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Doctor insights on:
Home Remedies For Rapid Heart Beat At Rest
Rapid heart beat at rest. Why?
Many reasons: There can be multiple reasons, including overactive thyroid, anemia, fever, dehydration, pain, abnormal heart function. ...Read more
Rapid Heart Rate (Pulse) (Definition)
Rapid heart beat is a symptom in which a person's heart is beating fast. A fast heart rate can be normal if a person is excited or exercising. Sometimes a rapid rate is called sinus tachycardia, atrial flutter, or atrial fibrillation, etc..., depending on the type of arrhythmia (heart rhythm or rate problem). ...Read more
Rapid heart beat at rest due to tea or heart?
Tachycardia: Rapid heart rates can be either physiologically appropriate or inappropriate (pathologic). Examples of physiologic appropriate sinus tachycardia might be fast hr due to stress or caffeine. Pathologic tachycardia can involve a wide spectrum of arrhythmias coming either from the atria or ventricular locations. ...Read moreSee 1 more doctor answer
Rapid heart beat at rest due to tea or heart?
Heart rate: Most resting heart rate normals are 80 to 100 bpm. Some people's resting heart rate is higher. Abnormal reasons for higher resting heart rate include anemia, hyperthyroidism, fever, ongoing inflammation or infection, dehydration and there is also a pathologic sinus tachycardia condition. You'd need to see a dr. And be evaluated if you're worried about your resting heart rate. ...Read moreSee 1 more doctor answer
Rapid heart beat at rest reason to call doc?
Maybe, maybe not: Normal hr at rest is around 60-100 bmp. Sometime emotional excitement, even when you are resting, it can be a bit fast. Also, if you have taken some cold medicine/decongestants, or too much caffeine/energy drinks, or all of the above together can really speed up your heart. Asthma medicine--albuterol etc..Can increase hr. So, if u have no reason for fast hr, consult doc. Good luck. ...Read moreSee 2 more doctor answers
Hi I have been having rapid heart beat at rest and shortness of breath and this hard and very painful bump appeared on my vagina what could this be ?
Need to be checked: These two are not related and are separate conditions. You nned to see your doctor to find out the cause of your shortness of breath and rapid heart beat and bump on your vagina. ...Read more
Should i worry about rapid heart beat - happening on regular basis - can anxiety cause this to happen even when I am at rest?
Get it checked: Anxiety - especially a panic attack - can cause a rapid heart rate. However, there are other causes too. You should get it checked out. Many of the can be treated with medicines and some cured by procedures. ...Read more
Dizziness, blured vision and rapid heart beat while exercising.. Heart beat during rest is 89-100bpm blood pressure 117/84..Is it normal?
Discuss w doc: One expects a physiologically appropriate increase in heart rate with exercise. This could be magnified if your volume state is low (intravascular dehydration) . Symptoms of dehydration coupled with the normal sympathetic stress of activity could explain this--but if you are still symptomatic after assuring adequate hydration you should see a cardiologist for monitoring/echo-stress study. ...Read more
Dizzy spells shortness of breath and rapid heart beat seeing stars and like tingling racing though my head and neck its really wierd I have to rest?
Need work up: probably related to a drop in blood pressure thats sudden. Postural hypotension , vasodepressor syndrome etc. A work up with an echo,cardiac event monitor,some labs and a Tilt table test will be required to determine further. ...Read more
How can I treat rapid heart beat after shock?
Relax: It is normal to have fast best in stressful conditions so relax and if the fast heart rate persist see your pcp. ...Read more
Does Lipozene cause a rapid heart beat?
No: In general, lipozene should not affect your heart rate. It is a fiber product, and is not absorbed into the bloodstream. However, be sure that the product is not a "lipozene-like diet drug", because then you cannot be certain what it is. Best to check with your doctor if you have an increased heart rate. ...Read more
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But the dead man's widow is suing Harry and the LAPD for killing the wrong man - an accusation that rings terrifyingly true when a new victim is discovered with the Dollmaker's macabre signature.
So, for the second time, Harry must hunt down a death-dealer who is very much alive, before he strikes again. It's a blood-tracked quest that will take Harry from the hard edges of the L.A. night to the last place he ever wanted to go - the darkness of his own heart.
Impressed? Ace detective Harry Bosch is also on the case in other exciting Michael Connelly crime-fiction novels.
©1994 Michael Connelly (P)1994 Brilliance Audio, all rights reserved
"Wow! Excellent Bosch thriller!"
I've listened to several Michael Connelly audiobooks, and love the Harry Bosch series. I was excited to see several more recently become available on Audible.
The Concrete Blonde is my current favorite Bosch book, topping my previous favorite: Echo Park.
It's an outstanding mix of courtroom thriller and serial killer hunt/police procedural. It moves along quickly, even the courtroom scenes are fast paced.
Characters are very well developed, not just Bosch, but all the supporting characters, and I like the plot: Bosch is sued for unlawful killing of a serial killer suspect, while at the same time a copycat killer is out there and more bodies begin to show up.
Just when you think you have it all figured out, there will be a couple twists at the end to keep you guessing. An excellent whodunnit. I highly recommend this book, even if it is your first Harry Bosch mystery.
I don't know how I missed this book until now. I like the Harry Bosch series and this certainly did not dissapoint me. I loved it. Dick Hill's narration was terrific. This has everything one could want in a murder mystery.
"Connelly Fan"
I was so happy when Audible added these earlier Connelly / Bosch books!
I guess the only reason I didn't give this one a 5-star rating is that I am using the first "The Black Echo" as a benchmark.
This is a good book, but the first one was Terriffic!
Dick Hill, the narrator, did a good job as usual(although he does kind of butcher female voices and weepy scenes on occasion)
If you're a Connelly fan you'll really like this book.
Definitely Recommended!!
Retired former magazine editor who is working harder than ever as Mr. Dad to his 14-year-old daughter.
"Good combo of courtroom and detective drama"
I've started reading the Bosch series in chronological order and was much happier with this offering than I was with The Black Ice. Both the courtroom scenes (don't know why a previous reviewer was tortured by them) and the "whodonit" trail made it difficult to shut off my iPod. Bosch even starts to get likable in this book. Dick Hill's narration was excellent and I had to chuckle at the hint of Jack Nicholson that worked its way into his portrayal of the reporter, Bremer. I had heard Hill use this voice before. The book had lots of twists, turns and misdirection. An enjoyable listen. Can't wait to start on The Last Coyote on my ride to work today.
retired writer
"One of Connelly's Best"
Yes, it has twists and turns that keeps you wanting to find out what happens next. Performance by Dick Hill is excellent. I think he is the best narrator for Connelly's Bosch novels. I've listen to other Connelly books and Hill's voice is the best even tho I liked Grupper's voice in the Lincoln Lawyer. He sounds like Haller should sound!
Yes. It kept me listening with only a break for sleeping.
Hill performs each character very well, however I guess I like Harvey "98" Pounds the best of all the recurring characters in the Bosch series
Yes... but couldn't.
I like the Harry Bosch series because Bosch is human. He is a tough cop who makes mistakes and get things wrong yet he is compassionate, kind and considerate.
Dept Q, Harry Hole... where are you?
"Quintessential American Police Procedural"
This is one of the first Bosch novels and one I'd read many years ago. Fortunately the only things I tend to remember are interdepartmental and personal relationships about Bosch so the mystery was new to me. It's a great one.
If this was a new release I'd give the review more time. One key aspect is the excellent performance of Dick Hill. More than one of the narrators of this series read like its a documentary. Hill brings the best out in Bosch!
Don't know what I want to be when I grow up. Trip's cool though. Use Audible to make gym-training sane... And rip my imagination.
"ZOWIE! Everything you'll want in a thriller!!!"
Whoa! This novel is clever. The way it combines courtroom AND police procedural simultaneously... no flashbacks... no foreshadowing... SIMULTANEOUSLY... is like getting your imagination caught in twin gears that just screw you in and in and in...
It is the highest craft of cop/legal drama. Plus the plotting is hair-triggered. It's everything you can want in a hard-boiled-noir story. Absolutely terrific ... 4.9 stars. And Dick Hill is magnificent. I'm going to post this review, look up Dick Hill readings... AND BUY SOME!
"Solid detective story"
This is my third Connelly book and clearly he has the art of detective novels down. I am not a big detective book person but I do get into his books. Not many wasted conversations but enough to make you think throughout the book. Hill as narrator is good but not great. Good enough to make me want to order Connolly's next book in the series. Should not disappoint if you order this one.
