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Different physical and chemical factors, such as light, temperature, relative humidity, pollutants and so on, can affect works of art on display. Each factor does not act individually, but its effect can be enhanced or accelerated by the presence of other factors. Accordingly, an evaluation of the impact of the whole environment on art objects is recognized as an essential requirement for conservation purposes. To meet the most up-to-date guidelines on preventive conservation, in recent years several scientific projects supported by the EC were aimed at developing innovative tools that could complement the standard methods for environmental monitoring in museums. These research projects produced a new generation of passive sensors that are capable of taking into account the overall environmental effects by mimicking in some way the behaviour of real works of art. The main goal of the present paper is to provide a survey of these sensors, which represent a new frontier in the environmental control in museums. Furthermore, the use of optical fibres, as both intrinsic sensors and devices for interrogating sensors, will also be illustrated, and examples of their use in the cultural heritage field will be reported.
Objects of art on display in museums, galleries, churches, etc., are affected by environmental physical and chemical factors that can constitute a threat for their conservation and greatly reduce their lifespan. Accordingly, continuous control and monitoring are needed in order to contrast the natural decay of the objects, which may be accelerated by adverse environmental conditions due, for instance, to pollution or poor conservation practices.
As early as the second half of the 19th century, awareness arose of the possible alterations that exhibit conditions could induce on the objects on display (Russell-Abney report) [
As is well-known, light is one of the primary damage factors: it can produce different effects, such as colour alteration, colour fading, mechanical damage, embrittlement, and so on. Naturally, light is also necessary so that visitors can enjoy works of art; therefore, curators and conservators have to find a compromise to make it possible for visitors to benefit from it while guaranteeing long life for the artefacts.
Other factors that can potentially constitute a threat for works of art are temperature and relative humidity, together with their abrupt changes. In fact, under the effect of temperature the reaction rate of many chemical reactions increases, causing serious structural alterations in objects. Moreover, thermo-hygrometric fluctuations can induce deformations in non-isotropic materials, or detachments of parts consisting of different materials. On the other hand, high humidity can favour micro-organisms and moulds that can attack the supports in which these develop. Moreover, owing to variations in humidity, mechanical changes and deformations can occur in hygroscopic materials, such as wood panels, while hygroscopic hydrated minerals in natural history museums can be altered.
Artefacts can be also seriously damaged by atmospheric pollutants, often also present indoors, such as NOx, SO2, O3, organic vapours and cleaning agents, just to mention a few. These gases can produce not only colour changes, but also corrosion (mainly in metals) and chemical and/or mechanical alterations.
All the above factors act not only individually, but also cooperatively, so that the effect of one factor is enhanced by the presence of others: for example, light and temperature, light and pollutants, pollutants and humidity. In some cases, specific definitions have been introduced to take into account synergistic effects. For example, in referring to light and photo-induced phenomena, we can mention the concept of
To summarize, for a correct conservation policy, it is important not only to monitor the single physical or chemical parameter, but also to evaluate the impact of the whole environment. This is not a simple task. In fact, many devices are available that make it possible to measure temperature/relative humidity (thermo hygrographs), light (lux meters), powders, selected pollutants, etc., separately; however, they are not suitable for assessing the overall actions of these factors. Furthermore, to monitor all the potentially risky factors in a museum environment would necessitate a large set of devices which, apart from the cost in terms of resources and time, would not be acceptable from an aesthetic point of view.
Within this context, in recent decades, increasing interest has been shown in a new generation of sensors, dosimeters, and other devices tailored for applications to the cultural heritage. They consist of smart and low-cost methodologies that are designed to facilitate widespread monitoring and to prevent damaging effects on objects on display.
Among these new generation sensors, an important role is played by 'impact sensors', which are intended especially for evaluating the cooperative effects of environmental agents. Typically, said impact sensors are dosimeters or passive indicators based on sacrificial materials. They react to the factor to be monitored by displaying an easily measurable change in some specific property. The change in the sensor indirectly indicates the relative strength of the environmental impact of a given agent (or agents). This approach is based on the observation that the work of art itself, which records all the alterations induced by the environment on its surface and its structure, could be viewed paradoxically as an environmental sensor. Naturally, such a solution is unacceptable for ethical reasons, but it could be considered the starting point for a novel concept in monitoring devices, one that exploits the deterioration effect in order to assess the environmental aggressiveness.
In fact, in recent years, different types of sensors have been proposed that mimic in some way the behaviour of an actual object, although in a simplified way and usually with much quicker responses. Indeed, a prompter reaction of the sensor with respect to the material under observation enables curators to identify risky situations before any damage can occur. This is the concept of an 'early warning system', which is of fundamental importance in preventive conservation.
Because of the increasing number of visitors in museums, in recent years the problem of environmental control and safeguarding of objects on display has become more and more pressing, and different solutions have been sought to complement conventional monitoring methodologies.
The aim of this work is to highlight the different approaches and ideas developed for coping with the problem of the environmental impact on artworks exposed to the public. In particular, a review of innovative sensors for environmental control and prevention of damage in museums will be presented, with the focus on selected relevant outcomes of EC research projects specifically devoted to the problem of synergistic environmental effects on artworks.
Section 2 will report on different examples of impact sensors, illustrating various concepts and types of these dosimeters, and their possible applications. Section 3 will be dedicated to devices based on optical-fibre technology. The latter is indeed particularly suitable for museums applications, since optical fibres are not invasive and do not create any visual impact on visitors, owing to their size and characteristics. Furthermore, these sensors are of great interest for museums since they have great potential in terms of remote networks monitoring.
"Impact sensors" introduce a novel approach to environmental monitoring in the conservation field. Rather than separately measuring given environmental parameters, these sensors are designed to reproduce, in a very simplified way, the mechanism responsible for alterations observed in the objects on display. Typically, they are passive indicators based on sacrificial materials that react in similar manner to the objects to be surveyed, and undergo some quantifiable change upon exposure to the environment. The said impact sensors are usually disposable, and provide cumulative information, working as dosimeters. They can be designed to monitor either the effects of selected agents (e.g. light, humidity, pollutants, etc.) or cooperative phenomena. Even when these devices are tailored to respond to a selected leading parameter (e.g. light), their response always provides information about the combined effect of this parameter with other agents that can enhance its action. Indeed, the reaction of the sacrificial material is usually additive and non-reversible, thus recording an overall impact. As a result, these tools make it possible to assess - and, hence, to prevent - complex deterioration phenomena by means of a simulation principle. This approach appears particularly appealing within the museum context, where various composite objects are exposed simultaneously inside the same environment. The materials constituting an artistic object are extremely varied, and consequently react differently to the environmental conditions [
Another important feature of impact sensors is that they can be easily replicated in the desired number of identical specimens. In fact, they are made with low cost sacrificial materials, and are designed to be produced on a large scale. This fact makes it possible to perform several tests of artificial ageing and to study the response of identical replicas under very different environmental conditions. Artificially aged specimens can thus be compared with others that are exposed in real conditions. This comparison is a fundamental strategy for gaining deeper insight into many deterioration phenomena involving artistic materials that are widely recognised as being prone to complex synergistic effects. The following sections will discuss different examples of impact sensors.
An important class of passive sensors for museums are those that are based on a colorimetric principle. Their main feature is that they react by displaying a measurable colour change after exposure to the agent(s) to be monitored.
In the field of the cultural heritage, the study of colorimetric variations has always played a fundamental role in diagnosing and characterising artefacts. Indeed, since chromatic alterations are recognised as being among the most serious effects of irreversible deterioration in many works of art, colorimetry was firstly introduced and adopted in conservation science as a tool for quantifying the extent of damage on polychrome surfaces and objects [
In recent decades several types of sensors designed to simulate the synergistic processes involved in the deterioration of artworks have been proposed, and have been used to investigate and prevent fading and colour alterations in different contexts. Here as follows, with reference to selected meaningful results of EC-funded research projects, different concepts of colorimetric sensors are reviewed:
Tempera-based dosimeters, that is, sensors conceived to mimic and to reproduce the behaviour of selected artistic materials in a given environment (EC Projects: "ERA" and "MIMIC"); Early warning systems against photo-induced damage, that is, dosimeters designed so as to react faster than objects on display, in order to give warning of potential risk situations. (EC Project "LiDo").
Tempera-based dosimeters, that is, sensors conceived to mimic and to reproduce the behaviour of selected artistic materials in a given environment (EC Projects: "ERA" and "MIMIC");
Early warning systems against photo-induced damage, that is, dosimeters designed so as to react faster than objects on display, in order to give warning of potential risk situations. (EC Project "LiDo").
