But halfway through my junior year of college, I had been taking more and more dance; modern dance resonated with me. So I auditioned for the program and got in. By that point, I had taken enough math that I was four classes away from having a straight math degree. So my plan was to finish the math degree while I did the dance degree, which meant I'd have to stay in college two more years. By year five, I'd finished the math, had one more year to go in dance, but realized it was better for me to go to New York. That last year, we had done a Cunningham MinEvent. Banu Ogan came and set it—we had Cunningham class that year. Paige Cunningham, also from the company, was a grad student then, so I was exposed to the work and realized it would just be better for me to study in New York at the studio. I had traveled to New York during summers and saw the RUGs [Repertory Understudy Group] working and it was like, Oh that's exactly what I want. I had a degree anyway. Why spend the money on another year of college? So I studied at the studio for a year while I was also dancing with Randy James Dance Works. I became a RUG for two years and then got in the company.
Did you have a mentor in the modern department in Illinois?
Sara Hook. She's probably my dance mother. I would go to dance concerts throughout college and I'd bump into her and she would say, "You should be a dance major." They're always looking for guys. But this is what made me audition—I happened to bump into her at a concert my junior year, and I was at the point where I was open enough to the idea. I wasn't liking wanting to be a math teacher. I was just into dance so I made an appointment to talk to her. I auditioned two weeks later to get into the program for the following semester. That was really a narrow window and how it happened was strange luck. I wanted to go see a movie playing on campus, but they had sound trouble, but there was a play. I was waiting in the lobby and Sara came in and that's how I bumped into her. Had I not—because the audition was two weeks away for the next semester—it would have been another year until I would have gotten into the dance department. That would have meant seven years in college, and I would have walked away from it.
What did you like about modern dance?
The freedom of it—the fact that the movement could be anything you wanted. It can be anything in space and time. You can put any idea up there. You're expressing it with your body and movement. That's challenging. The experience of taking class resonated with me—the musicality, the physicality. There was a lot of possibility.
You were a serious golfer. Is there any relationship between golfing and dance?
Absolutely. Especially in how you work every day to figure out one movement. In golf, it's even more tedious. It's just one swing. There are slight differences, like a sand shot and putting, and there are different techniques. But basically, it's this one movement you're trying to get down. There's mechanics, there's alignment—like your feet have to be parallel to the line of your ball and your target. The proprioception—just a lot of alignment principals—you do this, you initiate with this. Constantly looking at other people and learning from them. What are they doing in their body to make that happen? Oh, it's more from the hip. So it is about breaking down and analyzing a movement very meticulously, because a very small change in how you're trying to hit the ball can make a huge difference. It's the difference between hitting the fairway and slicing out of bounds, and that's everything in golf. So really small, minuscule differences canmake big differences and that's similar in dance. There are some big-picture types of steps that you don't so much analyze; you just do them. Then, there's a lot of minutia in dancing: You have a little tension in your hip, and that's causing you not to be able to lift your leg as easily. It's this lifelong process. You're never gonna get a perfect golf swing; you're never gonna get a perfect arabesque.
So that's the physical side. What about the mental side? Is there a relationship?
I haven't thought of that. I think the mental game was harder for me in golf than dance actually, because of the competitive side of golf. You're in a tournament and you want to win. If you make a mistake, you don't get what you want, whereas in dance, the stakes aren't as high depending on what the mistake is. Maybe it has really big consequences—maybe I embarrass myself or maybe it didn't look so good, but more often if I make a mistake in dance I'm able to let it go and move on to the next moment because all is not lost. You can't dwell on it, and this is a creative endeavor, not a competitive one. The idea of being in your head is similar—especially if you think too much, and that's a huge problem for me. That math major. I'm a left-brain person. It gets in my way. It's one of my big challenges and it was something that was also my problem in golf—being in my head, thinking too much, micromanaging and being too analytical. In dance, I'm figuring that out. But in golf, I don't think I ever won a tournament on my own. [Laughs] The closest I came was third place. I was okay. I never played in college where the stakes are big.
At the University of Illinois, who thought you had an affinity for the work? Did Banu Ogan teach technique class?
She taught us class and set the MinEvent. Janet Charleston also was in grad school. She was faculty at the [Cunningham] studio, and she and Paige taught class the rest of the semester when Banu wasn't there. But for the time Banu was around setting the piece, she did and I remember that her classes were great. Now, I love her classes. They're so difficult, and I think she's a really gifted teacher. I felt encouraged by my experience. There weren't that many guys in our program so I got their attention and I got the Scramble solo. Just having to figure that out was really hard [Laughs]. Banu had to work with me. I was hungry for it at that point. I loved it.
How did your parents take all of this?
I remember telling them when I was deciding to switch to dance. It was after a musical I did in college; we went out for dinner afterward like we always did. My dad was a high-school math teacher, and my mom, a high-school Spanish teacher. But at the time my dad was doing education finance for the state; he's a math kind of guy. I told them, "I'm thinking of switching to be a dance major—there's an audition next weekend and I think this is something I want to do." I drop this bomb and I remember that my dad's reaction was to say, "Oh my God." Not in disgust, but, Oh this is a headache. Why would you do that? It's gonna be hard. He was just more concerned—not against me doing it, but concerned as a parent that it might be a hard life because in the practical sense, it's a bad move to go into the arts. It's really tough and not a lot of people make it. It's not nearly as stable as being a math teacher and getting a job and making a living. He was concerned, but then they were both very supportive and have been nothing but supportive ever since I decided to make the change.
So you moved to New York. Were you a scholarship student at the Cunningham school?
Yes. That was in 2006. I flew to New York—it was on August 20th, right before the next quarter started at Cunningham, because I wanted to do the scholarship audition. The day after I arrived, I was taking class. I wasted no time. That was my intention: I want to go to Cunningham. The way to do it is that you have to be around him and take class every day, so that's what I did. I think that was a great approach—to just throw yourself in, be seen, show enthusiasm, show interest. It ended up working out, with a little bit of luck involved, too. [Laughs]
You had not really been dancing for that long. Did you feel the competition?
By then I had been a dance major for two and a half years, and another two and a half of just classes every now and again. I always felt like I was behind, and I always felt I wasn't up to standards or up to par, but somehow I had people fooled. Or I was a guy so athletically I could just go through it and I suppose that's what I did: the monkey see, monkey do. I felt competition like I always had—it motivated me to work on myself, on my dancing. And there were a few other guys at the studio who were great—we were kind of friends, even though there was a little competition for parts in the workshops. But there wasn't an opening for a RUG for a year so I didn't feel like I needed to be competitive every day. I was just more focused on myself and doing the work.
How did you become a RUG?
There were some shifts in the company. Daniel Madoff and Joe Simeone were RUGs for the year when I was a student at the studio. And then the following summer, Joe was kind of in and out. He left for a bit to go do another project, but then it fell through or something so he came back. Then there was going to be an opening in the company. Cdric [Andrieux] was leaving, so Daniel—not Joe—was going to go in for Cdric, which made Joe leave and Dylan [Crossman] filled in for Joe. So it was Daniel and Dylan as RUGs for a bit in the summer. And then Daniel went in for Cdric, Jonah [Bokaer] also left and Silas [Riener] went in for Jonah, and I substituted for Daniel as a RUG. So there were a bunch of switcheroos and Dylan, Silas and I all moved into the organization—a couple of us as RUGs, one straight into the company, but there happened to be three openings all at once. And then after that point, there weren't openings for another couple years.
How long were you a RUG?
Two years. Two years and one month I think. [ Laughs ] And two days.
Well, I mean you start to wonder.
I think that's right. It was September 17 of 2007. I was a RUG and October 19, 2009, I started as a company member.
I love interviewing a math major.
[Sheepishly] I think other people remember that stuff, too. It's not strange.
What was your RUG experience like?
Merce made Nearly Ninety basically the whole time I was a RUG. I believe we started in November and he finished a year and a half later in April. Merce also watched us do the other RUG material. Robert [Swinston] would first work with us and then Merce would give comments. It was really the two of them that trained us. Robert mostly in more technical ways, like, "You get your leg up there to do this movement" and Merce saying some things like that, but it was more about the choreography—I feel like he continued to work on the choreography depending on who was doing it. If a new RUG came in, he might see something and have them do it slightly differently than the person before. I felt like he really did see who was in front of him and work with them. But yeah, what two great teachers to train you to dance. [ Laughs ] And Merce's last dance was really special to see—to be involved in his process, to be inside his process was amazing.
Tell me about that.
Well, what struck me about him was how patient he was and how patient he was with his own choreography—how he just did it every day and then the next day and the next day. He'd work on it and edit, throw this out and add this new thing. But there was never a sense of rush. He would give an instruction: "Step here, move your arm this way, move your torso this way," and then the next bit of choreography in a very sequential way like that. Or maybe start with the rhythm. "The rhythm is 1-and-2-and." and give you legs for that and arms and torsos. So in this whole process, it was a very patient but steady thing. Over time, it accumulated to a nearly 90-minute dance. And that was just cool to me—it was such a mature process of an artist to see a 90-year-old making a dance. Just that word patient strikes me. I feel like if I were to make a dance, I'd be like, I have to make something really great, all of a sudden, but he gave himself a year and a half to make a dance. He just kept plugging away.
How did you find teaching material to the company members?
It was a little nerve-racking and awkward. If I were in their shoes, I could understand how you wouldn't really like it so much. I didn't want to step on anyone's toes. And there were stories the other RUGs said about how the process was in the past, like working on XOVER or eyeSpace —that sometimes there were problems that came about. So that was in my head. If there was a disagreement among the RUGs about a step, that's problematic for the company. So I felt self-conscious; the company members were just fine. It was more in myself.
For Nearly Ninety, Cunningham was working with dancers, not with computers as far as you could tell, right?
I guess so. He always came in with ideas. I think Robert said he didn't use the computer. I'm not totally sure about that. But he always had ideas. I don't know if he used us as inspiration for the movement he came up with. I kind of doubt that. [ Laughs ]
Oh, I don't know. I didn't notice anything where it was like, "Oh that movement's so good for you, Melissa [Toogood], or for you, Dylan" or for me. I don't think that was his process, but in looking at what it was he created, maybe he did, to an extent, change it to make it work based on the people who were attempting to do it. And that strikes me as a limitation of that way of working. If you're making movement on the RUGs and not company members, they may not be quite as able to do some of the things you're asking for. But that was his situation and that's how he preferred to do it.
As a RUG, what was your relationship like with him? Did you interact with him?
He liked to tell stories. Maybe once a week or so there would be a time when we'd take a break and come back in and ask him what he wanted to do and he would just start talking to us about something. We would just sit down. It was amazing.
Were they dance stories?