"There is scarcely any passion without struggle." Camus, The Myth of Sisyphus and Other Essays
"Calvin P. Yeen and Da Bears"
I like the later Harry Bosch novels, but this one evinces a Connelly initially trying to find his way to a good story that's also plausible. The Concrete Blonde is as realistic, from the standpoint of the centerpiece lawsuit, as a Calvin P Yeen on a Cowboy helmet in downtown Dallas.
Dick Hill's thick Chicago accent grates the whole way through, especially when he attempts the female voices and even moreso when he puts his hand over the mike to try to give the effect of someone speaking from the other end of a phone call. Think, Mike Ditka narrating it to you in the passenger seat while he munches a super-size bag of Doritos.
"Connelly and Dick Hill very good together"
Man, this was a fabulous story, very well written with plenty of turns and twists to keep us listeners guessing. Dick Hill's narration was outstanding and after this book has crept up into my top 2 or 3 favorite narrators. He is getting to the level of Frank Muller. Too bad Hill quits doing Connelly's books after Angels Flight. Anyway, this book was so good I finished it in 4 days.
"Excellent detective thriller"
I am a great fan of Michael Connelly and have read all his books. He has managed to maintain a high standard right through his career, unlike some of his contemporaries such as Patricia D Cornwell. That said I like his earlier books the most and "Concrete Blonde" is one of the best. Well written and expertly plotted, the pace and tension never slacken, and his hero Harry Bosch is always likeable and very human. Great stuff.
Narration is first class, and the sound quality is excellent.
Strongly recommended for anyone who likes a good thriller.
"A great story - edge of seat stuff."
One of those stories that makes you look forward to driving the long way home so you can keep on listening to it in the car. Or finding a reason to take the dog out for another walk, just to find out what happens next - certainly going to look to see if there are any more of these gems waiting to be listened to!
"Excellent story, well read"
This was the second Michael Connelly book that I listened to. It was of the same consistently high quality as the first. The plot was satisfyingly complicated, with twists and turns and dead ends. The story was well plotted and easily followed. There were sufficient characters and they had their own voices; they were believable, and fairly well rounded without being too stereotyped. The dialogue flowed well and was engaging. The location was well described and it enhanced the story. Finally, the narrator did a very good job by giving the characters their own consistent and appropriate voices. If you like thrillers and 'who done it's' then this is a good choice.
Wow where does Micheal Connelly get his ideas for his books especially the Harry Bosch series.
Another of his books that has you gripped from begining to the end.You dont want the book to end because it is so good , but you need to know the outcome.
The narration is very good and you feel as though you are along side Bosch as he is going about the case.
Buy it you will not be dissapointed.
It was a bit dark at first but as it progressed I couldn't wait to get on my commute and listen to the next episode. And the narrator is the best I normally listen to Jack Reacher but he really does act each character
"nice one"
June and I couldn't stop listening: it was so good
Heard the whole thing in two days on holiday. will be downloading another 'Bosch' book soon.
"good story poor quality sound"
love Bosch and I love Audible and I like this narrator but the recording on this one isn't great unfortunately
One of the best detective novels I've listened to. Harry Bosch has me hooked after this.
"This is a brilliant book !"
Couldn't recommend this book enough. Really enjoyed it, good naration and a fantastic story. The character of Harry Bosch is addictive and I will follow this series through to the end.
Great story with twists and turns. Very hard to stop listening. Loving the Harry Bosch series. Well written and great author
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eunique451 on Jul 29, 2014
Had to have, glad I bought it...so devilishly cute ; ).
eunique451 on Jul 29, 2014
Brought as a gift for a Nightmare lover...WIN!!! WIN!!!
brokeboyd on May 25, 2014
I really love this bracelet! It's the perfect size and curves to fit my wrist comfortably without sliding about. The bat is adorable and it really couldn't look and more perfect. It's looks even better than expected! Shipping was fast. Only reason I gave 4 stars was that the lobster clasp is very difficult to use with one hand, you will need assistance putting this bracelet on unless you are a pro at this (I don't own many bracelets so maybe I'm just retarded).
queenmercury on May 6, 2014
Fast shipping! Very cool necklace! Thank you!!
Ghoulish accessories for every monster from My Darling Frankenstein!
I started My Darling Frankenstein in 2009 making things that reflect my love of horror, monsters and halloween. I have always loved making art and doing crafts and when I became a stay at home mom I had more time to for it. Before I knew it a hobby became a business. I opened my own website, mydarlingfrankenstein.com in 2011. I absolutely make everything I do because I love to do it. I have been obsessed with horror and Halloween since a was a child and being able to have it as such a huge part of my life is amazing. Most of my pieces are hand cast resin, hand painted and definitely hand bloodied! I make things I love, hoping you will too. Thanks so much for checking it all out!
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Does this software come equipped with microsoft excel?
5 Replies
Jan 4, 2008 at 10:49 UTC
Define equipped....
Does this free package come with part of a $240 Office Suite embedded? No
Can you export the reports as an .XLS file after running them so you can open them in Excel? Yes
Jan 4, 2008 at 10:52 UTC
Can I excess microsoft excel through this software?
Jan 4, 2008 at 10:58 UTC
You lost me. What exactly is it you are trying to do?
Jan 4, 2008 at 11:43 UTC
Greetings Elmer,
I'm sure that I completely understand but let me take a stab at it anyway. Spiceworks is not affiliated with Excel, we do allow you to export reports into Excel format. If you have Excel installed on your computer you will be able to open the exported Excel document. If you are looking to get some sort of free version of Excel we do not offer that.
Did that hit the nail on the head or was I off?
Jan 4, 2008 at 12:12 UTC
If you want Microsoft Excel you have to purchase it either individually or bundled with a Microsoft Office Suite.
Or you can view excel spreadsheets using the excel viewer which you can download here:
Or you can download and install OpenOffice to actually be able to edit excel spreadsheets, not to mention word documents and more.
This discussion has been inactive for over a year.
You may get a better answer to your question by starting a new discussion.


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Yes, everything you say is fact and not opinion. This is the east coast we're talking about here...nowhere is consistent. Unless you mean consistently bad. I don't care where you live, you have to endure multi-week flat spells at some point throughout the year.
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This article is an open-access article distributed under the terms and conditions of the Creative Commons Attribution license (http://creativecommons.org/licenses/by/3.0/).
Pectenotoxin-2 (PTX-2), which was first identified as a cytotoxic entity in marine sponges, has been reported to display significant cytotoxicity to human cancer cells where it inhibits mitotic separation and cytokinesis through the depolymerization of actin filaments. In the late stage of endoreduplication, the effects of PTX-2 on different cancer cells involves: (i) down-regulation of anti-apoptotic Bcl-2 members and IAP family proteins; (ii) up-regulation of pro-apoptotic Bax protein and tumor necrosis factor-related apoptosis-inducing ligand (TRAIL)-receptor 1/receptor 2 (DR4/DR5); and (iii) mitochondrial dysfunction. In addition, PTX-2 induces apoptotic effects through suppression of the nuclear factor κB (NF-κB) signaling pathway in several cancer cells. Analysis of cell cycle regulatory proteins showed that PTX-2 increases phosphorylation of Cdc25c and decreases protein levels of Cdc2 and cyclin B1. Cyclin-dependent kinase (Cdk) inhibitor p21 and Cdk2, which are associated with the induction of endoreduplication, were upregulated. Furthermore, it was found that PTX-2 suppressed telomerase activity through the transcriptional and post-translational suppression of hTERT. The purpose of this review was to provide an update regarding the anti-cancer mechanism of PTX-2, with a special focus on its effects on different cellular signaling cascades.
The pectenotoxins (PTXs) are macrolactones with multiple polyether ring units, which depolymerize actin filaments [
Actin is one of the most abundant and common cytoskeletal proteins for cell growth, motility, signaling, and maintenance of cell shape. Because PTX-2 affects actin polymerization, many studies have been done on the effect of PTX-2 on cell cycle arrest, endoreduplication, and apoptosis, as well as on its anti-inflammatory effects. The rest of the review will discuss the effect of PTX-2 on the above phases by relating PTX-2 to different cellular signaling cascades.
In this section, we explain the effects of PTX-2 on cell cycle arrest as well as endoreduplication. It is well established that PTX-2 strongly induces cell cycle arrest at G2/M phase in different cancer cells. It is further shown that this potent agent induces endoreduplication in a manner that is independent of cell type.