The ERA Project (Environmental Research for Art Conservation) introduced the idea of studying the microclimate indoor environment of a museum room by means of test panels containing various artistic materials [
The ERA Project started from a previous long-term study carried out on the painting 'Predella della Trinità' by Luca Signorelli (1445-1523), on display in the Uffizi Gallery in Florence. This artwork was monitored over a period of 66 months (May 1990 - November 1995), by means of non-invasive measurements based on the Fibre-Optics Reflectance Spectroscopy (FORS) technique [
Different points selected on the painting surface were periodically measured
In this way, the mock-painting panels were used as indicators of the stress environmental conditions for the paintings on exhibit, and, in particular, for studying the cumulative effects due to complex environmental conditions. The overall experimentation (in-field and in the laboratory) pointed out that some pigments were prone to environmental agents, showing a variation in their original appearance, whereas other pigments remained unchanged [
To summarize, an essential outcome of the ERA Project was to show that the concept of a
Subsequently, this work was further extended thanks to another research project (MIMIC: Microclimate Indoor Monitoring in Cultural Heritage Preservation) [
In addition to the mock-painting dosimeters, other non-conventional tools were proposed within the framework of the MIMIC project in order to study the microclimate impact on artefacts. Sensors based on piezoelectric quartz crystals (PQC) and coated with materials of artistic interest (egg tempera, resin mastic varnishes) were prepared and tested under different exposure conditions. The working principle of a PQC sensor is that its oscillation frequency depends on the mass of coatings, and this frequency is shifted after a modification in the film due to ageing and to interaction with pollutants [
All the sensors presented above are characterised by the fact that they are based on materials (pigments, bindings) which are present in the composition of artworks and are the most exposed to environmental attack. The idea was to reproduce, although in a simplified way, the same damage process as the one observed in the object and then to identify its causes. The main drawback of this approach is that mock paintings are expected to show some evidence of deterioration only after prolonged exposures (many months) in field, or alternatively, under accelerating ageing tests in laboratory, that can not reproduce exactly actual conditions. In this sense, having a reaction time similar to that one of the artworks, these sensors are helpful to gain a deeper insight on causes of deterioration phenomena, but they can not be used to alert before the damage is occurred.
The next section describes a different concept of sensor. It is based on the use of sacrificial materials that react more quickly and give warning of risk situations, rather than simulating behaviour observed in the object.
Another example of colorimetric sensor developed for the control of museum environments is the LightCheck® (LC) system. This was the final outcome of the EC-funded project "LiDo: A Light Dosimeter for Monitoring Cultural Heritage: Development, Testing and Transfer to market", which was aimed at delivering a new tool for monitoring light and preventing damage to photosensitive objects in museums [
As already mentioned, exposure to light (both natural and artificial) is among the main causes of the fading, discoloration and brittleness of many historic and artistic materials. Depending on the type of artwork and the materials that constitute it, different lighting conditions are recommended according to guidelines in order to guarantee both the enjoyment and the safeguarding of the objects. Unfortunately, because many materials are extremely sensitive to light (such as ancient paper, organic materials, watercolours, etc.), the recommended light levels are very low (e.g. 50 lx for the most sensitive materials) [
LC was designed as a passive sensor tuned to respond to light much quicker than the artworks, so as to provide a clear indication of possible inadequate lighting conditions
Schematically, LC consists of a photosensitive dye/polymer coating applied to an inert substrate. The photosensitive layer undergoes a progressive variation in colour as the luminous exposure increases, and its response to light is cumulative. The dosimeter, which is exposed close to the object to be monitored, progressively changes its colour with a rapidity that depends on the environmental light levels.
LC includes two different dosimeters, LightCheck Sensitive (LCS) and LightCheck Ultra (LCU), with complementary operational ranges suitable for monitoring different categories of objects. Specifically, LCS controls moderately sensitive objects (e.g. oil paintings, wooden artefacts, etc.), whereas LCU is tailored to extremely sensitive objects (watercolours, photographs, etc.) [
An aspect to be highlighted is that LC is tailored to monitor light-sensitive objects, thus it has been calibrated for lighting conditions typically adopted in museum environments. Thus, the reliability of the response can fails if the dosimeter is used under lighting conditions that are not envisaged for a museum context, such as inadequate light sources (e.g with intensities higher than 500 lx), or direct sunlight, etc..
To summarize, LC cannot be used as a substitute for a conventional luxmeter, but instead represents a tool for a first-level lighting control. LC fulfils many of the requirements needed for use in a museum environment, because it is low-cost, disposable, aesthetically acceptable, and completely user-friendly.
A precursor of LC is the Blue Wool Standard (BWS), which also deserves mention in the present review because of its still widespread use in the field of the cultural heritage and of conservation science [
Air quality is another important aspect that needs monitoring in museum environments in order to ensure care and protection of the objects on display.
Indoor atmospheric pollutants may be responsible for various chemical reactions with materials (e.g. pigments, binders, etc.) constituting artefacts, thus causing their irreversible deterioration. Moreover, dust and soot deposits can lead to the soiling of surfaces, and can in turn be a medium for further chemical reactions with other atmospheric pollutants. Possible sources of indoor pollution in museums rooms are the presence of the public, the flow of polluted air from windows, and the use of inadequate cleaning products [
Here as follows two different concepts of sensors tailored to monitor effects of indoor pollution in museums will be illustrated: "cumulative sensors", which are dosimeter-like and respond to the atmospheric agent(s) with an additive reaction, and "reversible sensors", which can be re-used a certain number of times since they recover their original status when initial conditions are restored.
Various innovative approaches have recently been proposed for the control of pollutants in museums [
EWOs are smart passive sensors designed to sense the presence of SO2, O3 and NO2. These dosimeters are cumulative, aesthetically non-invasive and, analogously to the previous example, were devised in order to serve as an early warning system. They are based on a polymeric dyed film applied over a glass substrate. The active layer changes its absorption spectrum after interaction with specific pollutants. An optical measurement of the absorption spectrum of the dosimeter before and after exposure makes it possible to estimate the concentration of the pollutant. Different types of EWO have been developed that are suitable for responding to pollutants, either selectively (SO2, O3 and NO2) or to the cumulative action (generic impact sensor) of NO2, O3, temperature and UV-light.
As already mentioned, the EWO dosimeters were developed specifically for the prevention of damage in organic materials. Nevertheless, it is known that atmospheric pollutants can also attack different categories of materials, such as metallic artworks. In this case, the typical phenomenon to be prevented is corrosion, which can be induced by many cooperating parameters, such as temperature, relative humidity and pollutant gases. Once again, this deterioration phenomenon is rather complex, and is difficult to monitor and prevent [
Other approaches for quantifying corrosion are based on quartz crystal microbalances, in which the changes in the resonance frequency of a piezoelectric crystal with a metal coating are measured after a given exposure time. These microbalances are quite sensitive in detecting the phenomenon; however, they are sophisticated, mechanically vulnerable devices that are not available at a low cost. Therefore, alternative solutions have been sought.
Very recently, within the framework of the EC CORRLOG Project, an interesting prototype based on the electric resistance technique was proposed [
The sol-gel technique is a very advanced technology that offers several advantages as far as the preparation of thin films with different functional properties is concerned. Therefore, this technology appears highly promising for designing the type of versatile and sensitive sensors that are needed in the conservation field, where different agents may be of interest, depending on the typology of objects to be surveyed. Sol-gel matrices make it possible to immobilise several kinds of chromophores. These can interact with different external chemical species, such as solvents, gaseous pollutants, moisture, etc., thus indicating their presence in the environment.
Very recently, two optical sensors based on sol-gel technology have been proposed for the simultaneous monitoring of relative humidity and environmental acidity in museum environment [
Two very important features of these sensors are their rapid reaction time (about 10 minutes of exposure) and their reversibility, since they recover their original appearance when starting conditions are restored. Therefore, when placed together close to the artwork, the CV and CR sensors would make it possible to monitor the conditions of relative humidity and environmental acidity, and could be used to characterise the environment from the point of view of the cooperative effects between environmental humidity and acidity. Indeed, with the presence of acid pollutants, both sensors will change colour: namely that of the CV will range from green to blue, and that of the CR, from violet to orange. On the other hand, if there is a risk of deterioration simply due to high levels of relative humidity, but in the absence of acid pollutants, only the CV sensor will react, by changing colour after a few minutes, whereas the CR one will remain unchanged. This way, it is possible to use the pair of sensors to obtain a rapid and easy indication of the correctness of the conservation conditions of objects (e. g. in showcases).
These sensors are still at the stage of prototypes and therefore cannot yet be considered competitive with the standard instrumentation available for monitoring environmental relative humidity. Nevertheless they are interesting examples of a very innovative concept of reversible sensor, which is of great interest for applications in museums context, where tools for quick and repeated checks are highly helpful for ensuring care of artefacts.
In recent decades, optical fibre technologies have gained more and more diffusion in the fields of the cultural heritage and conservation, thanks to their great versatility and potentiality for customised applications. In fact, optical fibre sensors have proved to be suitable for responding to specific sensing problems, especially for non-stop monitoring in real time, the implementation of automated nondestructive measurements