Mostly dance stories or if he'd gone on tour, he might say something that happened like, "I was having lunch at an outdoor caf and this bird came up from the bushes" and he would describe having been so taken by it. He seemed to have that kind of mind where details that most people would dismiss or overlook stuck out to him and he really was interested in that little thing—like how that bird hopped over to him. He gave his attention to that, it took his mind. Whereas most people, if they came back from a tour, wouldn't have said, "There was a bird at lunch..." It would have been, "There was a bird there—move bird, I have to eat." But Merce found it special and interesting. So he would tell us stories like that sometimes.
I know he loved old movies. Did you ever talk to him about stuff like that?
He did like them. I know he did. But I didn't personally get to talk to him about Fred Astaire. I should have done that. I don't know why it didn't occur to me. He probably would have loved it. I didn't always feel comfortable talking to him—just going up and having a conversation—which is really sad and unfortunate. That was, again, just my own mentality—thinking that somehow he wouldn't like it or I wouldn't know what to say and it'd be awkward. Or other people would not like it for some weird reason; they'd be jealous or competitive. So I didn't. I remember when Nancy Dalva was doing her Mondays with Merce interviews, she was thinking about material and she came into the small studio one day before class when everyone was warming up and she asked, "If you could ask Merce anything, what would it be?" A couple people had some answers, but generally, not many people had much and I thought, That's so weird. We have this legend, this genius Merce Cunningham, who's so important to all of us and if we had to ask him a question, it was somewhat difficult to think of something. I did think about it. Merce was just sitting there. Why didn't I walk up and ask him things? No one seemed to. Like every now and then someone would, but no one went up to Merce. He wasn't the most personable guy. If you started trying to get too close to him, he wouldn't like that. That might have its consequences. And maybe that was the reason he set that up, that protection about himself. That was the way he was.
What reconstructions were you a part of as a RUG?
There were a few. Right before I became a RUG, we did Second Hand and Beach Birds.
I wish you were doing Beach Birds again.
I know. I love it. Melissa and I are going to do the duet at the Armory.
Oh good. Did you choose that?
We both did. Banu reconstructed that right before I was a RUG. Sandra Neels did Second Hand . While I was a RUG, we did Tread , Rune . Square Game was kind of a workshop. And then I think more just Events as opposed to full pieces.
Were you concerned during that period of, Am I going to get into the company? What am I going to do if I don't?
Definitely. It was really tough for me actually. The financial crisis was happening and Merce's health was declining and three company members were let go [Holley Farmer, Daniel Squire and Koji Mizuta]. A period of time went by before they announced what they were going to do so we, as RUGs, were really nervous—speculating, planning, thinking. And then they announced that Dylan and Jamie [Scott] were going to replace company members and so that was really tough for me because another male company member had left, but they didn't replace him. It had been almost two years by then, and I felt like I could have gone into the company. I didn't feel like I was such a great dancer or something like, Oh I can't believe that they wouldn't have taken me, I'm so great.
But you felt ready.
And I certainly wanted to. There was a lot of back-and-forth information at the time about what was going to happen. So I didn't get into the company immediately and then Merce passed away. Another detail about that is that Julie [Cunningham] was injured at exactly the time when Dylan and Jamie got into the company, so Krista [Nelson], the other remaining RUG, substituted for Julie. For the next show of the company, all three of them performed with the company and I was the only RUG that did not.
So the three of them were in the company and two more RUGs were on their way in. Merce passed away and all of the people I worked with were in the company and I was the one left out. I felt pretty isolated; it was just very difficult. I wasn't in the Rockefeller Park show. I just felt this disconnect. And I started thinking, Is Cunningham going to happen? How long can I wait? If they're not going to replace the other guy that left, when will another guy leave? Eventually, in October, I got in.
Had you talked to Robert Swinston?
I did. He gave me the best information he could—but nothing was really decided. They were going to do reconstructions where they would need another guy. He basically said, "You're probably going to have a spot," which helped. But it was a hard road to get there. Especially with Merce's passing.
So you weren't a part of going to Merce's apartment to say goodbye to him? Or were you?
Well I did go to his apartment, but that was another thing. We went in groups of four and just the way it happened, I didn't get to go with any of the dancers; I went with the production members who I didn't really know at that time. I was with kind of these strangers to say goodbye. So that changed what that experience was. So that was another kind of sad point to deal with.
Where was your first performance as a company member?
We did a six-week European tour and it was Charleroi, Belgium. We did Square Game and Split Sides . Square Game was the first piece. I remember looking at the bags. I touched one because I wanted to remember the moment.
Was it everything you wanted or hoped for to be in the company? Or had too much time passed?
It was pretty cool. [ Laughs ] It was great. It was a six-week tour, and I had never been out of the country so that was the first time. It was all this new stuff and having gotten that thing that I had wanted for so long and getting to do all this performing that we didn't get to do as RUGs—seeing Europe, having some more money to be able to spend on things. Lots of big changes and it was just awesome.
How did you adjust to performing so often?
I didn't have a big problem with it. I'm kind of an oddball. I was talking to some other of the dancers about getting nervous before shows. I don't really get that nervous. Unless it's a premiere or someone is in the audience that I really care about—his opinion somehow matters to me, then I'll get a little more hyped up. But in general, I just go to the theater and do it. There's a heightened energy and your focus clarifies and there's a little bit of adrenaline to help you in a good way, but it's generally a positive experience for me. How rare a job to get to perform so often in modern dance? It's what all of us want to do. Now after two years, I'm starting to see how the older company members feel about being tired of it and how being on tour is hard and stressful. That's starting to affect me a little more. Sometimes you don't feel so much like dancing and you'd rather have a day off. Whereas before, having started in college, I had so much enthusiasm because it was so new, and up until pretty recently, that has carried through. As for taking a day off—who would want to do that? Why? But no, oh no. A day off is needed and good. [ Laughs ]
How long have you been dancing?
I'm 28. I guess since I was 18. I took my first tap dancing class in college, at the recreation center of Urbana with 40-year-old women. [ Laughs ] It wasn't a college class. It was at a recreation center and it was way far away from my dorm. I had to take buses to get there. It was on Saturday mornings.
Wow. You wanted to dance. During this Legacy Tour, what has stood out to you?
Travel is definitely one of the biggest perks of the job. Doing the work, too, but we've been to pretty amazing places: London, Paris, Geneva, Barcelona, Rome, Jerusalem, Moscow, Hong Kong, Mexico City. Those are significant life experiences. Some are more special than others. It seems like if we go to a city and we have a good time together as people, the tour sticks out as being really special. Santiago de Compostela, Spain sticks out as one of those. We had a great day going to a beach. We rented a car, we found this beach, it was kind of isolated and unlike any beach I'd ever been to before. There was a river sort of carved and a big rock you could climb out on the coast and it was our old RUG group—the four of us—that went. That was a great day. I liked experiencing Hong Kong. Paris is always amazing, of course. And then I'd say dancewise, my best role probably would be in Square Game . I get to do Merce's part.
Who taught you that part?
We learned it off video, I believe. We did a workshop when we were RUGs and then Robert reconstructed it with the company. There are a couple of solos and a duet. And they're kind of quirky or not—they aren't just regular rhythms and shapes that you can write down on paper easily. You have to study the video and mimic to get something in your body and then figure out what your interpretation of it is. That freedom and ambiguity makes it so valuable and so different from a lot of the other work where this is the rhythm and you could write down what the sequence of shapes are. A lot of the work is carefully defined, but this solo and duet are different. You have more play, more freedom; it is not super clear what he was doing because of the two videos that exist, there are obvious differences so the task of deciding for yourself what it is you do is a little different. And a Merce role is, in and of itself, special.
Do you know what you're going to do after this?
Well, I kind of do. I'm interested in Paul Taylor, but I'm not sure what to do about that because you never know what Taylor's attitude is toward Cunningham. They're kind of at odds in some ways. A lot of people are very strongly for one and not the other.
I love both so you're talking to the right person.
I doubt I'll get a job of any kind immediately. So having off time in January really appeals to me. Time to do whatever—I'm interested in acting and comedy and writing. I've done a bit of that in New York. When I was a RUG, I was able to take classes. I'm curious just how interested I am in those things, so I'd like to take more classes. I have all of these ideas I'd like to sink my teeth into and explore, but momentum seems important. Whenever I work on it now, I feel like I make progress and then something distracts me and that's disheartening. So I want time to explore other art forms.
Do you find the styles of Cunningham and Taylor so different?
I think they're similar in relation to Graham. They both came from Graham and that era. There's the use of the back that's somewhat similar—and different—in small ways, but pretty similar. It's different stylistically, but the principals of movement are similar. Then, Taylor has these additional things he puts in: the acting, the characters, the comedy.
What are your favorite Taylor pieces?
Esplanade , Cloven Kingdom . I remember seeing Sunset at ADF [American Dance Festival] and loving it. I think because it reminded me of Gene Kelly. The turns the men do... Last Look and Aureole is, of course, classic. 3 Epitaphs is amazing for the quirky niche of movement he found. Just a simple idea, but it turned out to be so beautiful.
It's just such a world of dances.
Yeah. So diverse, which is what appeals to me about it. He says something in an interview like, "I only make three dances really; I just dress them up differently every time." And you can kind of see that, but he's able to make a repertory so diverse based on that mentality. He must have a pretty well developed process of how to make a dance. There are ones that I really love and ones that I don't and that's true of any choreographer. He seems like a good one to learn from and especially having these other interests that I mentioned like comedy, acting, writing. To be inside his mind, to see how he makes a dance, like I did with Merce, could be super beneficial and interesting.
Did you read his autobiography?
Private Domain . Yes. He's a funny guy. Giving himself an alter ego to be a costume designer? And the documentary, Dancemaker , where he told some journalist that he found that music for Company B in the trash.
And it turned out to be a lie.
And he was just laughing about it. I like that.
When I interview him, I'm always thinking to myself, Is that a lie? Is that a lie?
Is that a fun interview then? I'm sure.
Do you think the Cunningham company should disband?
That's a complicated question. Well, it would have been interesting to see what would have happened had they not made that decision because it seemed like a very responsible decision or one that made sense. Like when they rolled out the legacy plan, I remember thinking, Oh, okay, that makes sense. So you don't think you'll have funding to support the company without Merce around to create new work? Yeah, I understand how that would be really difficult. So it made a lot of sense . But not having the Cunningham company around will be a sad thing and who knows? Maybe it could have survived. It might have been really difficult and had to change a lot or scale down, but maybe it could have survived. So much of it does deal with money. I don't really know the nuts and bolts of the financial situation. What is the trust really able to do in that way of keeping some type of group going on? It would be nice if the company would not disband. The company is going to disband regardless, but just as a dance fan—not even as a dancer—I wish it wouldn't.
Is this a difficult time for you or are you just trying to enjoy it?
It's not so difficult. I don't tend to be super sentimental, and having these other things that I'm so enthusiastic about doing after the company—being able to think about that makes me really happy, actually. It will be sad not to be able to perform Cunningham dance stuff anymore, but when one door closes, another opens and I'm kind of looking at it that way. It's sinking in more—we're inside three months now. I'm in a pretty good place for myself within the company. I'm not in any negative place. I'm just kind of taking it pretty slowly right now or in small increments. I'm not stressed out about the future.