Cell cycle arrest is one of the key factors of an effective chemopreventive agent. Many other data show that PTX-2 possesses strong anti-proliferative properties in various cancer cell lines. In particular, PTX-2 prevented the proliferation of cancer cells by interfering with various stages of cell cycle progression. In the first part of this section, we will discuss how PTX-2 interferes with cell cycle progression through G2/M phase. Recently, we reported that PTX-2 significantly caused G2/M phase arrest in several human cancer cell lines [
It is well known that Cdc25C directs dephosphorylation of cyclin B-bound Cdc2 and triggers entry into mitosis [
In another experiment, we investigated PTX-2-induced cell cycle arrest at G2/M phase in human breast cancer cells via ATM (ataxia-telangiectasia-mutated) and Chk1/2 (checkpoint kinases 1/2)-mediated phosphorylation of Cdc25C [
Based on experiments on a broad spectrum of cell types in which endoreduplication occurs, many hypotheses have been generated to explain the functional importance of this phenomenon. Endoreduplication can be understood simply as a variant form of the mitotic cell cycle in which mitosis is aborted prior to cytokinesis due in part to modulation of cyclin-dependent activity. However, many aspects of cell cycle control require negative regulation of Cdks. Negative regulation of Cdk activity is achieved either by phosphorylation of the catalytic subunit or via the binding of Cdk inhibitory proteins known as CKIs [
In particular, PTX-2 has been shown to have a potent cytotoxic effect in human cancer cell lines. Recent studies have also demonstrated that the anti-cancer effect of PTX-2 is due to disruption of the actin cytoskeleton through the inhibition of actin polymerization,
Microtubules are present in cell cytoskeletal networks, and play important roles in many aspects of the fundamental processes of cell growth and development including cell division, cell expansion, intracellular organization, and cell motility [
Cell signaling has been most extensively studied in the context of human diseases where it is related to proliferation, survival and transformation of cells. These processes have been deeply investigated in current studies in cancer biology [
NF-κB can be activated by cytokines, bacterial toxins, viral products, oxidative stress, toxic metal and UV light,
Programmed cell death is a key process in cancer development and progression. The ability of cancer cells to avoid apoptosis and to continue to proliferate is one of the fundamental characteristics of cancer and is a major target in the development of new cancer therapies [
Extracellular signaling molecules may either cross the plasma membrane or have their presence transduced. In both cases they cause an intracellular response and a cell initiates intracellular apoptotic signaling in response to stress [
Many studies have reported correlations between drug responsiveness and tumor genotypes. As the p53 gene is inactivated in the majority of human cancers, the p53 gene plays a major role in preventing tumorigenesis. It does this by responding to both cellular stress and DNA damage. Much effort has therefore been made to determine the effects of p53 inactivation on cancer cell responses to therapeutic agents [
PTX-2 inhibits the expression of anti-apoptotic and proliferative genes known to be regulated by NF-κB activity. One of our studies showed that PTX-2 significantly inhibits constitutive NF-κB activity, leading to blockage of IκB proteolytic pathways in leukemia cells [
Many studies have demonstrated that p53 directly activates the transcription of a number of genes including genes for: (i) the cyclin-dependent kinase inhibitor p21 (WAF1/CIP1), the major mediator of p53 cell-cycle inhibitory capacity; and (ii) apoptotic genes [
Telomeres are repetitive DNA sequences located at the termini of linear chromosomes which are responsible for maintaining chromosomal stability [
The telomerase ribonucleoprotein complex consists of two essential components, a catalytic protein subunit human telomerase reverse transcriptase (hTERT), and a template RNA (hTR) [
Thus, many studies have focused on telomerase activity, studying hTERT and different anticancer agents. According to our findings, PTX-2 suppressed telomerase activity in human leukemia cells via the transcriptional downregulation of hTERT through reductions in c-Myc and Sp1 activities [
Cancer is the uncontrolled growth of cells coupled with malignant behaviors such as invasion and metastasis. Most commonly, chemotherapy drugs have been applied to cancer treatment during the past few decades. These chemotherapeutic drugs can affect different stages of cell functions and lead to cell death. This review is a refresher on the anti-cancer effects of PTX-2 on different cancer cells. PTX-2 regulates the behaviors of cancer cells through different cell signaling pathways. Therefore, this chemical has good potential to be used as an anticancer drug in the future. So, it is now necessary to conduct further research to investigate the anti-cancer properties of this chemical and then to determine whether it is safe and effective as an anti-cancer drug.
This work was supported by Basic Science Research Program through the National Research Foundation of Korea (NRF) funded by the Ministry of Education, Science, and Technology (2010–0001730), and Blue-Bio Industry RIC at Dong-Eui University as a RIC (08-06-07) program of KIAT under Ministry of Knowledge Economy, Republic of Korea.
Chemical structure of PTX-2 (
Schemes of PTX-2-induced G2/M arrest, endoreduplication, and apoptosis in cancer cell lines. MF means Microfilament.
Putative apoptosis mechanism induced by PTX-2 treatment. PTX-2 induces apoptosis of cancer cells via increasing ROS generation, inactivation of the NF-kB signaling pathway and inhibition of telomerase activity.


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Actually playing the guitar. But instead of strings - dual shock button, or joystick - guitars..
Musical accompaniment is playing in a wide range of genres from classic rock to heavy metal. Among the songs available for execution in the game - hits Boston, Red Hot Chili Peppers, David Bowie, Sum 41, Ozzy Osbourne, Audioslave, White Zombie, Franz Ferdinand and The Ramones. As you can see - there is a choice for player of any generation - from music lovers up to 70 ultra-fans of Franz Ferdinand. Of course, hardly anyone can start a virtuoso to play favorite hit, so the game provides school of guitar playing.


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Plant Tissues
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Heredity and Evolution
175,660 Views
Biology, the study of life itself, is a vast subject, with many sub-disciplines that concentrate on specific aspects of biology. Microbiology, for example, concentrates on those biological processes and structures that are too small for us to see with our eyes. Biochemistry studies the chemical processes that make life possible, and population biology deals with the dynamics of many life forms interacting in a community. Since biology is such a vast field of inquiry, most biologists end up specializing in one of these subdisciplines. Nevertheless, before you can begin to specialize, you need a broad overview of the science itself.
Learning biology could be a hard job if you don't create an effective method to memorize the hundreds of terminologies and definitions involved. At Byju's, we provide you with video lessons that contain an elaborate animated representation of the actions and reactions of the Biological world. Once you watch these videos and understand the occurrences of the Biological world, it will become impossible for you to forget those.
Starting from class 6 with the explanations regarding food , the living organisms, etc up till the much more interesting topics in Botany and Zoology taught in class 12, like principles of inheritance and variation, evolution, reproduction in organisms, etc, Byju's provide very interesting sessions of video classes taken by experts in the area. You can engage yourself with interactive video sessions, regular tests prepared by our experts, continuous analysis based on your performance and much more by getting Byju's learning app.
Click on the following link to experience the best learning app in the country.
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text: 6/02/09 6/01/09 POPSUGAR Celebrity POPSUGAR Celebrity McAdams On the Set of Morning Glory June 1, 2009 by Celebrity 0 Shares Chat with us on Facebook Messenger. Learn what's trending across POPSUGAR. View on One Page Photo 0 of 10 Start Slideshow ADVERTISEMENT () Share This Link Copy ← Use Arrows Keys → 0 McAdams On the Set of Morning Glory Previous Next


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During a recent NetOps-focused discussion trying to figure out where Puppet/Chef/Ansible/… make sense in the brave new SDN-focused networking world I made this analogy: "Puppet manifest is like Prolog, router configuration is like Java or C++." It's a nice sound bite. It's also totally wrong.
If you never met Prolog, you might consider yourself lucky. Or you might want to figure out what it is (warning: it might make your head explode). Just joking, I actually quite liked it in my programming days.


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Photoline is a professional image editor which offers creatives a mostly non-destructive workflow...
I started using it thanks to the 30 day trial period and it's reallly a serious alternative to photoshop.
I'm able to use my photoshop plugins (nik, topaz, magicfocus), they are well integrated within the application !
Moreover, it can handle layers, 16 bits ... (I don't know the exact list of features as I don't use all of them but it's really powerful. I find it more powerful than Gimp as a ps alternative!
Sometimes, the english translation of german words (as the developers are germans) are a bit strange and it takes some time to get used to but I think it's worth the effort.
So, check it yourself seriously and I don't think you'll be disappointed !
As a web developer, Photoline completely replaced Photoshop for me.