The museum community started using fibre-optics technologies for illumination applications. Indeed, fibre-optics-based systems make it possible to easily filter out UV and IR components of the radiation, thus providing a safer illumination for sensitive objects [
In addition to these well-established applications in lighting environments, fibre-optics technology offers great potentiality in the field of sensors and monitoring devices for the care of artefacts. As far as the diagnostics and restoration of artworks are concerned, optical fibres are widely used for implementing the applications of several optical techniques (FORS, Raman, fluorescence, etc.) employed for the characterisation and identification of materials. Indeed, thanks to the use of optical fibres, repeated and precise non-invasive in-situ measurements can be carried out without the need of displacing the artwork, and/or on specimens with complex shapes [
From the point of view of environmental monitoring, there are many examples of compact optical-fibre sensors and devices that have been specifically designed for controlling museum environments and customized in order to respond to specific conservation problems.
As general comment it has to be pointed out that optical-fiber systems are more complex and sophisticated with respect to dosimeters and sensors based on sacrificial materials. Thus, their main limitation is that they may require trained staff to be used, and usually they are not low cost systems.
The present section is devoted to illustrating selected optical-fibres-based systems designed for the cultural heritage. Given the large number of optical fibre based devices, this section cannot be exhaustive, but rather intends to present some meaningful examples that could highlight the innovation potential of the fibre optics technology in the field of cultural heritage.
In the conservation field, in addition to routine environmental controls, it is often important to provide tools for responding to very specific conservative problems that require a customized technological solution. In this paragraph, a prototype sensor designed for the
As is well known, transparent varnishes have been always applied by artists as protective layers to painted surfaces. Indeed, beside protecting the pictorial film, varnish enhances colours, thus "improving" the final visual effect. This is because the layer of varnish creates a microscopically smoother surface, and provides a refractive-index matching medium between the air and the pigments [
On the other hand, it is well-known that varnishes themselves are prone to deterioration, since they can change their physical characteristics after prolonged exposure to light and other environmental parameters (T, RH, etc.). Varnish ageing is, in fact, a well-recognized conservation problem, and is responsible for many damage phenomena, such as chromatic changes, cracks, etc..
In the sensor presented here, once again, as for the colorimetric sensors (Par.2 1), the properties of the material to be surveyed have been exploited as a sensing principle. More specifically, a varnish coating over a plastic–cladding silica core (PCS) optical fibre was applied by stripping off a short length of the cladding and replacing it with a layer of varnish (
In this experiment, three kinds of varnishes commonly used in painting restoration were tested, namely: dammar resin, amber in linseed oil and gum mastic. A calibration of the response sensor was attained by performing temperature cycles in the 20-65°C range. The thermal sensitivity and the reversibility of the changes in the varnishes properties were tested. All three varnishes types exhibited a temperature sensitivity to some extent. In particular, the thermal behaviour of the refractive index was found to be fully reversible for gum mastic, slightly sensitive and poorly reversible for amber, and irreversible for mastic. As a result, gum mastic was identified as being the most suitable material for implementing a temperature sensor.
Thus, by permanently embedding the fibre-optic sensor in the painting (in a corner, for example) together with the picture varnish, it would be possible to monitor the temperature at the surface of the painting continuously.
A drawback of this system is that it needs a complex preliminary procedure to be applied to the painting. In this sense it can not be considered suitable for widespread and routine controls, and it is intended only for very specific cases.
The examples described here as follows are prototypes of fibre-optic sensors developed in order to cope with the problem of lighting control. As already mentioned, a correct illumination in museum rooms is a basic principle of preventive conservation, since photo-induced chemical reactions are the cause of many degradation phenomena in artworks.
The first example is an extrinsic, intensity-modulated fibre-optic sensor in which the sensitive element is a photochromic material consisting of fulgides immobilized on a polymeric matrix The photochromic transducer reacts to radiation in the UV-VIS spectral range, since it is coloured by UV-lighting and bleached by VIS-lighting. By measuring the temporal variations in the absorbance of the photochromic transducer, it is possible to deduce the fraction of UV and VIS levels [
Although very innovative and interesting for its working principle, this system is still at the stage of prototype and is not competitive with conventional luxmeters and dataloggers for measurement of UV and visible light.
The second case involves assessing the average environmental lighting conditions in museums rooms, and consists of a fibre-optics-based instrumentation for the continuous monitoring of light. This device (shown in
This instrumentation was first designed to carry out tests of "equivalent light dosimetry", i.e. in order to gain deeper insight into the cooperative effects of light and the other, uncontrolled environmental factors in fading materials. Indeed, as previously mentioned, chromatic damage in artworks is due not only to overly intense light, but also to the combined action between light and pollutants, thermo-hygrometric fluctuation, etc. Based on this, the concept of "equivalent light-dose" was introduced, in order to quantify the hazardous nature of the overall environment in regard to a specific artwork [
The example presented here is a sensor based on high-precision optical techniques and intended for the restoration and conservation of wooden artworks. It is well known that relative humidity and temperature fluctuations can deform wooden objects (including support panels, artefacts, etc.) and cause their mechanical deterioration. Methods currently adopted for evaluating differential movements and micro-cracks in wooden artworks are based on the measurement of displacements of reference points fixed on the panel [
This sensor, designed to monitor deformations in wooden artefacts, is based on the fibre Bragg grating (FBG) [
By inscribing a number of gratings with different resonance wavelengths in the same fibre, it is possible to carry out a quasi-distributed measurement. This system offers the advantage of a very high resolution, very low invasivity, and the possibility of multiplexing for a quasi-distributed measurement configuration with a single optoelectronic unit. Its main limitation is the due to the fact that it is based on precision optical components, and therefore is not suitable for implementing widespread and low-cost monitoring plans.
In recent years, the concept of "preventive conservation" has become an undisputed basis for the protection of artwork collections and for the management of museum environments. Preventive conservation is a global approach that includes a series of rules and complementary solutions for minimizing and slowing down the deterioration of artworks, by controlling the environment of the collections. As both the number of museums and the number of artworks on display is on the increase, the exclusive concentration on the preservation of individual objects severely limits conservation care for the bulk of a collection. The idea is, therefore, to safeguard collections on the whole, by means of procedures that ensure high standards of storage and maintenance of their artworks.
Within this framework, innovative tools such as early-warning systems, passive sensors, dosimeters, and dedicated devices that can help in risk assessment and in the prevention of environmental damage are greatly in demand by conservators. These tools are required to complement in different ways the conventional methods for environmental monitoring. In some cases they are designed to detect effects which can not be measured by standard instrumentation, for example assessment and prevention of deterioration phenomena induced by synergistic action of many environmental factors. In other circumstances these devices are used as early warning systems, that is they are intended for preliminary screening, in order to alert about possible risk situations (e.g. inappropriate lighting conditions). Once a critical situation is identified, further controls by means of precision measurements are nevertheless required.
In any case, all these non-conventional sensors cannot be considered as substitutes of standard instrumentation, since they are capable of providing only semi-quantitative indications. Indeed, being typically based on sacrificial materials, or on a simulation working principle, these sensors can only simulate in a very simplified manner the phenomenon to be monitored. Nevertheless, they can turn out to be precious tools to interpret data provided by standard instrumentation, as well as to provide information that can not be inferred by separate measurements of all the parameters.
In addition to dosimeter-like sensors, more sophisticated systems based on fiber-optic technology represent an important class of devices for the museum environment. These tools are optimal for customized solutions to specific conservation problem. Nevertheless, due to the use of precision optical components have generally the limitation of costs and need of trained personnel.
The examples presented here review some of the most meaningful results of excellent research projects that have successfully concluded with the production of innovative prototypes, and are now waiting hopefully for them to be circulated within the conservator community.
EC funded project. Contract n. EV5V-CT-94-0548.
EC funded project. Contract n EVKV-CT-2000-00040.
EC funded project Contract n°: EVK4-CT-2000-00016,
EC funded Project Contract. n. EVK-CT-2002-00093 -
EC funded Project Contract CRAFT n. 018207.
a) The mock paintings panel exposed in the Pollaiolo Room at the Uffizi Gallery Florence. b) The panel exposed together with conventional instruments for monitoring environmental parameters (temperature, RH%, visible and UV light). c) Detail of the panel.
An example of the use of a colour reference scale for the LightCheck® system (LCU). After exposure close to the artefact, the colour of the dosimeter is visually compared with a colour reference scale that contains five labelled colour steps and indications of the corresponding light-doses. (Image reproduced with permission of the Trustees of the V&A Museum, London. Photo by Maja Kardum).
The CORRLOG sensor for monitoring corrosion in metallic artefacts. (Photo: courtesy of Tomas Prosek).
Scheme of the varnished optical fibre used as a probe-head in the sensor for monitoring painted surfaces.
(a) The optical-fiber device for monitoring lighting conditions in museums: the spectral features of exposed samples are visualized in real time on the PC. (b) View of the optical fiber probe connected to the miniaturized spectrophotometer within the case.