text: When working with the Arduno Uno, I often find myself needing more output ports than it's got. Instead of having to trade my Uno for an Arduino Mega, I just plug in an EZ-Expander Shield, which plugs into three I/O ports and furnishes 16 — instantly providing 13 more I/Os. While each added pin can only safely consume about 6mA, this is still enough to drive LEDs or operate transistors. The documentation of this kit is extremely well done, with clear directions and photos. Assembly was a breeze. And with the provided libraries, you only have to add one line of code to your sketch to use your new expansion pins.

subset: commoncrawl


text:
University of Texas
|University of Texas
|Austin, Texas
|football, baseball, basketball, golf, swimming & diving, tennis, track & field · XC, rowing, soccer, softball, volleyball[1]
|orange, white
|$17.1 billion[2]
The University of Texas is a doctoral and research facility located in Austin, Texas. It is the flagship institution of the University of Texas System and currently holds the largest enrollment of all colleges in the state of Texas.
The University of Texas is a major center for academic research and operates various auxiliary facilities such as the J. J. Pickle Research Campus.
The University of Texas originated in 1839, when the Congress of the Republic of Texas, in an act locating the seat of government, ordered a site set aside for a university. A subsequent act the same year allocated fifty leagues (231,400 acres) of land to the establishment and the endowment of two colleges or universities.
On March 6, 1967, the Sixtieth Texas Legislature changed the official name of the main university to University of Texas at Austin. The Austin campus is the largest of fifteen component institutions in the University of Texas System. In 1992 the university was one of only three southwestern members of the Association of American Universities, an organization of fifty-eight universities of the highest academic standing in the United States and Canada. UT Austin led all other institutions in the South in the number of doctoral degrees granted.
In 1999-2000 the university received more than $309 million in research grants and contracts, 59 percent of which was from the federal government.[3]
The University of Texas sixteen colleges each listed with its founding date:
- College of Liberal Arts (1883)
- College of Natural Sciences (1883)
- School of Law (1883)
- College of Pharmacy (1893)
- Cockrell School of Engineering (1894)
- College of Education (1905)
- Graduate Studies (1910)
- McCombs School of Business (1922)
- College of Fine Arts (1938)
- School of Social Work (1950)
- School of Information (1948)
- School of Architecture (1951)
- College of Communication (1965)
- LBJ School of Public Affairs (1970)
- School of Nursing (1976)
- Jackson School of Geosciences (2005)
UT has numerous undergraduate honors programs, such as Dean's Scholars, Turing Scholars, Business Honors, Plan II, and Liberal Arts Honors.
- ↑ http://www.texassports.com/
- ↑ 2011 NACUBO-Commonfund Study of Endowments. Retrieved on November 20, 2012.
- ↑ http://www.tsha.utexas.edu/handbook/online/articles/UU/kcu9.html
External links


text:
Blair, the most successful leader in Labour Party history, offered an unprecedented public rebuke to one of his successors.
Companies need to give women ways to come back into the workforce after having children, said Blair.
Mr. Blair always gave Saddam's WMD as the fundamental reason for war.
Once out of office, Blair may have profited from his most controversial act as prime minister—the joint invasion of Iraq.
One Blair-supporting Labour MP admitted to me that, "[Blair] has made himself look a bit silly, to be honest."
Preached at Fagg's Manor, three miles from Mr. Blair's house.
But Blair as quickly leaped from his horse, and was beside her.
Blair thinks that all must be evil that does not just square with his old-fashioned notions.
It represented scorn for which Mrs. Blair could find no adequate utterance.
Blair had longed to see his rude shipmates forsaking their sins; he had prayed and wrestled in prayer for them.