It is probably even powerful enough to compete with Photoshop for some tasks but I mainly use it to design flyers, brochures and greeting cards to print. All this in one app as Photoline handles vector graphics, photos and text beautifully at the same time.
The interface can be daunting at first but once you get used to it (which is quite fast!) everything works smoothly.
All this together with the very good support directly from the developers and in the forum and the low price tag, Photoline is a definitive recommendation for everyone in need of an image editing software (or even a desktop publishing one as it can handle this as well).


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USER EDITORmeeshluv
The Modern Art sawing in half illusion that Stephen performed on Holly is a revised version of the one he performed on Rachel Stevens in season 1. In the original version, the box completely enclosed Rachel, with only her face, hands and feet visible through holes in the front. In the version used in this episode, the box was smaller, and Holly's head and arms projected out of it through holes in the top and sides.
The closing illusion, Neon Nightlife, originally belonged to Orson Welles.
The sawing in half using clear-sided boxes that Stephen Mulhern performed on Holly Willoughby in this episode is called Clearly Impossible, and is the sawing in half that Stephen has most often performed on Holly.
Stephen and Holly's performance of this episode's closing illusion, Heads Off, is sometimes voted by other magicians as one of the most baffling versions ever performed. It usually relies on the use of identical twins, but as Holly doesn't have a twin sister, even magicians familiar with the illusion have trouble explaining how it was done.
According to Holly, when she took off her wedding ring so that Stephen could use it in a trick, it was the first time she'd taken it off since her husband had placed it on her finger during their wedding ceremony.
This episode's closing illusion, Bikini Blocks, was actually a double version of an illusion called the Mis-made Girl.
Stephen's "Beach BBQ" illusion is also known as the Cremation illusion.
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POLAND: Tenneco to make shocks in Gliwice
Tenneco Automotive is expanding its presence in Eastern Europe with the acquisition of a manufacturing facility in Gliwice, Poland, to produce shock absorbers for European-based vehicle manufacturers. The company anticipates beginning manufacturing at the facility by the third quarter of 2001, after refurbishing the site and installing new equipment.
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Apple just set itself a huge challenge
Apple has pretty big plans for the future, and they'll change the way your iPhone is made. As it is now, Apple needs metals mined from our lovely planet to build its mobile devices - something that has a lot of repercussions, whether those are environmental or humanitarian. According to Apple's new environmental report, though, the company wants to change that.


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Optimists Do It Longer: How a Positive Outlook Will Boost Your Longevity
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Which Jobs Will Machines Take Over? Movie Critics, Doctors, Truckers...
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Your Mind Thinks in Stories. Tell Better Ones to Get Ahead.
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Big Think Interview With DJ Spooky
DJ Spooky
A conversation with the sound artist.
Over a year ago
Where did you get your stage name?
DJ Spooky:
The name comes from well back in university I was doing a series of essays and writing about Sigmund Freud's idea of the uncanny and I was really intrigued by this idea of "The Unheimlich". It's an essay that Sigmund Freud wrote about E.T.A. Hoffman's short story called "The Sandman" where someone mistakes an inanimate object for a living, breathing human being. And one of the things that Sigmund Freud really felt was that in modern life people assign qualities to objects around them that may not exist there whatsoever. So he called this "the uncanny" and he also referred to cities as well, like the idea of walking through the city and the way the urban landscape could lead you to a sense of disorientation and to a kind of, you know, sense of repetition. And the way a city can unfold as you walk. So stuff like that. It was basically meant to be like when you press play and there nobody there.
How is DJ Spooky different from Paul Miller?
DJ Spooky:
First and foremost one, I was never planning on doing this as a long term, so Spooky, I was in college... It was a fun name. I thought it was you know just a fun thing. When you say what is the difference between me and my stage name the idea is that as a musician you always think of yourself as inhabiting a certain cultural space in the kind of a cultural landscape, so when I say cultural space what I mean to imply there is that you exist within certain parameters of how people think of culture. Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. So DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous. You couldn't fit it into anything and that was the point. It's like the iPod playlist has killed the way we think of the normal album, so let's think of this as just saying you go into your record store and all those categories and all those different ways of segregating music have been thrown out the window, so the difference between myself in real life in that is that I'm the opposite. I usually am very specific about how I engage information, how I engage people, what context I'm engaging and, above all, the research that goes into each of those. So, one, that DJ Spooky is a lot you know this sort of wilder persona and then Paul Miller is more of a nuts and bolts kind of person, meaning just making sure all these things work.
How is DJ'ing an art form?
DJ Spooky:
Well let's look like back at the history of the idea of the record. In my book "Sound Unbound" we traced the guy who actually came up with the main concept for the graphic design of the record cover sleeve. His name is Alex Steinweiss. And one of the things in my book that we really tried to figure out was the revolution in graphic design that occurred when people put images on album covers. Now if you think about the 20th century and the idea of visual vocabulary the album occupies a really important space in the cultural landscape and, above all... Try this experiment: one day go in a record store and just try and guess what the music sounds like by looking at the album cover. You'll get this kind of psychological relationship to the imagery of the music, but that idea is translated to iPhone apps. It's translated to the small, you know, kind of icons on your computer. You name it. The idea of a visual icon that gives you a sense of information very quickly and that you can easily just say "That's what the style is." That is something that I think record cover sleeves really led towards, but at the same time the album as we know it didn't come into being until mainly after the Second World War because record labels realized they'd be able to make a lot more money putting all the singles of an artist onto one album and selling the whole album as a kind of a concept. So by the time the 60s rolled in that became a huge art form in its own right with bands like the Beatles and the Rolling Stones and Hendrix doing total concept albums, same thing with Pink Floyd. Now if you fast forward to the 70s and Grandmaster Flash, Afrika Bambaataa, DJ Kool Herc, Grandmaster Caz, all these guys that were essentially, like, the DNA of what we're doing now. One of the main things that differentiates them from artists before is that they made albums based on the fact that they didn't care about the band as a thing in its own right. They cared about manipulating the recording and that became the album. Usually bands would make a song to record for an album, but what happens with the deejays you say "Well the album is everything we need. Thanks band. You can go away now." You know you don't really need the band or the singer/songwriter in the same way, so you look at everything as part of your palette. When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play. But if I take that person and play them as a record I'm becoming not only a conductor and composer of collage, but at the same time I'm looking at a whole layer of what goes into copyright law, who owns those memories, who owns the way that that sound gets remixed and transformed and above all how much fun it is to actually just mess with other people's stuff. So yeah, I like the idea of it as a trickster motif. You know like you're kind of just messing around with people's memories of songs.
How does science fiction influence your work?
DJ Spooky:
I've tended to find that myths of the near future give people the ability to really kind of explore the present, so say for example if look at William Gibson and his book Neuromancer or if you look at J.G. Ballard or Samuel Delaney those are probably three of my favorite writers in that genre. All of them project slightly to the near future as a way of talking about the current moment and I think science fiction and sound is a really interesting thing. You might as well think of it as sonic fiction. When you're coming up with different ways of getting old memories to transform—you're scratching, you're doing all this kind of sampling—what ends up happening is that you're becoming a kind of writer with sound. In fact, if you look at the root word of phonograph it just means phonetics of graphology, phono-graph, writing with sound, so graphology. You know graffiti, same root word. Phonetics, you know speech, all this kind of stuff, phonograph, simple, but when you unpack the meaning it actually kind of expands out and that is what I was going for in my book "Sound Unbound" was to try and get people to figure out how do we unpack some of the meanings that go into these kinds of sonically coded landscapes. So yeah, science fiction or sonic fiction. I kind of like punning on that.
What are the origins of "Terra Nova," your Antarctic symphony?
DJ Spooky:
What I wanted to try and figure out was, okay, in contemporary 21st century life the alienation between the self and the land around you or the self and even the urban landscape. You name it. Most people walk around with headphones on. They're barely encountering or dealing with their fellow person, or if they're in a car they're in this kind of cocoon, stuck in suburban rush hour traffic or something. The landscape of their current experience is just really compartmentalized. And what I wanted to do with Antarctica was say let's hit the reset button on that and see what happens to your creative process. Let's go to the most remote place that you can imagine, set up a studio and see what music comes out of it. So I took a studio down to several of the main ice fields, and the basic idea was to give myself four weeks in these ice fields to create a new work and see what happens. And, you know, it was really important to me to kind of think about the urban landscape on one hand versus this hyper-abstract ice landscape on the other.