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USC doctoral programs gain in ratings, prestige
A recent national report shows that the University of South Carolina is home to some of the South's best doctoral programs in engineering and arts and sciences, with several programs earning national recognition.
According to the detailed report released by the National Research Council, USC's electrical engineering program ranks seventh nationally among public and private universities in the assessment that objectively measures program quality and sixth in faculty research productivity. It is ranked No. 1 in the South in both areas. Three programs in USC's College of Engineering and Computing are ranked in the top 10 in the Southern region.
Also, the university's geography Ph.D. program is second in the South and 10th nationally. The history Ph.D. program is ranked seventh in the South and 36th nationally, and biological sciences are eighth in the South and 29th nationally.
Some of USC's other programs in the top 50 nationally: chemistry (47); chemical engineering (29); comparative literature (22); English (26); mechanical engineering (31); and pharmacy (41).
"This rise in national and international stature reflects the evolution of the University of South Carolina from a largely regional teaching university to a nationally recognized research institution," said Dr .Michael Amiridis, USC vice president for academic affairs and provost.
The report assessed more than 5,000 doctoral programs at 212 institutions around the country. It does not include law, medicine, business and education programs.
"These rankings speak to both the quality and the breadth of the programs at the University of South Carolina," Amiridis said. "It is important for a large, comprehensive university like ours to have strong programs in all areas, including humanities, social sciences, life and physical sciences and engineering."
In 1993, the last year that NRC issued its assessment, 16 USC doctoral programs were ranked nationally, with only three in top 50. The latest report includes 25 nationally ranked programs, with 14 in the top 50.
Dr. Tim Mousseau, USC's associate vice president for research and graduate education and interim dean of the graduate school, said the increase is a measure of USC's quality and prestige.
"The study shows we are a nationally competitive institution with many highly ranked programs," Mousseau said. "We have dramatically improved in many of our programs in the last 15 years. This is striking. A number of our programs are among the best in the region and in the top 50 in the nation, and this will be a tremendous help with our ability to recruit top students and faculty in the future."
The NRC report, which evaluated 62 academic fields, is a sequel to the group's 1995 rankings of doctoral programs and is based on different methodology from the previous effort. The 1995 report was primarily based on reputation surveys, while the new assessment attempts to measure objective characteristics, including areas such as the amount of time it takes a student to earn a degree and publications per faculty member.
USC leaders attributed the progress to the quality of faculty hired since the early 1990s, reflected in the high rankings for faculty research accomplishments.
"This change can largely be attributed to university, state and federal investments in our research and our initiative to hire the very best faculty," Amiridis said.
USC's research funding climbed to a record $218.8 million in fiscal-year 2010 – a 4-percent increase over the previous year and 26 percent higher than five years ago. USC also is one of only 63 public universities listed by the Carnegie Foundation in the highest tier of research institutions in the United States and the only university in the state with that designation.
The strides made by USC are expected to have a direct impact on the economic development efforts of the state and the region.
"Companies looking to start a new facility or relocate an existing one are frequently interested in collaborative efforts with the university's research enterprise," Amiridis said. "Therefore, we expect that the progress made by the University of South Carolina in the science and engineering fields will have a positive impact on economic development efforts."
About the National Research Council report
The National Research Council has compiled data on more than 5,000 doctoral programs in 62 fields at 212 universities. The report includes information on a wide range of characteristics, including faculty research productivity, institutional support for students and diversity of faculty and students.
This is the first assessment by the NRC since 1995. Earlier NRC reports were based heavily on reputation surveys, and programs were simply ranked in order.
The new assessment attempts to measure objective characteristics. The report gives each program two types of rankings – one based on faculty opinions of the relative importance of the various program factors (called S-rankings, for Survey), and one based on a regression analysis linking reputational scores to the program factors (R-rankings, for Regression-based). The assessment also includes an RA indicator, which is a measure of average faculty scholarship activity.
The report can be viewed at http://www.nap.edu/rdp.
USC rankings at a glance
- Biological Sciences: Ranked eighth in the South for program quality and seventh for faculty research, ranking higher than Virginia, Maryland, Vanderbilt, Florida State and Clemson
- Chemistry: Ranked ninth in the South for program quality and sixth for faculty research, ahead of Florida, Georgia, Maryland, Vanderbilt, Texas A&M, Virginia and Clemson
- Chemical engineering: Ranked seventh in the South for program quality and sixth for faculty research, higher than Virginia, Virginia Tech, Vanderbilt, Maryland, Rice, Tulane, Florida, Tennessee, Alabama, Kentucky or Clemson
- Electrical engineering: Ranked seventh nationally for program quality and sixth in faculty research productivity. Ranked No. 1 in the South in both areas, higher than Duke, Virginia, Johns Hopkins, Vanderbilt, Texas A&M, Georgia Tech and Clemson
- English: Ranked fifth in the South for program quality and third for faculty research, ranking higher than Duke, Virginia, Vanderbilt, Emory, Baylor, Rice, Georgia, or George Washington
- Geography: Ranked second in the South for program quality and second for faculty research, ranking higher than UNC, Texas A&M, Georgia or Florida
- History: Ranked seventh in the South for program quality, and sixth for faculty research, ranking higher than Vanderbilt, Emory, Virginia, Georgetown, Texas A&M, Maryland or George Washington
- Mechanical engineering: Ranked seventh in the South for program quality and fourth for faculty research, ranking higher than Georgia Tech, Rice, Maryland, Florida, Virginia, Virginia Tech, UNC, Vanderbilt, Oklahoma and Clemson
- Public health: Ph.D. program in public health not ranked in 1993 but, based on reputational weightings ("R" score") and faculty research, is ranked sixth and seventh, respectively, in the South, higher than Emory, Tulane, Miami and Maryland
Note: Southern region includes South Carolina, North Carolina, Kentucky, Tennessee, Mississippi, Alabama, Oklahoma, Texas, Arkansas, Louisiana, Delaware, Maryland, District of Columbia, Virginia, West Virginia, Georgia and Florida