text:
Teen Says He Didn't Actually Pee in Portland Reservoir
(NEWSER) – The Portland teen accused of peeing in a city reservoir on Wednesday insists he didn't do it—in a relatively NSFW defense. "Yeah, it's f---ing retarded, dude," 18-year-old Dallas Swonger tells Vocativ in what the site calls an "expletive-filled interview" given as Swonger smoked a Newport cigarette.
"I didn't piss in the f---ing water." He explains that he did urinate, after a night of skateboarding at Mount Tabor Park, but he did so against the wall of the reservoir, not into the reservoir. "I was like, 'Dudes I have to piss so bad.' So I just went over to the wall. I leaned up against the wall and pissed on it. Right there on the wall, dude. I don't know else how to describe it."
Read the full story at Newser


text:
Create your first Word 2013 document
Watch these videos to learn how to use Word 2013. Get started with the new version to see how to do everyday tasks.
Custom margins in Word 2013
Watch these tutorial videos to learn how to set a custom margin, and a default margin in Word 2013. Plus, learn how to change the margins of your headers and footers.
Introduction to Tables of Contents (TOCs)
You create a table of contents (TOC) by applying heading styles — for example, Heading 1, Heading 2, and Heading 3 — to the text that you want to include in the table of contents. Word 2013 searches for those headings and then inserts the table of contents into your document. Then you can automatically update your TOC if you make changes in your document.
Line spacing
Adjust the line spacing between text or paragraphs In Word 2013. Take this quick course to learn more, and then try it yourself.
Spell-check basics
All Office programs can check the spelling and grammar of your files. In Word 2013, click Review > Spelling & Grammar to get started.
Top tips for working in Word Online
Here are the top tips to help you get the most out of Word Online. Learn how to get started, save your work to OneDrive, add and review comments, edit, and print.
Track changes
Track changes records every edit without making anything permanent. You can move, copy, delete and insert text, change formatting, even change pictures and insert objects. And the person who sent you the document can see the changes you made and decide whether to accept or reject them. Or you can do the same when others make changes to your document.
Webinar: 5 things to raise your game to a college level
In college, there's a pervasive message that "you're not in high school anymore, so you better up your game." So we'll show you about sharing docs without thumb drives, how to avoid doing a bibliography by hand, and using free tools in Office Online.
Work with word counts in your document
Watch this video to learn how to track the word count in your document as you work. And if you need to print your document, learn how to insert and update the word count in to the body of your document.
Advanced mail merge
If you need to use mail merge a lot in your business, then this course is for you. Learn how to add formulas and conditional statements, and target recipients with field code.
Advanced tables of contents
In this course, we'll use some advanced techniques to create a custom TOC, in which you have complete control over the contents.
Collapsible headings
Collapsible headings can make it easier to read and quickly organize a document. When readers open the document, they can use the collapsed headings like a table of contents - choose the section they want to read and click the triangle next to it to expand it.
Mail merge
Use mail merge to create mass mailings that you individualize for each recipient. You can add individual elements to any part of a label, letter, envelope, or email, from the greeting to the entire document, even images. Word automatically fills in the fields with recipient information and generates all the individual documents. In this course we'll start with email, then move on to letters and envelopes.
Take mail merge to the next level
There's a lot more you can do with mail merge. You can import lists from other sources, like Microsoft Excel files, and take advantage of Excel's many tools for working with data and numbers. And customize your message to make it more personal to each recipient, or go all the way with personalization and insert text directly in each e-mail. Take this short course to learn more.
Check out training courses for the rest of the Office 2013 programs.


text:
Preferred by museums and art galleries, this is the illuminated pedestal that softly underlights artwork. Fifty-four LEDs cast diffused, shadowless white light upward to accentuate fine details of a sculpture, crystal stemware, a trophy, or flower arrangements, creating a dramatic visual display anywhere in a home. The 10 1/2" sq., frosted-acrylic display surface safely supports up to 10 lbs and the cabinet is handmade from wood veneers with a rich cherry finish. Plugs into AC.
Was $199.95 NOW $59.95
Sale item quantities are limited — please order soon.
Was $229.95 NOW $89.95
Was $299.95 NOW $99.95
May we recommend:
(based on 2 reviews)
Ratings Distribution
5 Stars
4 Stars
3 Stars
2 Stars
1 Stars
Reviewed by 2 customers
Displaying reviews 1-2
Back to top
Great purchase at a nice price
By None
from Calgary Canada
Best Uses
Some years ago I purchased a piece of art that looks like an ocean wave and I needed something that would illuminate it as well as make it stand out where it could be seen. The stand was perfect for it so I am pleased that I got the stand as well as at a sale price.
Bottom Line Yes, I would recommend this to a friend
Was this review helpful? Yes / No
- flag this review
High quality build, darker than pictured, switch is low
By Dave
from DC
Received and started to use. Nice ambient light
COPYRIGHT © 2016 HAMMACHER SCHLEMMER & COMPANY, INC. ALL RIGHTS RESERVED. W108147 E. 57th ST • NEW YORK, NY • 10022 • 1-800-_321-1484


text:
Promotional price valid on web orders only. Your contract pricing may differ. Interested in signing up for a dedicated account number?
Learn More
Learn More
Honeywell Ranger 1600 Insulated Firefighting Boots, Medium Width
Offers protection against punctures, moisture and electrical shocks
Manufacturer: Total Fire Group BT1600030M
Specifications Description & Specifications
|NFPA 1971 and NFPA 1992
|7.1 lb.
|16 in.
Provide Content Correction
We continue to work to improve your shopping experience and your feedback regarding this content is very important to us. Please use the form below to provide feedback related to the content on this product.
Product Title
Thank You!
Your feedback has been submitted. Fisher Scientific is always working to improve our content for you. We appreciate your feedback.Ok


text:
These canvas panels present an economical and easily portable alternative to stretched canvas–great for students on the go. They are designed for use with all media, and are of archival quality. The 7 oz. canvas is 100% cotton, triple primed with acrylic gesso and securely glued to a 100% recycled, acid-free board. All canvas sides wrap around and are secured in place on the back side. The convenient label provides an area to identify the artist, title, medium, etc.
2 points will be rewarded when you are logged in to your account and buy this item.Learn about our rewards program here.
Customers who viewed this item also viewed:


text:
Blue Oyster Cult co-founder Allen Lanier dies
Listen to Blue Oyster Cult on iHeartRadio
Blue Oyster Cult co-founder Allen Lanier has passed away. Allen played keyboard and guitar for the band, and although he retired in 2006, he reunited with Blue Oyster cult at their 40th anniversary show in New York this past November. He passed away at 67 due to complications from lung disease.
The band announced his death on Facebook:
We have extremely sad news to report.
We've lost our friend and bandmate Allen Lanier.
Allen succumbed to complications from C.O.P.D.
He is survived by his wife Dory, sister Mary Anne and mother Martha.
Although he retired from touring in 2006 Allen returned to the stage for what turned out to be his final appearance, reuniting with BӦC at the 40th Anniversary show in New York this past November.
DFTR sweet man. We love you and miss you."
The post was accompanied by a photo collage of Lanier over the years.
Photo Credit FilmMagic


text:
Portsmouth Public Library is a gateway to reading, information, culture, community activities, and self-directed learning. It serves those who want to read, to learn, or to connect with our community and our cultural heritage.
The library's mission is one of sharing and it strengthens the community by fulfilling these roles:
The Library accomplishes its mission of sharing by:


text:
He sat silent throughout the presentation and the dozens of hard questions that followed. Then leaning over his knees and rubbing his hands together, he said, All you people listen up. You can't change anything. This book it don't matter. People have been this way thousands of years and will be this way thousands of [Read More…]
You can't change anything
June 8, 2012 by 7 Comments


text:
Eminem the first artist to win the Grammy for Best Rap Album for three consecutive LPs.
Keep clicking to find out what else you didn't know about Eminem.
Photo: Getty Images Weird Al Yankovic wanted to shoot a video for the song 'Couch Potato'-a parody of Eminem's 'Lose Yourself'-but Eminem refused to give him permission.
Photo: Getty Images Eminem is from Detroit but he's so much a part of the Bronx that he was the only guest artist to appear on Jay Z's Blueprint.
Photo: Getty Images Eminem failed 9th grade 3 times before dropping out.
Photo: Getty Images Eminem was up for a role in Training Day which ended up going to Ethan Hawke.
Photo: Getty Images Marshall Mathers was finally born after his 15 year old mother suffered through 73 hours of labor.
Photo: Getty Images Eminem claims to have started rapping after hearing the Beastie Boys.
Photo: Getty Images Eminem was offered the lead role in one of 2013's Elysium. But reportedly turned it down, forcing director Neill Blomkamp to instead star Matt Damon.
Photo: Getty Images He was still making payments on his trailer home when The Real Slim Shady LP was released.
Photo: Getty Images Michael Jackson purchased the publishing rights to many of Eminem's songs including 'The Real Slim Shady.'
Photo: Getty Images He wrote 'Lose Yourself' while on the set of 8 Mile.
Photo: Getty Images Eminem founded a charity called The Marshall Mathers Foundation which provides assistance for underprivileged youth.
Photo: Getty Images The Marshall Mathers LP was originally named Amsterdam after spending time there writing the record.
Photo: Getty Images Eminem was 23 when he had his daughter Hailie Jade.
Photo: Getty Images Marshall was once bullied so bad growing up that he once ended up in the hospital with a head injury.
Photo: Getty Images Eminem performs on stage at the 43rd Grammy Awards at the Staples Center in Los Angeles 21 February 2001.
Photo: Getty Images Dr. Dre knew "The Real Slim Shady" would be a hit once he heard his kids singing the hook.
Photo: Getty Images His middle name is Bruce.
Photo: Getty Images His parents were in a band called 'Daddy Warbucks.'
Photo: Getty Images In order to record Hailie's part for the song '97 Bonnie + Clyde,' he lied to Kim and said they were going to Chuck E. Cheese.
Photo: Getty Images Eminem raps about Lindsay Lohan in 'We Made You', 'He does not mean to lesbian offend/But Lindsay, please come back to seein' men/Samantha's a two, you're practically a ten.'
Photo: Getty Images Eminem won the Oscar for Best Original Song for 8 Miles 'Lose Yourself.'
Photo: Getty Images Eminem is left handed.
Photo: Getty Images He met Royce Da 5'9 in 1997 when Royce was opening for Usher at the Palladium.
Photo: Getty Images He was a short order cook before going on to be one of the greatest rappers of all time.
Photo: Getty Images Photo 1 of 1 Continue Gallery