Antarctica, one of the things that was so remarkable about it was that the ice itself is a kind of pure geometry, so say, for example, if I was facing someone wearing I don't know, a Joy Division t-shirt with the mountains on it or something like that... Seeing that as a computer abstraction versus actually going to these continents and seeing a 40 mile chunk of ice break off that is the size of mountains the sense of scale was just awe-inspiring. I mean just… I remember one time it took us several hours to walk out into a major glacier field off the Weddell Ice Sea Shelf, all right, so this is Antarctic summer, if you fall in the water you die in about two minutes, so you're walking, the ice is creaking, the landscape is like subtly you know shifting and if anyone out there has ever been in an earthquake this is like kind of a slow motion earthquake, but the land is shifting and groaning and creaking and you know if you ever walked on ice and you're like whoa, you could fall through. It really you know puts you in that for lack of better word, very cautious mentality. So the physicality of that and the just the sheer lack of urban noise and machinery—just the wind, the water and your breath, you know that kind of thing—it was pure poetry and you know I treasure that. It was just… I can only wonder what astronauts must feel like or something like that when you're really in the space of silence and you are feeling and breathing in a way that you're really aware of your muscle and bone and the breath and the body and the movement and all of those things that just you take for granted in the urban landscape.
I felt like on one hand the clarity of thought was amazing, but on the other we went during Antarctic summer, so the sun didn't set the whole time we were there. It was permanent afternoon. And when I say permanent afternoon, you know, I'm talking like crystal clear, crispy blue sky. All the sudden you didn't need to sleep as much because it just was difficult. And how that translated into my creative process I still am not quite sure, but it made my relationship to sleep a kind of abstract you know bizarre… I can't put my finger on it, but I ended up dreaming very intense dreams because I only needed about four hours of sleep. Meanwhile, we'd take you know four to eight hours hikes way out into these you know kind of glaciers and so on you know all day and you come back and you'd be tired and you still couldn't sleep because the sun was up and it felt like you know it's like two in the afternoon or something, even if it was midnight. So, yeah, quirky. Sleep is crucial and I tend to find when the sun is shining I find it much more difficult to get that sense of sleep.
Is the piece classical?
DJ Spooky:
What I'm going for with the string arrangements for my Antarctic symphony is a pun here. On one hand you have a string quartet, which is not a symphony. On the other hand is you have me sampling them and making it sound like there is many more people playing, so the whole notion of, kind of, sampling applied to classical music is very intriguing to me because composers throughout history have borrowed motifs and quotes from one another. So Bach, Beethoven, Duke Ellington, Thelonius Monk, these are all people who would sort of rearrange or take riffs from people. Same thing with rock, if you look at the Rolling Stones doing a cover of Otis Redding or you know if you look at literature James Joyce is pulling fragments of text from other people. So the Antarctic symphony has a geometric relationship to the landscape. It's saying that this landscape and the minimal kind of, you know I'm talking like seeing ice, is visually kind of eerily minimal. But there is a complexity and layering that goes on with this kind of thing, so the music is slightly repetitive and when I say repetitive it's in the same tradition as people like Steve Reich or Erik Satie or even WC. So what I wanted to do is kind of invoke that and then dive into that kind of repetition as a DJ thing because DJing you hear beats, like "boom, boom, boom, bap, bap." You know hip hop, house, techno. So how do you translate between those electronic motifs and the motifs of the landscape itself? That is what I wanted to go for.
What do you want people to get out of it?
DJ Spooky:
Antarctica is one of the most remote and beautiful places on earth. I don't think that everyone should go there. I also think that we need to respect it as a kind of a national park for the planet. It should be you know put in parentheses. You know, in the sentence of humanity this place needs to be a parentheses. And when I say parentheses I mean I'm talking like you go around it. Leave it alone. Let it exist. And what I want people to see with this film is not only a respect for this place from the bottom of my heart. I'm talking like just the beauty, but at the same time to get people to realize that we should treasure it. Maybe visualize it, but leave it alone. And it's… there is a sense of awe with these huge landscapes and open spaces. Maybe someone living out in the American deep Midwest desert can imagine the same thing, or somebody living in Namibia or the Arctic is very different... but yeah, just awe of the landscape. I know that sounds like nerdy and corny and stuff like that, but you know let it be nerdy and corny. It's a beautiful place. I could just sit on an ice glacier and just watch the land for like days, months, years.
Is there a basic philosophy behind your work as a sound artist?
DJ Spooky:
I'd say most of my work is just trying to make sense of the disorienting and overloaded world that we inhabit. We're bombarded with sound at every level. Sound... if you look at bats you know that navigate with sonar, they're like you know they're very precise. They can even see a bat head towards a building and swerve away, but you'll see a bird that doesn't… you know smash right into a glass window. It's very funny. I mean I don't… Anybody out there that has probably seen that is like oh, it's terrible. Like if you're ever in a skyscraper and you see a bird just flies right into the side of window. Whales, for example, also navigate with sound, but they're now beginning to be beached because the ocean is getting too noisy. Weird things like that. I mean this is very real. Like, if you look at the satellites in the sky at night you know it's an eerie sense of we're… You know we're in a planet surrounded by certain kinds of frequencies and noise. The earth's magnetic sphere makes weird sounds. The sun you know the heart of our solar system makes noise. Even interstellar phenomena like black holes. You know people have studied them and a black hole can emit sound in like the range of 20,000 octaves below B flat. You know I mean that's a lot… That's a very low tone. So yeah, how do I think of my environment and what happens with sound art? I love to play with the idea of elusive and intangible things. That could be psychological. It could be perceptual. It could be just the way your ears help you just navigate around. Try this experiment, closing your eyes and navigating with your ears. It's eerie because walls, you can actually hear your footstep maybe bounce off of or you can feel the vibration of your voice and help that… use that to navigate. So sound art I'm always intrigued with how little we use of other senses and we just prioritize the eye and you just want to see everything and navigate. You know the art world is similar. Like I wish people would use their ears a lot more.
What inspired your film Rebirth of a Nation?
DJ Spooky:
My film "Rebirth of a Nation," amusingly enough, was a component of a show I had at Paula Cooper Gallery and one of the things that really goes into my mind when I think about contemporary art and music is how weirdly divided they are. The art world likes music sort of, but when they do they usually go for sort of I call white bread art rock. They don't get… You'll never see hip hop in normal Whitney Biennial or whatever. I mean they don't… The art world has problems with rhythm. Now at the same time you have really interesting electronic music and multicultural, specifically multicultural, takes on contemporary art. My film "Rebirth of a Nation" was a critique of the way Bush had gotten into office playing off of racial politics and the fears that whites have of being… becoming a minority. And I think the code words for the Bush Administration and people like Karl Rove was that State's rights and devolution of federal powers would make these kind of white… Now all the sudden you notice with the Obama Administration they're having a rise of all these white militias and stuff like that. Yeah, I mean white Americans feel anxiety about some of the issues and I think that that needs to be addressed.
"Birth of a Nation," the film by D.W. Griffith is one of the most important films in American History. It set the tone for how America views racial politics in cinema. So I got the rights to the film. We remixed it... when I say we I guess, well, me. And the whole idea was to apply deejay technique to film in a way that kind of self implodes the film and get people to think about as a you know maybe something that needs to be looked at a lot more closely, so with Bush you have to remember: they played games with the black vote, they disenfranchised a large amount of people by playing those games, and again it was a lot of it happened in the old south that were in places like Ohio. So Birth of a Nation was the first film to show a flawed election and in 1915, I mean, you know, a lot of games were being played with the black vote. So disenfranchisement, black face, you know if you fast forward and update it you could easily see the same resonance with "Avatar" where most of the main characters were in blue face, those were black actors for example. Or Jar Jar Binks this annoying creature that is like a minstrel on the "Star Wars" thing. The racial politics is still very much prevalent in American film. "Terminator" or you know, what is the "Transformers" where they have the kind of minstrel robots who had this annoying black sort of almost-gay voice or something. When I say gay I'm not… no disrespect. I'm just saying it's a minstrel kind of emasculated male voice where they always make a black character like a Jar Jar Binks an annoying, "What's up you all?" You know those kind of very annoying creature or something like that that has a high pitched and like yeah, really annoying like you know.