subset: commoncrawl


text: I got an apple email today letting me know that my payment for my dual g5 didn't go through (damn). While I'm desperately trying to figure out a way to pay for it now (fastest way), I'm wondering if this means that my computer is close to shipping. Is it correct that they charge your card soon before it ships? I guess I'll have to send them a check or something. How is everyone else paying? Anyway, my order was placed august 18th. Dual 2ghz 512 (2x 256) 9800 250GB no modem


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On 02/04/2014 02:00 PM, Joschka Blohm wrote:
> I don't really know what the specific error in my scenario was, but now
> it is working brilliantly. I ping a host, first ping times out, but
> second one gets through.
Actually, that is normal for most dial on demand IPsec tunnels. The
first ping times out while bringing up the tunnel. :)
And I am glad to be of help.


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Statistics on Pole Positions and Wins of all WDC – Top 5s
Tagged: pole position, statistics, Vettel, win
This topic contains 9 replies, has 4 voices, and was last updated by magon4 5 years, 2 months ago.
Viewing 10 posts - 1 through 10 (of 10 total)
29th April 2012, 17:36 at 5:36 pm
After Vettel's win in Bahrain, I've heard some comments that the young German "only wins when he's on pole" and lacks the ability to win races "from behind". It is true that only 5 of his 22 victories have come from outside of the pole position, but the ability to start in 1st should also count – or shouldn't it?
Well, I'll leave the discussion to you. I did prepare some stats for us to comment on, taking into account all seasons and WDCs and comparing the pole/win performance in various ways. This is what I've got:
1. Sebastian Vettel (2011) – 15
2. Nelson Mansell (1992) – 14
3. Ayrton Senna (1988) & Alain Prost (1993) – 13
5. Mika Hakkinen (1999) & Michael Schumacher (2001) – 11
1. Niki Lauda (1984) & Denny Hulme (1967) – 0
3. Jack Brabham (1959), Graham Hill (1962), Jody Scheckter (1979), Keke Rosberg (1982), Nelson Piquet (1983), Alain Prost (1986) – 1
1. Nigel Mansell (1992) – 14/16
2. Juan Manuel Fangio (1956) – 6/7
3. Ayrton Senna (1988) & Alain Prost (1993) – 13/16
5. Sebastian Vettel (2011) – 15/19
1. Niki Lauda (1984) – 0/16
2. Danny Hulme (1967) – 0/11
3. Alain Prost (1986) – 1/16
4. Nelson Piquet (1983), Jody Scheckter (1979) & Keke Rosberg (1982) – 1/15
1. Nigel Mansell (1992) & Sebastian Vettel (2011) – 9
3. Michael Schumacher (2004) – 8
4. Ayrton Senna (1991) & Ayton Senna (1988) – 7
1. Michael Schumacher (2004) – 8/8
2. Alberto Ascari (1952) – 5/5
3. Jenson Button (2009) – 4/4
4. Jack Brabham (1960) – 3/3
5. John Surtees (1964), Emerson Fittipaldi (1974) & Jochen Rindt (1970) – 2/2
1. Niki Lauda (1977) – 0/2
2. Graham Hill (1962), Nelson Piquet (1983) & Keke Rosberg (1982) – 0/1
5. Phil Hill (1961) – 1/5
1. Mika Hakkinen (1999) – 3/11
2. Sebastian Vettel (2010) – 3/10
3. Alain Prost (1993) – 6/13
4. Niki Lauda (1975) – 4/10
5. Ayrton Senna (1988) – 7/13
1. Michael Schumacher (1995) – 7
2. Michael Schumacher (2002) – 6
3. Jackie Stewart (1969), Niki Lauda (1984) & Michael Schumacher (2004) – 5
Ayrton Senna (1991), Nigel Mansell (1992), John Surtees (1964), Mike Hawthorn (1958)
1. Nigel Mansell (1992) – 9/9
2. Ayrton Senna (1991) – 7/7
3. Sebastian Vettel (2011) – 9/11
4. Ayrton Senna (1988) – 7/8
5. Alain Prost (1993) – 6/7
1. Niki Lauda (1984) – 0/5
2. Michael Schumacher (1995) – 2/9
3. Graham Hill (1962) – 0/4
4. Jackie Stewart (1969) – 1/6
5. Niki Lauda (1977) & Nelson Piquet (1983) – 0/3
29th April 2012, 17:39 at 5:39 pm
i did this in the past few hours, so do correct mistakes you might find, please.
30th April 2012, 7:29 at 7:29 am
Two more basic stats, just to complete the picture:
1. Ascari (1952) – 6/7
2. Fangio (1954) – 6/8
3. Schumacher (2004) – 13/18
4. Clark (1963) – 7/10
5. Clark (1965) – 6/9
LEAST WINS PER RACE (from a WDC)
1. Rosberg (1982) – 1/15
2. Hawthorn (1958) – 1/10
3. Hulme (1967) – 2/11
4. Piquet (1987) – 3/16
5. Surtees (1964) – 2/10
30th April 2012, 16:32 at 4:32 pmParticipant
Not taking anything away from your great effort to put these statistics together; but really, what point are you trying to get across?
30th April 2012, 19:24 at 7:24 pm
You've got a point there @kingshark.
But some things simply surprised me:
Prost really wasn't good at getting poles and by the numbers didn't really have a great year in 1993, comparing to Mansell's 1992.
Vettel's main difference from 2010 to 2011 was converting more of his poles into wins – but in those two championship seasons, he had 25 poles and "only" 12 wins, not even 50%.
Senna really relied on poles. 36 poles and 19 wins from pole is a slightly better performance than Vettel, but he only had 2 wins not coming from pole in his 3 championship years – two out of 21! Vettel had 4 ou of 11.
Schumacher shows to be a race pace man with great strategy – in his seven title seasons, he had a total of 50 poles (converting 34, thats more than Senna & Vettel), but he had 31 out of his 65 wins outside of pole – pretty impressive.
All in all, the numbers say a lot, I just found it interesting to provide the data.
But you're right, no real point to it unless anyone picks up on something and goes from there…
30th April 2012, 21:56 at 9:56 pmParticipant
When talking about Vettel's apparent reliance on being on pole to win, his conversion of poles to wins isn't really relevant, because you're looking at it from the wrong way round. It's also better to look at drivers' careers rather than championship years. Here are his 5 non-pole wins… Abu Dhabi 2009 he inherited when Hamilton retired (though he did pass him in the pit stops). Malaysia 2010, he started third but was leading by the first corner. Brazil 2010, he started second and passed Hulkenberg (who was much slower than the leaders) on the first lap. Spain 2011, he deserves some credit; he started second, and was second behind Alonso after the first corner. He made some important (albeit fairly straightforward) overtakes on his out lap and passed the Ferrari before holding off Hamilton for the win. Korea 2011, he slipstreamed Hamilton on the main straight on the first lap. Also a mention for Italy 2011, where he started pole, but got passed by Alonso and had to repass him after the safety car. Nevertheless, you can see that on the rare occurrences where he won from somewhere other than pole, he was either in front after the first lap, or passed in the pit stops.
Compare this to Hamilton, for example, who has taken 8 of his 17 wins from outside pole position. Monaco 2008 (was slightly fortunate), Britain 2008 (started fourth, team orders to take lead, but dominated), Hungary 2009 (starts fourth, passes Webber, inherits lead from Alonso), Turkey 2010 (we know what happened here…), Belgium 2010 (inherited lead at start), China 2011 (series of overtakes to take win), Germany 2011 (battle with Alonso and Webber, including great overtakes), Abu Dhabi 2011 (inherited from Vettel). Add in races such as Germany 2008 and Canada 2010, where he started from pole and still had to race for victory and the difference is clear. Hamilton has demonstrated at least five times that he can fight for wins from further back, while Vettel has done it maybe once or twice last year.
The reason I have compared Vettel and Hamilton is that they have raced roughly the same amount of time and are both good qualifiers. Plus it's usually Hamilton that gets brought up in this discussion anyway. I must also say that it was interesting looking through those stats on their own merit, e.g. Lauda taking no poles in 1984.
2nd May 2012, 5:47 at 5:47 am
@andrew81 you make a very good point. Vettel still has something to show. I'm convinced he'll show it, though.
2nd May 2012, 6:18 at 6:18 amParticipant
While Andrew comes to a different conclusion, his story pretty much supports magon4's conclusion: it is just a fable that 'the great drivers' lways win by fighting through the pack. As you listed, there's only two races where Hamilton really won because of doing 'much' overtaking, so not because of failures or leading into the first corner: China and Germany 2011.
I actually did an article on this though (updated until 2011): Winning from the front
* Juan Manuel Fangio has never finished on a Grand Prix podium if he didn't start from the first two rows.
* Ayrton Senna only won 2 races starting lower than the second row, and finished on the podium only 6 times not starting in the top 6.
* Out of his many wins, Michael Schumacher won only 6 races starting lower than the second row, and finished on the podium only 9 times not starting in the top 6.
* Juan Pablo Montoya, Lewis Hamilton and Sebastian Vettel have never won a race starting lower than p4.
* Fernando Alonso won only 3 races starting outside the top 4.
The only really relevant thing in this (kind of) discussion is not the numbers (which fail to take into account the circumstance), but the question: "when did a drivers (apparent) lack of overtaking skills inhibit a driver from winning."
As this is usually a point of discussion by Vettel's critics, the situation with him is that he usually puts his car where it belongs. It would be a valid point of criticism if Vettel is often racing around really fast, but then when he comes up to another driver, his progress stops; that's not the case. If Vettel (like many of the other champions) are 'in the back', they are usually there because their car doesn't have the pace, regardless of whether or not they are stuck behind another driver. However, if Vettel has a car that does have the pace, he puts it where it belongs: on pole position.
2nd May 2012, 8:55 at 8:55 amParticipant
@mnmracer I would add Germany 2008 (had to pass Massa and Piquet after safety car put him back) and Canada 2010 (two passes for the lead on track) to Hamilton's record, even though he started from pole in both races. But you are right to an extent; most races are won from the front. It's just a case of demonstrating that you can also overtake to win, even if it's only a couple of times. It is brought up in Vettel's case in particular because of his domination in the last year-and-a-half, which has mostly been from pole. I hope we get a race this year where Vettel starts a bit further back with a car capable of winning, to see if he can prove himself. His pass on Rosberg at Australia this year was quite impressive.
2nd May 2012, 9:16 at 9:16 am
On Alonso at Monza 2011 equally. That did help him to get the win.
Viewing 10 posts - 1 through 10 (of 10 total)
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text: On Thu, 29 Sep 2005 03:12 am, Chris Johnson wrote: > Is there an equivalent to node_pack = False in maui and if so > what? Thank you. Much appreciated. This is from an old Maui config file here. # Force MAUI to comply with PBS's policy of nodes and jobs JOBNODEMATCHPOLICY EXACTNODE I think that's what you want.. -- Christopher Samuel - (03)9925 4751 - VPAC Deputy Systems Manager Victorian Partnership for Advanced Computing http://www.vpac.org/ Bldg 91, 110 Victoria Street, Carlton South, VIC 3053, Australia -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: application/pgp-signature Size: 189 bytes Desc: not available Url : http://www.supercluster.org/pipermail/torqueusers/attachments/20050929/7e5b3fa5/attachment.bin