text:
Uncle Johnny's "Gluten Free Espresso Martini" [RECIPE + PICS]
Make this delicious coffee cocktail for your gluten free friends!
Vodka (Glutten Free)
Kahlua (or any coffee lacquer)
Choco lacquer
Shot of espresso
1. Put all the ingredients in a shaker with ice, shake it up and pour it into a martini glass!
2. Top off with whipped cream, grated cinnamon and 3 espresso beans.
3. Drink and enjoy!


text:
Wild in Wichita
Bilingual Foundation of the Arts
Multiple Dates
Event Details
The Bilingual Foundation of the Arts presents
The West Coast Premiere of:
A unique and touching comedy written in English by Lina Gallegos, with Spanish translation by Denise Blasor.
Take one old raunchy ranchero from Waco, Texas and a stuffy Señora from San Juan, Puerto Rico - stick them in a rest home in Kansas where the only thing they share is the early bird special and a couple of kids whose lives are too chaotic to give them the care they need. Shake things up with a steamy salsa, infuse it with a bolero, laugh it off with a late night rendezvous, shake them with some Vitametavegamin vitamins and what do you get?
A couple of Senior Sweethearts!
Can rice, beans and romance keep them together or will their scandalized offspring break up their steamy asopao.
Wild in Wichita/Locuras en Wichita is a bilingual romantic comedy that explores nursing homes, loneliness, depression, mortality, cultural differences, Latin music and love at any age.The story examines what reaching a "certain age" really means and of how society reacts to what are considered "old people".
Sweet, funny, touching and heartfelt, "Wild in Wichita/Locuras en Wichita" is the Award-winning Play of the 2009 MetLife 'Nuestras Voces' National Latino Plays Initiative sponsored by MetLife Foundation and the 2012 Hola Award in NY forOutstanding Achievement in Playwriting.
Denise Blasor will be directing this insightful, moving comedy by Lina Gallegos, which will be performed in both English and Spanish.
The first two weekends are in Spanish and the last two weeks will be in English.
421 North Avenue 19
Los Angeles,
Multiple Dates
Add to my calendar
Bilingual Foundation of the Arts
The mission of the Bilingual Foundation of the Arts (BFA) is to serve communities by presenting classic Spanish language drama and contemporary plays on Hispanic themes to English- and Spanish-speaking audiences, thereby bringing awareness of the diversity of the Hispanic culture through theater. Within this mission, BFA provides educational resources and training opportunities in the performing arts.
BFA's vision is to positively affect the image and self-esteem of Hispanic people; to influence the inclusion of Hispanic cultural arts in public school curricula; to share the beauty of Hispanic drama with the entire community; and to create a pool of talented well-trained, experienced Hispanic theater artists.


text:
More in Mumbai
Mumbai: Here's why the city will never be safe
After girl's death last week, Aarey residents find cobra at the same spot
Mumbai: Malegaon blast accused wants bhajans for peace of mind in jail
Kangana Ranaut: I am excited that my face was covered in blood
Mumbai: Here's why roads are highway to hell during monsoon
More in Entertainment
Kangana Ranaut: If Saif Ali Khan is right, I would be a farmer
Arbaaz Khan rubbishes Sabbir Khan's claims of directing 'Dabangg 3'
Priyanka Chopra to be honoured at Toronto festival
Raju Hirani will play himself in Sanjay Dutt biopic
Munna Michael Movie Review: Just dance ain't such a blast
More in News
Lawyer demands Rs 9.5 lakh bribe from rape accused, gets arrested
Man kills son and infant granddaughter, commits suicide
Couple attack policeman who stopped their son from playing cricket
Mumbai: Duo aimed for Rs 25 lakh, leave with torn notes and an iPhone
Mumbai: Residents of this village cremate their dead under plastic
More in Photos
Mumbai monsoons: The magic and the tragic
Photos: KL Rahul's 'girlfriend' Elixir Nahar is quite the babe
From Kareena-Amrita to Sara-Rhea, meet the BFFs in Bollywood
Photos: Sanjay Dutt's wife Maanayata is looking hotter by the day
Photos: Ahan Shetty at clinic in Bandra
More in Videos
Sara Ali Khan and Rhea Chakraborty get into a fight?
Konkona Sen and Ratna Pathak slam stereotypes!
Why was this year's IIFA controversial?
Shah Rukh Khan's special gift for musician Pritam
Indian Army to train actors for JP Dutta's 'Paltan'
More in Sports
Harmanpreet Kaur's dream to win World Cup for India not far, says coach
Harmanpreet called a 'rockstar', Kohli, Shastri, Sehwag lead in Twitter wishes
Women's World Cup final: It will not be easy for England, says Mithali Raj
Chess player Tania Sachdev: It's a great game to develop your cognitive skills
Lamar Odom to reveal sex, booze, drugs and secrets about Khloe Kardashian
More in Life & Style
Revealed! Shah Rukh Khan and his favourite memories of Mumbai
The factory of visual culture
Travel: A green escape awaits you a Karnala
Mumbai: Watch out for fascinating species on the outskirts
Tech: LG launches Q8 smartphone, a smaller version of its V20 device
Tiger Shroff was spotted at a dance event in Mumbai on Sunday. Pic/Sameer Markande
Tiger Shroff
Jackky Bhagnani and Lauren Gottlieb were spotted at a water park on Sunday, as part of their film's promotional itinerary. Pic/Yogen Shah
We value your feedback. Please provide us with your suggestions and comments.


text:
Skip navigation.
October 15, 2012--Northwestern Oklahoma State University's annual Ranger Preview event for high school seniors will take place Saturday, Nov. 2, at 8 a.m. in Percefull Fieldhouse.
April 22, 2013 -- Employees within Northwestern Oklahoma State University's Office of Recruitment and University Relations need the help of current students and employees, future students and alumni as they prepare to produce recruitment materials for the coming year.
March 27, 2013 -- High school seniors and family members will be on campus at Northwestern Oklahoma State University for Freshman Connection Wednesday, April 17. This day is designed for students who are planning to attend the university in fall 2013. Morning and afternoon sessions will begin in the Student Center.
MISSION STATEMENT: Northwestern Oklahoma State University provides quality educational and cultural opportunities to learners with diverse needs by cultivating ethical leadership and service, critical thinking and fiscal responsibility.