So anyway, "Birth of a Nation," what makes this Antarctic project different than that is they're both critiques of the nation-state's relationship to the individual. Antarctica is the only place on earth with no government. It's the only place that really says: "You are you." The subjectivity that goes into that I mean once you step off a boat and you're on an ice field in the middle of nowhere you are without the idea of the nation-state anymore. And I think "Birth of a Nation"... obviously "nation," you know, nationalism, nation, state, the environmental politics that go into how nations play with carbon trading, how nations play with the idea of pollution and all these kinds of things you could say that the divisions now are even more encoded because of the North/South divide. Like the industrialized nations of the north versus the more multicultural countries of like China, India, Russia. Well Russia is still considered European, but if you go slightly outside of... you know there is plenty of Russians that look very Asian. So the racial politics that go into environmental issues is something that hangs like a specter over a lot of the process right now. So I had a big gallery show at Robert Miller Gallery called "North/South." It was a pun about my "Birth of a Nation" versus Antarctica. Sense of humor in the title, but nonetheless, I'm very concerned about the way environmental politics shapes out with industrialized versus non-industrialized nations. It's something that really we have to think about.
Is the proliferation of digital media threatening individuality?
DJ Spooky:
Yeah, I mean I think we're really the crisis of 21st century culture is standardization. On one hand that's a crisis precisely because it really flatlines and just deadens a lot of amazing stuff. But on the other hand as the next couple of years kick in you're going to be seeing what I like to call mass customization, where everyone can have you know their phone or their iPad or whatever—but they're going to pull it into their own orbit in their own way. And they're pulling material that is out there in the world as their own vocabulary. I didn't make this phone, you know, but I've customized and transformed it. So I'm always intrigued with saying that nothing stays the same in this era. In the 20th century, you know, someone like, you know, Ford would say you know what, you can have any color car you want as long as it's black, you know. And they had the whole sense of humor about the production line all making the Model T Ford car there was the exact same machine rolling off the line. Now that was amazing because it was high-tech at that time, but for the 21st century where we can just retrofit and reboot anything, why stick to one thing? I mean just always transform and change everything. That's the DJ model as well. So by customizing and transforming it adds new life to I think the way we function right now. When I say the way we function I'm talking about going down the street, walking around... everyone has a little computer, which is essentially is a cell phone. Most people, I'm sorry. There is a class division here, but even in economically, you know, low income and so on most people have some kind of communications device. And I think it's transformed the way the world works right now and this is just the beginning. So within the next five to seven years you'll be seeing probably a massive revolution in getting rid of sameness and just having this wildly creative and inventive era.
Who are you trying to reach with your music?
DJ Spooky:
I'd say my audience is pretty much anyone who thinks, which is a big audience, and luckily and happily people have been very supportive of the idea of a writer, artist and musician making conceptual music. I'm not art rock. I mean art rock dominates in the art world. I'm a kind of insurgency, like an electronic music insurgency because I'm trying to push a lot of boundaries simultaneously. Racial politics, economic politics and above all the psychology about how people assign criteria and value and what people say is cool or good. I love the idea that you know your cell phone is disrupting the entire sort of consumer pattern of people or I love the idea that you know what, a curator or a museum director or some art dealer the value isn't for them create. It's the value that we, each of us, brings to something. So it's disruptive of all these kind of top-down hierarchies of how power forms in you know the normal corporate model of saying this artist or this book or... so my book is turning the world of Martha Stewart and Oprah Winfrey upside down and saying you know you are the mix.
I enjoy writing and it's one… another weird thing, a beef I have with normal critics is that they're like, "Why don't you just do the music?" You know I'm like: "Look, I'm an artist. I like to write. I also do music, so they're not separate." To me music is writing. Writing is art. Art is music. Simple.
How do you consume music?
DJ Spooky:
In massive volumes. Again, as a DJ you have to be current and keep aware of what is going on and that means you know just massive amounts of information, so a DJ is kind of obsessive about information. I tend to think that if you look at Michael Jackson he is called the King of Pop precisely because he had millions and millions of people listening to the same record, or same songs. If you play "Billie Jean" for example everybody knows that. Even in India or Nepal or the most remote parts of Timbuktu you know people know that song, so millions of people listen to that. I'm the opposite, where it is like instead of millions of people listening to the same song it's millions of songs being scratched and spliced and diced and you have to keep track of it all. So it's like an information ocean or data cloud. You know there is… I think iTunes now has passed its several billionth download you know, so think of all those people. It's the biggest record store in the world, and, amusingly enough to me, again as a deejay and artist the top selling album of all time right now is the blank CD you know so, you know, it's number one on every chart.
Should digital content be free?
DJ Spooky:
I'm a big pro-open source, pro-creative commons kind of artist. I think that it's important to realize that copyright law as it is written relates mainly to the 18th century's relationship to physical goods. And as things move more and more to a digital media, hyper-connected world we need to transform the models of how we think of ownership. Copyright law is something I respect, but the way the law is written versus the way we live in this rip, mix, burn kind of scenario, you know... It's all about I think thinking of digital music as the kind of new folk culture where everyone should share, and by sharing they create a more rich and robust, you know, narrative.
Even if they're downloading your music?
DJ Spooky:
Yeah, sure, but I get value out of that. I get a different kind of value. You get branding. You get advertising. You get word-of-mouth viral marketing. Hey, you know you couldn't pay for that.
Recorded on April 8, 2010
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Dare to Think Bigger
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text:
THE unlikely prospect of a pre-season friendly, yes friendly, between Boro and the Shots may just be on the cards.
The two clubs are in talks to bring supporters together one more time in a bid to prepare themselves for their respective league campaigns.
The last time the two clubs played in a pre-season friendly was at the start of the 1998/99 season, when it was decided the teams would play for an annual Rushmoor Trophy.
But Farnborough's subsequent relegation that season meant that both teams were competing in the same division, so Farnborough's 4-2 victory in August 1998 remained the only time that competition was played.
But now with Boro back in Conference football, it seems the perfect opportunity for the two to pit their wits against one another again, with both clubs reaping the rewards of an expected large crowd.
Shots manager Terry Brown said: "It is a possibility. It could be at either ground, we are exploring both avenues.
"I am keen on it and I think Graham Westley is. Boro approached us and it would be a good fixture for both clubs. I think Boro will do very well next season in the Conference and we want to play against that sort of quality. I don't have a problem with the fixture and it would be a great test for us. The only problem is trying to fix a date.
"The game with Chelsea is open-ended and we still haven't decided what date that is yet. We also have work to do on the pitch before August but it is something we would like to see happen."


text:
|Reviews for Runaway
| chaotic-iak chapter 1 . 7/27/2011
Great, you expressed Finlay's and others' characters nicely. I feel like I'm watching the movie of this fic and also feeling it. A great work! Only there are some mistakes, the most noticeable is that Finlay was spelled Finaly in some context, and that Pokemon is capitalized. Maybe fix them? The insides -the plot, characters, etc- are great; it's bad if the outsides -the spelling, formatting, etc- are bad. Anyway, nice fic, and I'm looking for your next chapter.
| J0hnnyboy chapter 1 . 7/27/2011
Wow Finlay's life must suck. A mean mom and annoying rivals. Anyway please continue. :D


text:
Trimble Geospatial
Ron Bisio
Mr. Bisio joined Trimble in 1996 and has held several marketing, sales and general management positions prior to taking over worldwide responsibility in 2015 as Vice President of Trimble Geospatial. He holds a Master of Business Administration from the University of Denver; a Master of Regional … More »
The Happy Dilemma: New Positioning Solutions Provide Attractive Options for GIS Professionals
December 21st, 2016 by Ron Bisio
The rapid evolution of geospatial technologies brings to mind a Yogi Berra quote: "When you come to a fork in the road, take it." Berra made the remark while giving directions to his home—either choice would take you to Berra's home in the same amount of time. Like many "Yogi-isms" that blended wisdom and counterintuitive logic, this quote carried a deeper message: Seemingly divergent paths can lead to the same result.
Berra's advice especially strikes a chord with geospatial data collection, where GIS and other positioning professionals can choose from a pair of approaches to gathering data in the field. Purpose-built data collection devices, which have been the norm for a decade or more, are now sharing the stage with Bring Your Own Device (BYOD) solutions such as consumer-grade smartphones and tablets.
Both are good options. The happy dilemma lies in determining which approach provides the best route to the objective: efficiently gathering accurate information that can be quickly provided to the people who need and use it.
There are convincing arguments both for BYOD and commercial data collection solutions. On the commercial side, specialized field hardware such as the Trimble® Geo7 series GNSS handheld is rugged and well suited for operation in challenging environments. The displays and keyboards provide good visibility in sunlight and perform well under difficult conditions. The devices can run task-specific software provided by manufacturers such as Trimble and Esri. Alternatively, software development kits (SDKs) and application programming interfaces (APIs) enable third-party developers to create their own specialized applications for the rugged units.