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Get out of town! Arcade Fire is the latest act to bypass us and add to what's becoming a familiar refrain -- at least for those San Diego music fans hoping to attend some of the year's most anticipated concert tours.
The Canadian-American band, which last Sunday pulled off a stunning surprise victory at the Grammy Awards to nab Album of the Year honors, has just announced its spring tour itinerary. And -- surprise, surprise -- San Diego isn't on it.
Possible reason: The band is performing a headlining set April 15 at the sold-out Coachella Valley Music & Arts Festival in Indio.
Then again, fellow Coachella performer Brandon Flowers, the lead singer of The Killers, is performing here at House of Blues, one night before his Coachella appearance. And Arcade Fire will perform April 14 in Las Vegas at The Joint at Hard Rock Hotel.
But where does that leave you if you don't have a ticket for Coachella and can't (or don't) want to travel to Vegas? Out of luck, I suppose, unless you're willing to travel even farther -- Arcade Fire will perform April 13 in Phoenix and April 18 in Santa Fe, before the tour heads even more east. (As of this writing, the Phoenix and Santa Fe dates are not listed on the tour page on the band's Web site, but they were just announced in a press release issued by the group's publicist, along with none other dates).
Could more dates be added? Well, maybe later in the year. But the press release from Arcade Fire's publicist bears the headline ARCADE FIRE FULL U.S. TOUR ANNOUNCED, so don't hold your breath.
Meanwhile, for those who want to see what Arcade Fire look like perrforming in San Diego, here's a video clip of the band's Spreckels Theatre show from 2007.


text:
Read the full story here Web Link posted Friday, June 7, 2013, 7:36 AM
Town Square
Obama visits Palo Alto to raise funds for Dems
Original post made on Jun 7, 2013
Read the full story here Web Link posted Friday, June 7, 2013, 7:36 AM
Comments (3)
a resident of Blossom Valley
on Jun 7, 2013 at 5:01 pm
Perhaps someone might inform Dear Leader that he needs to stop with the campaigning, already.
He won re-election last November, as I recall.
Stop acting like a candidate, and start acting like a president.
a resident of Monta Loma
on Jun 9, 2013 at 6:42 am
Otto Maddox is a registered user.
A sitting President pulls in much more "donations" than an ex-President.
Apparently a chance to talk to our elected leader costs $32K.
a resident of Old Mountain View
on Jun 11, 2013 at 11:50 am
@starguy: even though you did not vote for him, he's Mr President to you. Get used to it.
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Opening alert: Kyosho Sushi in Menlo Park
By Elena Kadvany | 0 comments | 1,744 views
Love is a Verb
By Chandrama Anderson | 0 comments | 1,115 views


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Take advantage of smaller soybean seed size
Seed size is smaller for many soybean varieties that will be planted in 1996. Reduced moisture availability and above-normal temperatures last Augustthe period of soybean seedfillresulted in smaller seeds in some areas of the state. We have received reports of seed size being 10 to 20 percent smaller than normal for some varieties, with late-planted fields producing the smallest harvested seed in 1995.
Soybean producers should account for smaller seed size when purchasing seed for 1996. A 50-pound bag will go farther this year because seed counts per bag increase with smaller seed size (see attached table). The following example illustrates how seed cost can be reduced without reducing the seeding rate.
A 100-acre field is to be planted to a variety that has a 1996 seed size of 3,000 seeds per pound (compared to 2,500 seeds per pound in a normal year). More seeds per pound means that fewer pounds of seed are needed to maintain the desired seeding rate (see attached table). Using a rate of 175,000 seeds per acre, a producer can save 12 pounds by using the smaller seed (58 pounds versus 70) per acre, or 24 bags over 100 acres (1,200 pounds over 100 acres/50 pounds per bag). If seeds are $16 per bag, the producer saves $384 over 100 acres.
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Smaller seed size can reduce costs Pounds per acre = Seeding rate/Seeds per pound ---------------------------------------------------- Seeding rate per acre --------------------------- Seed size Seeds per (seeds/#) 50 lb bag 200,000 175,000 150,000 ----------------------------------------------------- 2250 112,500 88.9# 77.8# 66.7# 2500 125,000 80.0# 70.0# 60.0# 2750 137,500 72.7# 63.6# 54.6# 3000 150,000 66.7# 58.3# 50.0# 3250 162,500 61.5# 53.9# 46.2# 3500 175,000 57.1# 50.0# 42.9# # = lb.
This article originally appeared on page 25 of the IC-476 (4) -- April 8, 1996 issue.
Updated 04/07/1996 - 1:00pm


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Interview: American Mary Directors, the Soska Sisters, Talk Horror, Surgery, and the "Fair" Sex
Due to space constraints, we had to cut the "Splatter Matters" horror news page from the forthcoming issue of Revolver, which hits newsstands on June 4. The issue's column had covered the new film, American Mary, which was directed by twin sisters Jen and Sylvia Soska and was just released on VOD. The movie is also getting a theatrical release in 25 theaters across the filmmaker's native Canada on May 30th, with the surreal short The Captured Bird opening. The director of The Captured Bird, Jovanka Vockovic just so happens to the editor of the "Splatter Matters" page, and below, we share her interview with the Soska Sisters.
While horror cinema has long had a place for strong female characters that best the Bad Guy as the film's "final girl," women are rarely depicted as powerful killers. That genre convention is turned on its ear in American Mary, the sophomore feature from Jen and Sylvia Soska (Dead Hooker in a Trunk), twin female filmmakers with a penchant for horror.
"There are ridiculous notions that women don't have a capacity for evil and there's a lot of Western influence pigeonholing female characters in film," writer-director Sylvia Soska says. "You have these iconic male horror creations: Freddy, Pinhead, Michael Myers, Jason, and Norman Bates, but who is the lady you would not to go anywhere near? A true femme fatale?"
The Soskas' answer to that question is American Mary, a provocative body-horror film that stars Ginger Snaps' Katharine Isabelle as a disenfranchised medical student who begins performing illegal operations for the body-modification community and eventually escalates to exacting sadistic surgical revenge on those who have wronged her.
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As such, American Mary is a direct reaction to the bland stereotypes in mainstream genre films. "We'd heard the Twilight saga called a 'feminine horror,'" she explains. "That just pissed us off." Adds Sylvia, "Martyrs is a female horror film. Inside is a female horror film. American Mary is very much a feminist body-horror film."
Featuring "one of the most tasteful nipple removal and clitorectomy sequences ever made," according to Jen, the movie is also a potent marriage of sex and surgery—which, until now, has been the province of one other famous Canadian filmmaker obsessed with venereal horror and bodily transmogrification. Not surprisingly, David Cronenberg was an inspiration to the twins.
"Dead Ringers, as you might be able to guess, is one of our very favorite films," says Jen. "Cronenberg is a trailblazer. If it wasn't for him, we wouldn't be making the films we are." Sylvia elaborates, "We even homage Dead Ringers in the twin surgery scene by putting Mary in the red scrubs. I love unique storytellers, the ones that have an unapologetic voice in their art. Cronenberg has always been that."
An author, filmmaker, and journalist working in the horror genre, Jovanka Vuckovic is Revolver's resident fright-flick guru, the writer of each magazine's "Splatter Matters" column. She was recently named one of the top 10 most important women in the history of horror. For more, visit jovankavuckovic.com and follow her at @JovankaVuckovic on Twitter.
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Dogs, Cats, Breeding, Dogslost, Catslost, Competitions
pets, grooming, health, training, breeding, westie, sheltie, maltese, #rhodesian, ridgeback, miniature, schnauzer, norwegian, forest, persian, guinea, poetry, hobbies