text:
Assessment |
Biopsychology |
Comparative |
Cognitive |
Developmental |
Language |
Individual differences |
Personality |
Philosophy |
Social |
Methods | Statistics | Clinical | Educational | Industrial | Professional items | World psychology |
Other fields of psychology: AI · Computer · Consulting · Consumer · Engineering · Environmental · Forensic · Military · Sport · Transpersonal · Index
The word "beam" in BEAM robotics is an acronym for Biology, Electronics, Aesthetics, and Mechanics. This is a term that refers to a style of robotics that primarily uses simple analog circuits instead of a microprocessor in order to produce an unusually simple design (in comparison to traditional mobile robots) that trades flexibility for robustness and efficiency in performing the task for which it was designed. Exceptions to the convention of using only analog electronics do exist and these are often colloquially referred to as "mutants".
Mechanisms and principlesEdit
The basic BEAM principles focus on a stimulus-response based ability within a machine. The underlying mechanism was invented by Mark W. Tilden where the circuit (or a neural network [referred to as a "Nv net"] of artificial neurons [called Nv neurons]) is used to simulate biological neuron behaviors. Some similar research was previously done by Ed Rietman in 'Experiments In Artificial Neural Networks'. Tilden's circuit is often compared to a shift register, but with several important features making it a useful circuit in a mobile robot.
Other rules that are included (and to varying degrees applied):
- Use the lowest number possible of electronic elements ("keep it simple")
- Recycle and reuse technoscrap
- Use radiant energy (such as solar power)
There are a large number of BEAM robots designed to use solar power from small solar arrays to power a "Solar Engine" which creates autonomous robots capable of operating under a wide range of lighting conditions. Besides the simplistic computational layer of Tilden's "Nervous Networks", BEAM has brought a multitude of useful tools to the roboticist's toolbox. The "Solar Engine" circuit, many H-bridge circuits for small motor control, tactile sensor designs, and meso-scale (palm-sized) robot construction techniques have been documented and shared by the BEAM community[1].
BEAM robotsEdit
Being focused on "reaction-based" behaviors (as originally inspired by the work of Rod Brooks), BEAM robotics attempts to copy the characteristics and behaviors of natural organisms, with the ultimate goal of domesticating these "wild" robots. BEAM robotics also promotes the value of aesthetics in the design of the device, proving the adage "form follows function" (a good-looking robot is often better built and more robust than a poor-looking one).
Disputes in the nameEdit
Various people have varying ideas about what BEAM actually stands for. The most widely accepted meaning is Biology, Electronics, Aesthetics, and Mechanics. However, there are many other semi-popular names in use, including:
- Biotechnology Ethnology Analogy Morphology
- Building Evolution Anarchy Modularity
Unlike many other types of robots controlled by microcontrollers, BEAM robots are built on the principle of using multiple simple behaviors linked directly to sensor systems with little signal conditioning. This design philosophy is closely echoed in the classic book "Vehicles: Experiments in Synthetic Psychology". Through a series of thought experiments, this book explores the development of complex robot behaviors through simple inhibitory and excitory sensor links to the actuators. Microcontrollers and programming are usually not a part of a traditional (aka., "pure" ) BEAM robot due to the very low-level hardware-centric design philosophy.
There are successful robot designs mating the two technologies. These hybrids fulfill a requirement needing robust control systems with the flexibility of dynamic programming, like the "horse-and-rider" topology BEAMbots (ed., The ScoutWalker 3 is such a robot [2]). The physical robot body (the "horse") is controlled by traditional BEAM technology, and the microcontroller and programming influences (and if needed, subsumes) the robot body from the "rider" position . The rider component is not necessary for the robot to function, but without it the robot will lose the important influence of a "smarter brain" telling it what to do.
There are various "-trope" BEAMbots, which attempt to achieve a specific goal. Of the series, the phototropes are the most prevalent, as light-seeking would be the most beneficial behavior for a solar-powered robot.
- Audiotropes react to sound sources.
- Audiophiles go towards sound sources.
- Audiophobes go away from sound sources.
- Phototropes ("light-seekers") react to light sources.
- Photophiles go toward light sources.
- Photophobes go away from light sources.
- Radiotropes react to radio frequency sources.
- Radiophiles go toward RF sources.
- Radiophobes go away from RF sources.
- Thermotropes react to heat sources.
- Thermophiles go toward heat sources.
- Thermophobes go away from heat sources.
BEAMbots have a variety of movements and positioning mechanisms. These include:
- Sitters: Unmoving robots that have a physically passive purpose.
- Beacons: Transmit a signal (usually a navigational blip) for other BEAMbots to use.
- Pummers: Display a "light show".
- Ornaments: A catch-all name for sitters that are not beacons or pummers.
- Squirmers: Stationary robots that perform an interesting action (usually by moving some sort of limbs or appendages).
- Magbots: Utilize magnetic fields for their mode of animation.
- Flagwavers: Move a display (or "flag") around at a certain frequency.
- Heads: Pivot and follow some detectable phenonomena, such as a light (These are popular in the BEAM community. They can be stand-alone robots, but are more often incorporated into a larger robot.).
- Vibrators: Use a small pager motor with an offcenter weight to shake themselves about.
- Sliders: Robots that move by sliding body parts smoothly along a surface while remaining in contact with it.
- Snakes: Move using a horizontal wave motion.
- Earthworms: Move using a longitudinal wave motion.
- Crawlers: Robots that move using tracks or by rolling the robot's body with some sort of appendage. The body of the robot is not dragged on the ground.
- Turbots: Roll their entire bodies using their arm(s) or flagella.
- Inchworms: Move part of their bodies ahead, while the rest of the chassis is on the ground.
- Tracked robots: Use treaded wheels, like a tank.
- Jumpers: Robots which propel themselves off the ground as a means of locomotion.
- Vibrobots: Produce an irregular shaking motion moving themselves around a surface.
- Springbots: Move forward by bouncing in one particular direction.
- Rollers: Robots that move by rolling all or part of their body.
- Symets: Driven using a single motor with its shaft touching the ground, and moves in different directions depending on which of several symmetric contact points around the shaft are touching the ground.
- Solarrollers: Solar-powered cars that use a single motor driving one or more wheels; often designed to complete a fairly short, straight and level course in the shortest amount of time.
- Poppers: Use two motors with separate solar engines; rely on differential sensors to achieve a goal.
- Miniballs: Shift their center of mass, causing their spherical bodies to roll.
- Walkers: Robots that move using legs with differential ground contact.
- Motor Driven: Use motors to move their legs (typically 3 motors or less).
- Muscle Wire Driven: Utilize Nitinol (nickel - titanium alloy) wires for their leg actuators.
- Swimmers: Robots that move on or below the surface of a liquid (typically water).
- Boatbots: Operate on the surface of a liquid.
- Subbots: Operate under the surface of a liquid.
- Fliers: Robots that move through the air for sustained periods.
- Helicopters: Use a powered rotor to provide both lift and propulsion.
- Planes: Use fixed or flapping wings to generate lift.
- Blimps: Use a neutrally-buoyant balloon for lift.
- Climbers: Robot that moves up or down a vertical surface, usually on a track such as a rope or wire.
Applications and Current ProgressEdit
At present, autonomous robots have seen limited commercial application, with some exceptions such as the iRobot Roomba robotic vacuum cleaner and a few lawn-mowing robots. The main practical application of BEAM has been in the rapid prototyping of motion systems and hobby/education applications. Mark Tilden has successfully used BEAM for the prototyping of products for Wow-Wee Robotics, as evidenced by the "proto-Robosapien" "BIODroid" [3], B.I.O.Bug, and RoboRaptor. Solarbotics Ltd., Bug'n'Bots, and PagerMotors.com have also brought BEAM-related hobby and educational goods to the marketplace.
Aspiring BEAM roboticists often have probems with the lack of direct control over "pure" BEAM control circuits. There is ongoing work to evaluate Biomorphic techniques that copy natural systems because they seem to have an incredible performance advantage over traditional techniques. There are many examples of how tiny insect brains are capable of far better performance than the most advanced microelectronics.
Another barrier to widespread application of BEAM technology is the perceived random nature of the 'nervous network', which requires new techniques to be learned by the builder to successfully diagnose and manipulate the characteristics of the circuitry. A think-tank of international academics [4] meet annually in Telluride, Colorado to address this issue directly, and until recently, Mark Tilden has been part of this effort (he had to withdraw due to his new commercial commitments with Wow-Wee toys).
Having no long-term memory, BEAM robots generally do not learn from past behavior. However, there has been work in the BEAM community to address this issue. One of the most advanced BEAM robots in this vein is Bruce Robinson's Hider [5], which has an impressive degree of capability for a microprocessor-less design.
- Method of and Apparatus for Controlling Mechanism of Moving Vehicle or Vehicles - Tesla's "telautomaton" patent; First logic gate.
- Adaptive robotic nervous systems and control circuits therefor - Tilden's patent; A self-stabilizing control circuit utilizing pulse delay circuits for controlling the limbs of a limbed robot, and a robot incorporating such a circuit; artificial "neurons".
Books and papers
- Conrad, James M., and Jonathan W. Mills, "Stiquito: advanced experiments with a simple and inexpensive robot", The future for nitinol-propelled walking robots, Mark W. Tilden. Los Alamitos, Calif., IEEE Computer Society Press, c1998. LCCN 96029883 ISBN 0-8186-7408-3
- Tilden, Mark W., and Brosl Hasslacher, "Living Machines". Los Alamos National Laboratory, Los Alamos, NM 87545, USA.
- Tilden, Mark W. and Brosl Hasslacher, "The Design of "Living" Biomech Machines: How low can one go?"". Los Alamos National Laboratory, Los Alamos, NM 87545, USA.
- Still, Susanne, and Mark W. Tilden, "Controller for a four legged walking machine". ETH Zuerich, Institute of Neuroinformatics, and Biophysics Division, Los Alamos National Laboratory.
- Braitenberg, Valentino, "Vehicles: Experiments in Synthetic Psychology", 1984. ISBN 0-262-52112-1
- Rietman, Ed, "Experiments In Artificial Neural Networks", 1988. ISBN 0-8306-0237-2
- Tilden, Mark W., and Brosl Hasslacher, "Robotics and Autonomous Machines: The Biology and Technology of Intelligent Autonomous Agents", LANL Paper ID: LA-UR-94-2636, Spring 1995.
- Dewdney, A.K. "Photovores: Intelligent Robots are Constructed From Castoffs". Scientific American Sept 1992, v267, n3, p42(1)
- Smit, Michael C., and Mark Tilden, "Beam Robotics". Algorithm, Vol. 2, No. 2, March 1991, Pg 15-19.
- Hrynkiw, David M., and Tilden, Mark W., "Junkbots, Bugbots, and Bots on Wheels", 2002. ISBN 0-07-222601-3 (Book support website)
See alsoEdit
- Walter Grey Walter: neurophysiologist and robotician.
- Wired intelligence: a robot that has no programmed microprocessor and possesses analog electronics between its sensors and motors that gives it seemingly intelligent actions.
- Behavior-based robotics: branch of robotics that does not use an internal model of the environment.
- Emergent behavior: the process of complex pattern formation from simpler rules.
BEAMbot types
- Photovore: a robot that seeks light and uses it to power itself.
- Solarroller: a dragster robot run by solar light.
- List of protosciences: list of new area of scientific endeavor in the process of becoming established.
- Monocore: This term can specifically mean one Nv neurons which is a simple oscillator. More generally, though, it is used to denote the connection of a pair of bicores.
- Bicores: Nv network loop-topology with two Nv neurons. There are grounded bicores and suspended bicores.
- Tricore: Nv network loop-topology with three Nv neurons.
- Microcores: Closed-loop implementation of a nervous net responsible for direct actuator control. Any Nv network greater than or equal to four, but specifically any multiple numeric prefixed cores (such as a Quadcore, Quincore, Hexcore, Septcore, Octacore, etc.)
Cited referencesEdit
- ↑ BEAM community
- ↑ The ScoutWalker 3
- ↑ "BIODroid" Prototype gallery of the Robosapien
- ↑ [1] Institute of Neuromorphic Engineering (INE)
- ↑ Bruce Robinson's Hider
External articles and other referencesEdit
- Main
- Solarbotics, BEAM robotics community server - "Home of a thriving BEAM robotics community".
- BEAM Wiki (News Page of the BEAM Wiki)
- SyDigital, BEAM online. 2003.
- Los Alamos National Laboratory's BEAM
- Bush, Brian O., "BEAM robotics FAQ (Frequently Asked Questions)". 1998 (created Oct 5, 1996).
- Other resources
- BEAM Ring - Site List
- Shank, Alex, BEAM-life. 2002,
- Yahoo! robotics , "BEAM Robotics group - based on Nervous network technology".
- CostaRicaBeam - Extensive BEAM circuit collection.
- BEAMINDIA - Vishy's experiments with building and learning robotics in India
- "Robots". PiTronics (xs4all.nl), 9 October 2004.
- Van Zoelen, A. A., "The MicroCore". BEAM Robotics.
- McManis, Chuck, "H-Bridges: Theory and Practice". December 2003.
- Silveira, César Blum, "Beam Invasion". 2005.
- Boerema Jr., Clifford L., "Droidmakr's Workshop".
- D.Mancini, "BeamItaly- The Italian site dedicated to BEAM philosophy.", 1998.
- BEAMbots
- Robinson, Bruce N., "Hider". Robinson's Robots, 2005.
- Solarbotics, "The ScoutWalker 3". Competition robot kit.
- Interviews and news
- DevLib.Org "Mark Tilden Interview". December, 2006.
- Walke, Kevin,"Mark Tilden Interview". Exhibit Research, March 2000.
- Fang, Chiu-Yuan, "BEAM Robotics". 1999. (Historical site)
- Elner, Tom, TomboT.net [2]de:BEAM
nl:B.E.A.M pt:Robótica BEAM sk:BEAM
|This page uses Creative Commons Licensed content from Wikipedia (view authors).