Read the rest of The Happy Dilemma: New Positioning Solutions Provide Attractive Options for GIS Professionals
Quick Fix for Precise Positions: A family of new tools helps solutions providers leverage positioning technologies to create customized, high-value solutions
September 26th, 2016 by Ron Bisio
The strategy of vertical segmentation continues to play a key role in the geospatial arena. Often referred to as "verticalization," the vertical approach enables GIS users and solutions providers to focus on specific markets and applications. By leveraging geospatial technologies and software to create specialized solutions, developers can optimize fit to task and help users achieve high levels of value and productivity. The vertical approach also provides opportunities to develop new business and clients in applications where spatial information can improve decision processes and efficiency.
We can illustrate the vertical approach by looking at how utility companies use geospatial information. Utilities need specialized solutions to gather, analyze and share position and attribute data while meeting required levels of precision and detail. For example, electric and water utilities use GIS to locate and manage assets. In times of service outages, they can combine the GIS data with customer reports to pinpoint the location and cause of the trouble. These applications seem similar, but marked differences exist in the workflows and data. Electric crews can use meter-level data to locate poles, but water technicians may need centimeter precision to find valves in flooded streets. Creating solutions for the two segments involves leveraging the similarities while providing tools tailored to the different needs.
Although verticalization opens the door to using spatial information in a broad range of industries and disciplines, meeting a large number of specialized needs can tax the capabilities of manufacturers and software houses. This issue can be solved by using tools that enable users, service providers and independent developers to create new vertical solutions.
Blending Workflows with Technology
Customized geospatial solutions typically blend positioning technologies with software to produce highly tailored and streamlined workflows. Solutions may also involve additional sensors, inputs from external databases and communications to rapidly share information. In addition, various applications require different levels of positioning precision and accuracy. Forestry and wetlands users can work with precision of a few meters, while utilities, cadasters and asset managers benefit from precision at sub-meter or better.
Many vertical developers offer applications running on popular devices such as Android or iOS smartphones. However, accuracy requirements often exceed the capability of off-the-shelf positioning tools, especially consumer devices. While a smartphone provides a convenient platform, its positioning capabilities are limited. Even dedicated personal GPS navigators can deliver accuracy only down to one to three meters.
To achieve higher levels of precision and accuracy while ensuring reliable performance, developers must turn to specialized positioning hardware or configurations. This may include high-precision real-time GNSS or optical measurement. These technologies work well, but few organizations have the expertise to build and integrate both the hardware and software components.
This situation presents an opportunity to providers with the domain knowledge to bring a solution into the market. These providers don't want to create positioning technologies. Rather, they want to embrace the technologies and use them as the basis for new solutions in their areas of expertise. To support this, the Trimble Partners Program provides tools and guidance to third parties looking to incorporate positioning and data transfer into their vertical market applications.
Tools for third-party developers include software development kits (SDK) and application programming interfaces (API) that enable developers to integrate Trimble positioning technologies into their systems and applications. One of Trimble's solutions is the cross-platform GNSS Direct API. It enables developers to embed the control and configuration of Trimble R1 or R2 GNSS receivers to produce positioning with up to decimeter precision. Developers who need even higher precision can use the Trimble Precision SDK, which provides interfaces to survey-grade GNSS receivers and optical total stations.
With the API handling interaction with the GNSS receiver to produce positions of needed accuracy and coordinate systems, applications developers can focus on workflows or specialized needs. For example, Esri has integrated the GNSS Direct API into their Collector application, which runs on multiple platforms and operating systems.
Flexible and Rapid Development
The partnering approach provides three important benefits for applications developers. First, it enables developers to leverage advanced technologies in their solutions without the need to master the systems and processes used to produce accurate positioning. Developers use the API to manage the sensors to provide positions at required levels of accuracy and confidence. Second, as instrument manufacturers implement new sensors and functionalities, they also update SDKs and APIs to enable third-party developers to quickly access the new capabilities.
The third benefit for developers comes from reduced time to market. Because the APIs and SDKs are often used as part of a manufacturer's own products, they undergo rigorous testing and documentation. As a result, third-party developers enjoy reduced workloads in development and testing of the positioning component of their solutions.
Customized solutions are an effective way for developers to grow their businesses. The partner approach of tools and support is opening doors for an expanding variety of applications. Innovative developers can benefit from leveraging positioning technologies as a foundation for GIS data acquisition and workflows. The efforts to customize and extend the function of a solution will pay off by enabling solutions providers to address new niches and customer segments.
Expanding the Data Stream: A skillful blend of people and technology can provide valuable data for GIS
August 12th, 2016 by Ron Bisio
GIS is an essential component in many decision and management processes. A well-structured GIS provides invaluable tools to visualize, analyze and query geospatial data and associated information about features and objects in both the natural and built environments. Because a GIS database can contain information on a wide variety of features and terrain, it is commonly built and maintained using information produced by a broad range of input and data sources.
As applications for GIS data expand, so does the demand for new and efficient ways to collect and deliver quality, actionable spatial data from the field. Satisfying the seemingly insatiable demand for data doesn't always involve traditional GIS field technicians. Certain types of geospatial data can be produced by the general public. And in some cases, data collection doesn't involve humans at all.
The Triple Play of Data Collection
Today's widely available options for connectivity and Internet-based communications are enabling new approaches to collecting and using GIS information. We can divide the techniques into three broad classifications: crew sourced, crowd sourced and automated acquisition.
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Beyond the Field: GIS data is more than positions and attributes. Here's how the additional information can work for you.
June 27th, 2016 by Ron Bisio
When most people think of GIS, they think of maps, and rightfully so. For decades, typical consumers of spatial data were cities, municipalities and other organizations that used GIS to manage and visualize information about assets and environments. This is continuing, of course, as the use of geospatial information moves into new private, commercial and industrial segments. However, as GIS data flows from the field to end users, opportunities exist to develop information that goes well beyond the traditional positions and attributes.
Read the rest of Beyond the Field: GIS data is more than positions and attributes. Here's how the additional information can work for you.
Tall Opportunity: Flexible technologies and vertical strategies are opening new doors for geographic information
June 1st, 2016 by Ron Bisio
GIS taps into an essential human characteristic: We are visual beings. By providing the ability to show many kinds of data on one map, GIS enables people to visualize and analyze patterns, trends and relationships. It's transforming the way companies and governments manage assets and activities.
As geospatial professionals, we are familiar with the basic aspects of GIS such as collecting and sharing spatial information. Regardless of how it will be used, data gathering and processing for GIS applications is built around core technologies for positioning and data management. GIS leverages these common characteristics to address an extensive array of needs for information and workflows. More than any other facet of the geospatial industry, GIS faces a wide—and demanding—variety of applications and opportunities.
Read the rest of Tall Opportunity: Flexible technologies and vertical strategies are opening new doors for geographic information
Digging into Big Data
April 27th, 2016 by Ron Bisio
Like many catch phrases, the concept of "Big Data" comes with multiple definitions. From the GIS viewpoint, big data describes data sets that are so large—both in volume and complexity—that they require advanced tools and skills for management, processing and analysis. Such huge data sets can be a lot of work, but the extra effort pays off substantially. Geospatial big data provides detail and contextual information that provides immediate and long-term value across multiple disciplines and applications.
Geospatial big data can include information from an assortment of sensors and data collection methods. Points and features with their associated attributes can be gathered using handheld or survey-grade GNSS, dedicated field computers or even smartphones. These data sets are small compared to other techniques, but they provide very high levels of precision and detail and can be updated rapidly. Mobile mapping systems combine lidar, imaging, GNSS and other sensors to capture large quantities of 3D information. The data is then fused to develop comprehensive models and databases. Data collected from airborne and satellite platforms range from imagery and lidar to multi-spectral remote sensing.
Small Packages for Big Data: Putting GIS in Your Pocket
March 14th, 2016 by Ron Bisio
You may already own a big part of the future of GIS—your smartphone. Here's how it can transform the way you work.
It's no secret that geographic information systems have big appetites for data. The demand isn't slowing. Industry segments including government, utilities, transportation, energy and their mobile workforces are discovering the value of spatial information to managing resources and activities. The trend has produced growing demands for tools to manage and use geospatial data.
In addition to gathering data to create new databases and GIS layers, significant resources are devoted to maintaining spatial data. Once a GIS is populated, its information must be continually refreshed as growth and change affects natural and built environments. Incomplete or out-of-date data can reduce confidence in the accuracy of the GIS, potentially drawing down the value of the information and services it provides. It's a risk that GIS professionals can't afford to take.