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Have a Tax Question? Ask a Tax Expert
Passive or Nonpassive Trade or Business considerations would be needed in determination if there is any limitation for loss offset.
This explanations and examples - while related to Dealership type of business - may provide some lights on the IRS interpretation - http://www.irs.gov/businesses/corporations/article/0,,id=137740,00.html
The basis that shareholder has in the corporation is his/her contribution (either money or property). On the schedule would be reported if shares were sold. If capital gains distribution is automatically reinvested, the reinvested amount is added to the basis.
It sounds as if there is material participation and the activity is not by definition passive like residential rental real estate.
You can use the same decision tree that the IRS uses in an audit. If the answer to any one of the questions below is yes, losses are excepted from the passive loss limitations because he does materially participate. That means it is nonpassive and yes materially participates so losses are generally fully deductible.
If answer to all the above tests is no, the taxpayer does not materially participate. The loss is passive and not deductible except against passive income.
I hope this helps for deciding material participation..
Hello again,
Distributions and basis is another topic entirely than material participation and passive activity.
There are not a capital gains distributions from an S corporation. Capital gain distributions are given from mutual funds that sell part of the portfolio during the year.
You can get distributions from an S corporation; but these are generally distributions of the profit of the S corporation or return of the contributions that the shareholder made to the corporation.
In the tax software you need to be sure that you enter all of the contributions of cash and property that were made (and all of the prior year income that was reported as taxable) as part of the basis of the shareholder. Some software has a separate section to enter these contributions and prior earnings that were taxable. Often it will refer to the shareholder basis.
If you distribute more than you have previously invested in the S corporation and more than you have previously reported as income from the S corporation you will have a capital gain. That capital gain does go on Schedule D.
Make sure that the amount of distributions this year are more than the contributions and prior earnings that were subject to tax and if that makes sense then you will have an entry on Schedule D; but as you mentioned this is not the usual case.
I hope this helps for determining if there is a capital gain that exceeds the contributions and prior taxable earnings.
Best wishes.
Where did the money to run the corporation come from?
Are you saying he only worked and did not contribute money?
Are you counting the reimbursements as distributions?
Can the distributions that are more than the earnings for this year be considerd a loan from the corporation to him (the shareholder) ? Would he pay them back in the future (or have less of a distribution of future profits)?
Have you considered using a tax pracititoner to get the first return done properly as an investment in not having to correct it later?
Thanks for the information.
If there was indeed reimbursement for all monies paid for expenses and also amounts were paid (over and above the wages); then those amounts will be distributions that could be capital gain to the extent that the distribution is more than the shareholder's part of the earnings for the year.
For example, if there was 150K of earnings and 60K was distributed to each 1/3 owner there would be 10K of capital gain reported by the shareholder. Earnings of 150K/3 was 50K and 60K - 50K = 10K of gain due to the excess of money paid over the share of the earnings.
At Shareholder's Basis in S Corporation is an example of a worksheet to compute basis for the tax year.
I hope this helps to clarify for you.


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hello!! im kai. im 16 years old.im form thailand^^ can you add me my msn is kai_hp7(a)h0tmail.c0m^^
i love the travel , chatting , watching tv , listening music my favorite colour is black , also my friends told that im very crazy and im look like emo usually im not ><
i would like to have a new friends from all around the world


text: I have seen responses to letters. It has all been very, very positive. Be polite, be technical, use local wisdom, but reputational harm is a very strong argument from a legal, not a political, standpoint. There is no reason to hold back, from all I am hearing. Just don't send any goofy or nasty letters. Concern is appropriate, and there is no reason not to write to more than one person. How do you know which one will be the one to get it? If you have concerns about "spam", write a different letter or email to each one. Jean Hollis Weber wrote: > Daniel Carrera wrote: > >> I posit that you don't deal with >> ISO the way you deal with an MP, or Massachusetts, or any >> political entity. I do not claim to know the perfect way to approach ISO, >> but I do advice everyone to keep in mind that ISO is not your local >> congressman. At least in theory, they should make decisions on technical >> merit, and they are not used to lobbying the way your MP, or >> Massachusetts might be. I advice everyone to keep that in mind when they >> write, lest your attempt back-fire. I think this is sound advice. > > I suppose it's possible that Marbux's approach is appropriate in the USA > (maybe the standards folks there are used to being lobbied as if they > are politicians?). But even if that is true, his approach may well not > be appropriate in other countries. > > I suggest, therefore, that the best general advice is to use care and > discretion and as much local knowledge as possible when writing, which > is pretty much what Daniel said. > > I'd also like to remind people to mention any contacts on the GrokDoc > page, so others have an idea of how much prior contact has been made > with a specific person or committee. > > --Jean > _______________________________________________ > odf-discuss mailing list > odf-discuss at opendocumentfellowship.org > http://lists.opendocumentfellowship.org/mailman/listinfo/odf-discuss >


text:
Worthless Sincerity (single)
Collapsar (single)
Gravimeter Fail [promo. free download]
...a dead dreadnought, who still sees dreams
Depersonalization Days
Response to Challenge [loudness war mastering]
Eight Parallel Universes (single)
Response to Challenge
Carbon Star (single)
The Great Attractor
Hard Reset (E.P.)
Depersonalization [Limited Edition]
Nuclear Jugulating
Gradient Diffused Light (2 CD's)
Told Story (E.P.)
Emotional Burnout (E.P.)
Constellations convergence (bonus from "The Great Attractor")
Reverse Dimension (single)
Crypt of Insomnia
Crypt of Insomnia
"one man band" project.
Various working styles: groove, thrash, progressive metal \ rock 70s, acoustic rock, art rock, melodic death, doom, cinematic ambient soundtracks and orchestral melodies.
Basis of the project "Crypt of Insomnia" is an atmospheric sound and hightech play, also thinking outside the box musical theories.
(Project targets mostly instrumental music) ... more
Streaming and Download help


text: Obsessive music collector and resident record selector for London based underground parties No Frills & Alfalfa. 2012 has seen Drew continue to perfect the art of the 'warm up' for highly respected artists such as; Dyed Soundorom, Portable, Kris Wadsworth, Mark Henning, Jordan Peak. Christopher Rau, Rich NxT Herodot & Xandru. Always concious to avoid hype and trends Drew digs deep in his record bags to offer an insight into his personal music collection which spans a vast history of Disco, House & Techno. Drew Karma's biography Drew Karma Musician