text:
'Stafford made quite an impression in his NHL debut. He was called up Sunday from the Rochester Americans along with Daniel Paille and replaced injured right winger Maxim Afinogenov on a line with center Derek Roy and left winger Thomas Vanek. All but five seconds of Stafford's 12:50 was at even strength, but he was put on the ice in overtime and delivered.'
Stafford's first game is thrill of a lifetime
November 6, 2006 Submitted by
Via: Buffalo News


text:
Rush Limbaugh Uses Obama's Race To Attack Media Over Libya
Blog ››› ››› SOLANGE UWIMANA
Rush Limbaugh complained that the media are "suppressing" stories about the September 11 attack on the American diplomatic compound in Benghazi, Libya to shield President Obama from criticism from right-wing critics. And the reason they're doing so, he added, is because Obama is black. Yet news outlets continue to report on and question the administration's response to the incident; and most right-wing critics are basing their attacks on distortions.
On his radio show on Wednesday, Limbaugh claimed there was a "racial component" to the media's "sheltering" of Obama from stories on the attack in Benghazi. He rationalized this by saying that the media look at Obama and "they feel sorry for him" and claimed that this was a "form of discrimination -- the soft bigotry of low expectations."
Limbaugh explained his reasoning this way:
LIMBAUGH: Liberals consider themselves elites. They're elites intellectually -- smarter than everybody else. They're better people. They look at the original sin of slavery in this country as something that will forever shape, harm, penalize blacks. It is something that as far as liberals, especially in the media, are concerned, will never be overcome. They're still slaves in one way or another.
This manifests itself in people feeling sorry for them, their sympathy -- they actually think that without advantages that African-Americans, and other minorities too by the way, can't accomplish things. The country is too unfair. The country is too unjust. The founding of the county was just a stacked deck: blacks didn't have a chance.
Limbaugh also stated that this view leads the media to have an "almost parental type protective bubble," which is reflected in how they view government's "shepherding" role in society.
In fact, a Nexis database search shows that there have been at least 185 stories about the attack in Benghazi within the last week alone -- including 15 in The Washington Post and 14 in The New York Times.
Media have also continued to press Obama for answers on what happened in Benghazi during interviews. During an interview on MSNBC's Morning Joe on Monday, Obama was asked twice about the attack in Benghazi. During an October 26 interview with Denver TV station KUSA, Obama also fielded questions about the attack. And in an October 18 interview on Comedy Central's The Daily Show, host Jon Stewart questioned Obama about Libya.
Right-wing media figures, including Limbaugh, have continued to politicize the attack, trying to further the narrative that the Obama administration is engaged in a cover-up. But their attacks are based on multiple distortions and outright conspiracy theories, including that support wasn't provided to those under siege at the Benghazi compound and that the administration made a "political decision" to "sacrifice Americans" in the attack.
- Posted In
- The Presidency & White House, National Security & Foreign Policy, International Conflicts
- Network/Outlet
- Premiere Radio Networks
- Person
- Rush Limbaugh
- Show/Publication
- The Rush Limbaugh Show
- Stories/Interests
- Benghazi
Instructions for signing up and claiming your comment history are located here.
Updated rules for commenting are here.


text:
The 4th #SiliconBeachLA Weekly Unwind At... Hotel Shangri-La (Donate Any Amount To Register)
Silicon Beach LA
Friday, January 25, 2013 from 5:30 PM to 7:30 PM (PST)
Who's Going
San Francisco, California
London, United Kingdom
Florence, Italy
Event Details
Mingle and talk shop- in a super casual setting- with other founders, fans, financiers, and faces from here in #SiliconBeachLA. No $50 dollar price tag, no panel, no opening/closing speech, no VIP section, no open bars, and definitely no hors d'oeuvres. Just friends, colleagues, a bar, and a view of one of #SiliconBeachLA's greatest assets...[hint is in the name]
- ($15-$25) recommended donation amount
- Cash bar and cash 'small plates menu' available
- Donated funds go towards future #SiliconBeachLA events throughout the year
- There is a main structure for parking just south of Arizona on 2nd street or valet parking
- No cover at the door but it's a nice place so dress warm/classy/casual (no holes in those jeans)
- We will have our photographer making her way around the venue so make sure to smile and say hello when you see her!
NextSpace @ Amplify
Join At The Pool to meet members of the #SiliconBeachLA community before, during, and after the event! At The Pool introduces you to a new member once a day based on shared interests, mutual friends, and more. Whether you're looking for programmers, business partners, investors, press, or just someone to grab coffee with, At The Pool has you covered. Join the Silicon Beach pool at:
The company offers an ambient social network and location-based deal service. Their approach is to give dog owners a one-stop destination to find great places to go with their dogs, rate the experience, meet other dog owners, save money and just have fun.
And thanks to an exclusive arrangement with BEASTMODE.FM, yet another local #SiliconBeachLA area company, you'll hear YOUR favorite new music playing each Friday. Anytime you listen to BEASTMODE.FM and discover a new track hot enough to share via Twitter, just include the hashtag #SiliconBeachLA to add it to the next event's playlist.
We're using TapShare, a local #SiliconBeachLA area company's social photos app that you can download in the app store. When you arrive, check into the event; "Silicon Beach LA's Weekly Unwind At The Bungalow" to share your own photos and see others taken by everyone else. Shared mobile/social photo album for the event = PURE WIN
And we're using GonnaBe, another local #SiliconBeachLA area company's social event planning app that you can download in the app store. During the week before the event you can tell people what you're 'GonnaBe' doing on Friday. This way your friends can see your plans on Facebook and Twitter and then decide to join. The best social/event intent app.
When & Where
Hotel Shangri-La
1301 Ocean Ave.
Santa Monica,
Friday, January 25, 2013 from 5:30 PM to 7:30 PM (PST)
Add to my calendar
Silicon Beach LA
Your Personal Tour Guide To The LA Tech & Startup Community.