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UAS Takes Off in GIS: Modern approaches to airborne imaging provide flexibility and efficiency in GIS data acquisition
February 11th, 2016 by Ron Bisio
Aerial imagery has long been a staple of GIS. By providing viewpoints from high above the ground, aerial images enable people to understand the geographic context of individual features. Orthoimages developed from aerial photographs routinely serve as background maps of terrestrial data for numerous GIS applications. GIS analysts use photogrammetry to develop terrain models and measure specific objects or features. Airborne remote sensing using infrared wavelengths supports GIS in the study of vegetation and thermal characteristics of natural or built objects.
When combined with other data in a GIS, aerial imagery supports a more complete, accurate analysis of a scene. As an example, forest managers can identify areas where homes and buildings are close to overgrown or unhealthy forests that are susceptible to wildfires. The foresters can work with local agencies and property owners to mitigate fire risk and develop emergency plans.
To obtain aerial imagery, GIS professionals can turn either to third-party service providers or in-house resources. Most commercial aerial imagery is captured using manned aircraft equipped with sophisticated cameras or lidar, depending on the type of application and imagery needed for a project. Manned aircraft are typically operated by service providers and offer important benefits such as the ability to cover large areas and fly at high altitudes as well as capture very-high resolution images with advanced, large-format sensors. The results are excellent, but come with tradeoffs. Costs for manned aircraft can be high, and jam-packed flight schedules or changing weather conditions can introduce risk to expected lead time for collection and processing of aerial images.
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Producing Value Through Partners: As opportunities expand for GIS technologies, some solution providers are taking a team approach to innovation.
January 19th, 2016 by Ron Bisio
The use of spatial information is growing rapidly in both the consumer and professional arenas. The growth, with its voracious appetite for data, is moving the geospatial industry into new application domains. These domains have significant variations in the type and precision of data needed, the environments where it is collected and the workflows of the people collecting it. A forester, archaeologist, environmental engineer and wetlands biologist all gather GIS data (features, attributes, positions, etc.), but to significantly different ends. In many disciplines, an object's location is a minor component among many attributes that are needed.
The increase in data volume and types has had a profound impact on the geospatial industry. Geospatial manufacturers historically emphasized their positioning technologies. Position sensors are still needed of course, but they are not the entire solution. Today's GIS solutions must speak the language of the users, making it fast and efficient to capture the pertinent data while presenting information and instructions in familiar terms.
Read the rest of Producing Value Through Partners: As opportunities expand for GIS technologies, some solution providers are taking a team approach to innovation.


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What you see in Port-au-Prince, and what is taking over the world's $2.2-trillion non-profit sector, is what some insiders call Philanthropy 3.0.
It marks a historic change. Philanthropy 1.0 was the handful of U.S. and British foundations, such as Rockefeller and Carnegie, that did "scientific" charity work in the prewar decades. Then came a revolution after the Second World War, with the births of both foreign aid and a galaxy of large non-governmental organizations and bureaucracies, including the United Nations and groups such as CARE. This edifice of Philanthropy 2.0 remained remarkably stable for six decades.
But over the past few years we have seen a third wave, born of globalization, crisis and technology, that is both more dynamic and less stable than the compounds of yesterday.
At the top of the pyramid are the new private foundations, dwarfing the largest of the old and playing a dramatic political role: They remake the executive structures of the old charities, forcing many of their activities to be organized in a much more businesslike way, or bypass established charities altogether to make direct links to the poor, diseased and disaster-ravaged.
At the opposite end of the scale are countless micro-initiatives and social networks, leveraging money and effort bit by byte, for causes great and small.
"You have the big givers, the Bill Gateses who've appeared all of a sudden, on the one hand, and then you've got the emergence of philanthropy in rapidly developing countries, and then the whole dimension of direct-giving philanthropy. It's changing everything," says J. Allister McGregor, head of the British-run Bellagio Initiative, created by the Rockefeller Foundation.
It is not hard to imagine a situation, when the dust clears after the global crisis, in which conventional charities are largely obsolete, squeezed out between the world-improving schemes of billionaires and the surging efforts of lesser people responding to calls for help on Twitter.
The economic crisis has put a dent in traditional giving. The U.S., which accounts for more than two-thirds of the world's charitable giving, saw donations decline 13 per cent in the first two years of the crisis, bouncing back by a lacklustre 2.1 per cent last year. "At that rate, it will take five to six more years just to return to the level of giving we saw before the Great Recession," says Patrick M. Rooney, executive director of the U.S.-based Center on Philanthropy.
Canada has seen a similar squeeze. According to an Imagine Canada report, a quarter of charities say they will have trouble covering expenses this year.
There is a sense that many of those contributions may be gone forever, because the high-tech ways of Philanthropy 3.0 allow people to connect almost directly to a recipient. That's what younger people are doing (and giving less than their parents). Online micro-loan outfits such as Kiva, for example, put people in touch with, say, a street vendor in Rwanda looking for a $400 loan (at interest) to set up a store or buy a delivery motorcycle. Everyone is meant to profit: lender, Kiva and street vendor.
You might think that charities would find succour in the dramatic rise in giving from fast-growing China and India. In 2009, China's 50 largest philanthropists gave a total of $1.2-billion, about a third of what their counterparts in the U.S. did.
But that money largely appears to be bypassing the 2.0-style institutions. Typical is actor Jet Li's One Foundation, which collects millions of minuscule donations of only 1 yuan (16 cents), often through cellphones, and attracts huge sums for causes unlike the traditional ones in China, from adolescent depression to earthquake relief.
Much of the developing world's giving doesn't go to organizations at all. One study found that Pakistanis, for example, are perhaps the world's most generous philanthropists – but they give almost exclusively to the needy in their own communities, often through mosque-based networks.
Yet as the economy sags, the established charities are being asked to take on monumental loads. On top of disasters, diseases, hospitals, universities and global poverty, the "third sector" is increasingly being expected to take the place of austerity-crippled government services.
Prime Minister David Cameron in Britain has made this official with his Big Society program. Its general failure so far hasn't prevented the Canadian government from moving to copy it, as Ottawa revealed this week. And the U.S. Congress is currently debating a bill to slash funding to USAID, Washington's foreign-aid and international development agency, by as much as a third ($1.4-billion), leaving charities to take up the slack.Report Typo/Error
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The PNPA IT team would like to welcome you to our new PNPA Web Apps, which includes email, calendar, and document sharing services. PNPA Web Apps is a suite of web-based messaging, office and collaboration applications hosted by Google on their own servers. We think you'll find the services to be an exciting way to communicate, work and collaborate with your colleagues!
Access services from anywhere, anytime: Get your email, calendar, contacts, and documents from any computer, smartphones, tablets and phablets anywhere.
Lots of storage: You get a full 30 GB of online storage for your email, so you never have to delete a message.
Enhanced message organization and retrieval: With @pnpa.edu.ph email, you can label your messages in multiple ways to organize and store them more efficiently. And with the Google-powered search feature, you can find any message quickly and easily.
Easy calendar sharing: You can quickly and easily share your calendar with your coworkers and specify the details you want to show. Calendar sharing is a great way for you and your colleagues to keep each other informed about your schedules.
Personalized mailing lists: With Groups, you can manage your own subscriptions to mailing lists -- called groups -- without the need to make requests to the IT Department. You can even create your own groups for your projects, teams, special-interest groups, and more. Not only do groups make it easier to send email and calendar invitations to groups of people but they also simplify access management for your shared Google documents, sites, videos, and calendars!
Real-time collaboration: With Docs, you can create documents, spreadsheets, and presentations, and you and your team members can view and edit them all at the same time.
Integrated chat: With the Talk instant messaging application, you can communicate instantly with your coworkers right from the Email interface. In addition, all your chats are automatically saved in your Email application, so you can always retrieve important information.
Easy-to-build team web sites: With Sites, your team has the ability to quickly publish a robust internal web site on which to gather all sorts of shared information, such as documents, spreadsheets, presentations, files, and videos. You can even embed calendars and other gadgets on your site!
Powerful video sharing: Using Video for business, you can easily share videos with your team or throughout the PNPA for a whole new level of communication and collaboration.


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[2] See the letters to Ewing written on April 7 (supra). Presumably Lincoln refers to William Butler, who wanted the receivership, but was recommended for pension agent. Herndon relates (Herndon to Weik, January 15, 1886, DLC-HW) that as a result of this disagreement Butler and Lincoln did not speak for years.
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