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The Marty Mornhinweg system: How the new Jets coordinator runs his offense
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|Drought-decimated wheat, Black Earth belt
I would not go so far as to say that regulation is needed, but that the issue needs to be looked at. We need to examine how futures markets contribute or not to price volatility.
The FAOs Committee on Commodity Problems last month put unexpected price hikes and volatility on the CFS agenda, pinpointing them as key threats to food security. Some academic experts argue that underlying issues of excessive food dependency and land-grabbing also need to be addressed.
The summer food price spikes were caused by local production shortfalls, most notably in Russia, national policy responses such as export bans, and speculative behaviour on markets, Hallam said. They did not properly reflect market fundamentals.
Over the summer, people were asking whether we are embarking on another crisis such as in 2007. The answer is no. The fundamentals are stronger.
The FAO projects that global cereal production in 2010 will be 1% lower than last year and still the third-largest on record.
Maximo Torrero, director (markets, trade and institutions) at the International Food Policy Research Institution in Washington, said that excessively volatile markets meant that any supply choke can create a significant response.
Futures market regulations should be tightened, he argued. Stricter speculative limits should be imposed; existing position limit waivers for index traders should be phased out; additional restrictions should be imposed on index traders, their activity in other agricultural markets investigated and data collection on index trading strengthened.
An international system for reporting the level of food commodity reserves is needed, and an intelligence unit that monitors reserves and price abnormalities.
Torero argued that a physical, public, globally managed grain reserve should be developed. Determining optimum stock is a politically loaded issue that would have to be resolved, and methods found for sharing costs, he pointed out.
Tony Weis, author of The Global Food Economy, argued that both the 2007-08 food crisis and this summers price hikes had exposed a fundamental flaw in the idea that food security could be left to international markets.
Greater attention needs to be paid to the idea of food sovereignty championed by Via Campesina, the international peasant movement, he told Emerging Markets.
Food shortages in the Sahel, and in Pakistan, this year showed that more nationally-oriented agricultural policies have a role to play although climate change will be a significant complicating factor.
Weis, assistant professor at the University of Western Ontario, added that a big threat is posed to the poorest peoples food security by a global surge of land-grabbing, particularly related to rising bio-fuels production.


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PERGO® is the world's most recognized and trusted laminate flooring brand. We invented the category more than 30 years ago and continue to lead the industry in both design innovation and laminate technology with nearly 500 patents and pending patent applications throughout the world. This is why we proudly sell more laminate flooring than any other manufacturer.
Drawing upon our previous success, the current Pergo product line features designs and styles to meet any need — from classic oaks to exotics and hand-scraped rustics suitable for virtually every room in the house — even commercial settings. These beautiful designs are enhanced with our technological innovations like premium surface protection that defends against scuffs and stains; ultra-realistic texturing process mimicking the grain of authentic hardwood, ceramic or stone; and PerfectFold™, a revolutionary "fold-down" technology that improves and simplifies installation making it easier to achieve professional-looking results. Pergo is continuously raising the bar laminate flooring in ways that guarantees your floor will look beautiful and give you confidence in its performance for years to come.
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Through our beautiful state-of-the-art products, industry leading warranties and dedication to customer service and the environment, we are committed to maintaining our position as the leading laminate flooring brand. And while our name has become synonymous with the category, no other brand delivers the premium performance and lasting beauty of genuine Pergo. So, for the best in laminate flooring, look for the NALFA seal and remember, There's Only One Pergo™.
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T.J. Lane will spend the rest of his life in prison for killing three fellow students at Chardon High School last year. That's where he belongs.
If there was any doubt about denying this 18-year-old even a prayer of freedom for the rest of his life, he erased that with the horrendous spectacle he staged during his sentencing March 19 in Geauga County Common Pleas Court in Chardon.
Lane made a mockery of the proceedings by stripping off his shirt to reveal a T-shirt with the word "Killer" scrawled across it. He went out of his way to insult the parents of the boys he killed with a vulgar tirade that included an obscene gesture. He smirked and mugged for the camera while the victims shared their pain. He deliberately inflicted even more hurt on those whose lives he changed forever on that morning in February 2012 -- as if they hadn't been hurt enough.
He showed absolutely no remorse, but instead seemed to glory in the horror he perpetrated. His actions were nothing short of nauseating.
Almost as appalling, however, is that fact that this grandstanding punk was allowed to engage in his insulting antics in a hall of justice.
Common Pleas Judge David Fuhry said after the hearing that he was unaware of the "Killer" T-shirt because Lane spent most of the hearing with his back to the judge. We have heard the saying that justice is "blind," but in this case it appears that Judge Fuhry was, too. Didn't he see the defendant remove his shirt in the courtroom? Shouldn't that have been a tip-off, or do defendants in Geauga County routinely disrobe during hearings? And, even if his line of sight was impaired, the judge certainly heard the defendant insult the victims as well as the court. Why didn't he respond? Why didn't this judge assert control over his courtroom?
Dina Parmertor, whose son, Daniel, died at the hands of T.J. Lane, faced her son's killer March 19. She called him "a pathetic excuse for a human being a monster a weak, pathetic, vile coward." That grieving mother spoke for more than herself.
The families of T.J. Lane's victims will never recover from the losses he inflicted on them, and he added insult to injury with his outburst in Judge Fuhry's courtroom. If there is any comfort to be found, it may lie in the fact that he will never know a day of freedom. Justice prevails, even when a killer mocks it.


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Please use the "Back" button in your web browser to return to the previous page. There you can correct whatever problems were identified in this error or select another action. You can also click an option from the menu bar to go directly to a new section.
Previous non-fatal errors occurred. Page contents follow.
SYSTEM WARNING: 'mysql_connect(): Access denied for user 'dandello_momkat'@'localhost' (using password: YES)' in '/home/dandello/public_html/testbed/mantisbt11/library/adodb/drivers/adodb-mysql.inc.php' line 365


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« MDC Sports is coming back | Main | Home Federal Bank appoints Krehbiel to board »
Where is my super mega like button on this one??!?!
glorified subway..
Not even a little bit. The sandwiches are so tasty, they're well worth the extra $$ you pay compared to Subway. If I wanted cold cuts from the deli section of Wal Mart, I would save the money and make my own sandwich at home instead of Subway.
Good luck recreating a 12" cold cut combo at home for $5. Maybe if you count the "per piece" prices, but honestly, who buys three slices of turkey bologna?
I like subway, but ONLY the CCC.
Glorified Subway? Are you kidding me?
Potbelly is much better than Subway.
Potbelly has delicious sandwiches, soups, shakes and malts. They are far better than Subway.
But do they have a five...
five dollar....
five dollar footlong??
I think the real question is. can it last more then a month here. Look at the last Pork sandwhich place lasted. I am sure location could play a part.
Pork sandwich place?
I think Jhaas is referring to Meatheads, maybe?
Location will definitely be important, as will management. I can see them maybe taking a spot near the mall, all the Potbellies I have seen have been in large stores. Perhaps they would make over a portion of the Macaroni Grill building...just a thought!!! (or maybe wishful thinking!!!) Although, I think downtown would be delightful, for purely selfish reasons, though with JJ's, Subway, Quizno's and Erb and Gerbs I'm not sure if it would be that good of an area...
Isn't Red Lobster taking over the Macaroni Grill location next spring?
I do enjoy Potbelly's - they have one in Eagan - and would love a couple locations in Rochester.
Not only are the subs great at Potbelly...the malts and shakes are to die for! Potbelly is way better than subway....and I am not sure why people are thinking it is a pork place...maybe the pig picture?
Never heard of them but i guarante if we get one there will be people complaining how awful they are or the service was bad, ive come to the conclusion people are never happy with whatever we get here in town!
Speaking of Potbelly's I hear Jon Eckoff who sold out Ventures is the new Downtown Grand Pooba
The comments to this entry are closed.


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|Re: Kernel Debug information
|Tom Sightler
|Fri, 09 Dec 2005 17:18:32 -0500
On Fri, 2005-12-09 at 11:54 +0100, Alexander Spanke wrote: > Hi all, > > I just tried to debug a kerneldump of one of my nodes, unfortunately I > am missing the kernel debug information, do you know where or how to get > it ? For packages in the original release it's at: ftp://ftp.redhat.com/pub/redhat/linux/enterprise/3/en/os/i386/Debuginfo/ and for updated packages they are at: ftp://ftp.redhat.com/pub/redhat/linux/updates/enterprise/3ES/en/os/Debuginfo/i386/RPMS/ Of course substitute 3AS or 3WS in the above URL based on your version. Later, Tom -- Taroon-list mailing list [email protected] https://www.redhat.com/mailman/listinfo/taroon-list
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text: As an extension of EVS topic on 'Measurement' for Grade 3, was conducted on 15th December 2015 at Orchids the International School-Nigdi, an elite school in Nigdi Pradhikaran, to demonstrate measurement of capacity. Teachers used different containers like cup, bucket, spoon, tub etc. in the classroom and conducted experiments related to the topic. Students observed the number of cups it takes to fill the tub, the number of spoons it takes to fill the tub etc. They observed how a larger capacity vessel could fill up the tub more quickly. Units for measuring capacity such as 'litre' and 'milli litre' were also understood by the students. Through such activities, students were able to connect these practical experiments with the topic.