text:
The importance of the International Conference of the Red Cross and Red Crescent to National Societies: fundamental in theory and in practice
31-12-2009 Article, International Review of the Red Cross, No. 876, by Michael Meyer
- DownloadPDF MB
In practice, not all National Societies have taken full advantage of the opportunities provided by the International Conference for interaction and relationship-building with their own authorities. Practical ways are suggested to help National Societies participate more actively in the Conference and to use it to good benefit before and afterwards.
Michael Meyer is Head of International Law at the British Red Cross.


text:
I wanted to share with you these beautiful pen and ink drawings by my friend, Phoenix-based artist Ross T. Boyd. Ross has been drawing animals of all kinds for decades, spending hours and hours on each image. These are some of my favorite images of house cats, especially the first one, called "Cattitude," which looks just like my new kitten McKinley.
Ross shows his drawings at various art events around town, and he now has a CafePress store so animal lovers everywhere can get Ross' drawings on all sorts of merchandise. Right now the shop includes Ross' house cats as well as some of his wild cat drawings. Choose your own t-shirt, sweatshirt, greeting cards, buttons, magnets, mugs, and even tile coasters with any one of the drawings. Here are some of the items with the house cat drawings:
We are giving away a set of four notecards with some of the house cat drawings shown below. To enter, please visit Ross' CafePress Store, then come back here and leave a comment on this post telling us which is your favorite drawing. The winner will be chosen in a random drawing on March 31. One entry per person. This giveaway is open to readers everywhere!


text:
Newcastle Pendant
- No Longer Available -
The hyper-radiant construction of Fresnel lenses – first developed for lighthouses – was put to use illuminating factories during the '30s and '40s. Our pendant is an exacting replica of a spotlight from that era, complete with industrial-grade finish.
Show Details +
- Small Pendant: 13"W x 9½"D x 17½"H; 11.5 lbs.
- Large Pendant: 19"W x 16"D x 28½"H; 36 lbs.
- Chain: 59"L
Product Not Available
We're sorry. This product is no longer available
Please continue browsing.


text:
Your shopping cart is empty!
Lotto Chorrillo F.C. (Panama) official home shirt in yellow/royal blue.Features embroidered team badge and logo with screened on sponsors in front and back.Mesh panels on the sides.100% polyester.
Note:All of our Products are official,brand new with its original tags.
Soccerplus first opened in 1994. We were one of the first soccer websites to hit the webView more
Address: 1640 E. Washington Blvd.
Pasadena, Ca 91104, USA
Phone: 1-800-945-7291
Get Direct


text:
Zero Tolerance Model 0561 Folding Knife 3.75" ELMAX Stonewash Plain Blade, Flat Dark Earth G10 and Titanium Handles
|Part Number:
|Zero Tolerance Knives
Kershaw 1660 Ken Onion Leek Assiste…
$79.99On Sale: $44.95
Boker Plus Anti-MC Folding Knife 3-…
Kershaw 1555Ti Cryo Assisted Flippe…
DPx Gear HEST 2.0 Right Handed Fold…
Kershaw 1600 Ken Onion Chive Assist…
$69.99On Sale: $39.95
Columbia River 6450S Drifter Foldin…
Kershaw 4035TIKVT Nura 3.5 Flipper …
$59.99On Sale: $24.95
Spyderco C123TIP Sage 2 Folding Kni…
Zero Tolerance Dmitry Sinkevich 045…
Boker Plus John Kubasek Credit Card…
Kershaw 1555G10BW Cryo Assisted Fli…
$59.99On Sale: $29.95
ZT0561: ZT0561 Hinderer & ZT Collaboration
Zero Tolerance Knives
Based on Rick's crave-worthy XM-18, the ZT 0561 is one completely amazing knife. First, the blade. It's pure ELMAX® powdered steel for the extreme edge retention, high strength, and toughness a hard-use knife demands. It rolls out of the handle on the KVT ball-bearing system so deployment is rapid and it's ready when you need it. The handle is 3-D machined G-10 on the front, and equally 3-D machined titanium on the back. A framelock with lockbar stabilizer ensures a rocksolid lockup every time. To ensure this big bear of a knife carries at a comfortable weight, ZT has skeletonized the liner and machined pockets in the titanium handle and framelock. And to top it all off, the 0561 is equipped with ZT's deep-carry pocket clip.
- ELMAX® stainless steel a high chromium-vanadium molybdenum alloyed steel that combines high wear resistance with corrosion resistance; also offers high strength and hardenability
- 3-D machined G-10 handle front contoured to enhance grip
- 3-D machined titanium back contoured exterior for secure grip; skeletonized interior for lighter weight
- KVT opening system ball bearings ensure smooth and easy opening
- Framelock with lockbar stabilizer for extreme lockup security
- Deep-carry pocketclip with quad mounting system for tip-up, tip-down, left- or right-handed carry
- Blade: ELMAX®, stonewashed finish, 3.75 in. (9.5 cm)
- Handle: 3-D machined G-10 front scale, 3-D machined titanium back handle, stonewashed finish
- Closed: 5 in. (12.7 cm)
- Overall: 8.8 in. (22.4 cm)
- Lock: 3-D Machined Titanium framelock
- Weight: 5.8 oz.
- Made in USA
UPC Code: 087171033464
Developed by Chris Reeve, it functions like a liner lock but the lock is comprised of one of the handle scales. It's an extremely strong and easy to manipulate lock.
Includes a pocket clip for easy accessibility and a more secure carry.
A nonferrous metal, it's prized for its high strength to weight ratio and is often used on higher end knives.
Extremely fine grained powered metal that strikes the balance between edge holding and corrosion resistance perfectly. Much more likely to get a rolled edge than have a chip develop.
This product is USA born and raised.


text:
|Home > Consumer Information > Insurance Topics > Auto > Automobile Insurance Premium Comparison
|2015 Auto Insurance Premium Comparison
|OPRA is a state law that was enacted to give the public greater access to government records maintained by public agencies in New Jersey.
|You will need to download the latest version of Adobe Acrobat Reader in order to correctly view and print PDF (Portable Document Format) files from this web site.
| Copyright © 2011,
State of New Jersey
New Jersey Department of Banking and Insurance


text:
I could tell you I was raped. (I wasn't.) I could tell you I am a victim of incest. (I'm not.) I could tell you my life would be in danger if I got pregnant. (Partly true, but for this discussion, let's say not.) I could tell you I'm mentally challenged or ill. (I don't think so, but let's please not open THAT up to debate...) These are some of the scenarios even the most ardent advocates in the Pro-Life movement might allow themselves and those they love flexibility where safe and legal ab … [Read more...]
An Open Letter to Pro-Lifers
March 1, 2012 by Leave a Comment


text:
No Hidden Fees - No Credit Card Surcharges - Low Shipping Rates
Images shown may not be an exact representation of the actual product.You may contact us if you have questions about the exact specifications of this item.
Tactical Trophy Red Dot Sight 2x32mm 3 MOA Red Dot Matte
Features an illuminated red/green T-Dot reticle and 2x optics for fast target acquisition in low light. Built-in mount for Weaver-style rail. Amber-Bright high-contrast lens coating help you discern deer-brown from all the other browns in the woods. Multi-coated optics gather maximum available light.
For fast target acquisition and accuracy in dim conditions, there's nothing like a red dot, and no one makes them like Bushnell®. Our new Zoom Dot™ gives you the ability to tune the size of your aiming point down to one MOA for precision shooting and all the way up to 10 MOA for close quarters.
Express orders for items available to ship the same business day must be placed by 1 PM MST. Express orders received
after 1PM ready for immediate shipment will not be shipped until the following business day.
Note: Delivery times are approximate and although generally accurate are not guaranteed. FFL transfer issues may affect
delivery times.
Express shipping is only available in the continental US to non-PO Box addresses. AP/FPO addresses may add to the
delivery time.
Impact Guns is the gun shop for all your shooting needs. We offer a wide selection of firearms, including: handguns, shotguns, rifles, ammunition, rifle scopes and optics, as well as collectible machine guns and other NFA/Class 3 guns. Impact also services the needs of law enforcement and military with our wide variety of tactical weapons and accessories. Shop online through our 256-bit Secure Sockets Layer encrypted online gun store 24 hours a day!