text:
Part One
Sue: So what's gone wrong with the credits this time?
It's a very good question. For some strange reason the title sequence for Part One has been rendered in sepia tone. We both agree that it looks terrible. In fact, the only good thing about the titles as far as Sue is concerned is the sudden appearance of Robert Holmes' name.
Sue: What's an inflatable toy doing floating in space like that?
Me: Are you going to be like this all the way through?
Sue: Struck a nerve, have I? I can tell you like this story before we even start.
Me: How can you tell?
Sue: Well, first of all, you were the one who suggested that we watch Doctor Who tonight, instead of it being me; secondly, I heard you trying to coax Nicol downstairs, promising her that "it's brilliant, honestly"; and thirdly, you are very defensive and we're only one minute in.
Me: I just thought we'd passed the point where a slightly dodgy special effect could cloud your judgement. That's all.
Sue: We have. I just enjoy winding you up.
It's working. We have finally arrived at a story that I genuinely love and having my wife mock it isn't a particularly pleasant sensation. I have some very fond memories of the last two Pertwee seasons but they are nothing more than fragmented vignettes. The Ark in Space is where I became invested in this show, and having its magnificence called into question by your significant other many years later isn't something that I'd recommend.
Sue: Nice TARDIS materialisation.
Me: I could be wrong but I think it's the first time we see the camera moving as the TARDIS lands. That's because they didn't use the traditional 'roll back and mix' technique. They just turn up the lights a bit.
We watch the sequence again, just to be sure.
Sue: Yes, it works. Well done.
Me: I told you it was brilliant.
Sue: Are you going to be like this all the way through?
As the adventures gets underway, Sue feels the urge to talk about Harry.
Sue: I'm not impressed with him so far. He's far too posh and he's a bit of a berk. Oh, and he looks like a young Michael Ball, which is a bit of a problem. I'm trying to ignore him, to be honest.
As our heroes explore the Ark, they gradually realise that they are running out of oxygen.
Sue: I think they've seen enough of this place now. If it's so uncomfortable there, why don't they just sod off back to the TARDIS and try again. Oh, and when does the Doctor's TARDIS start working properly? They keep promising me a working TARDIS and they keep failing to deliver one.
Before very long, Sarah finds herself being hypnotised on a bed.
Sue: Sarah Jane is clearly off her head on drugs in this scene. Ecstasy by the look it. They should be playing some Floyd rather than this pompous classical music, though. That would be far more relaxing.
Meanwhile, Harry is busy having his shoes obliterated.
Sue: Does Harry end up like Bruce Willis in Die Hard? Do his shoes form an important plot point later on?
The Doctor manages to disable the Ark's security system, but with great personal cost to his scarf.
Sue: So, does the Doctor always have burn marks on his scarf? And do the fans who knit their own versions of the scarf put the burn marks in as well? I'm pretty sure that his scarf is full purl, by the way.
Me: Yeah, thanks for that.
Sue: Oh look, Sarah Jane is having a nice sauna, now. Have they arrived at a futuristic spa?
When the action moves to the Ark's circular corridor, Sue perks up considerably.
Sue: Now that looks great. That's probably the best set design that I've seen in this show so far. It really is quite impressive for 1975.
It's about bloody time!
But it doesn't last.
Sue: The problem with Harry is the last time I saw sideburns that big, Noddy Holder was attached to them. And I'm pretty sure he was taking the piss.
The Doctor and Harry enter a huge cryogenic storage facility.
Sue: The bodies look plastic. Are the Autons up to no good again? Am I close?
I have to hush her as the Doctor begins an indomitable speech.
Sue: Nice speech.
Me: It's so good, David Tennant's Doctor paraphrases it in the new series.
Sue: Really? I don't remember that.
Me: Tennant probably burped in the middle of it so it would have been easy to miss. Anyway, could you imagine Jon Pertwee delivering a speech like that?
Sue: Not a chance. He would have insulted the human race, probably.
The episode concludes with our first good look at a Wirrn as it topples out of a cupboard.
At this point, Sue simply turned to me, smiled a slightly condescending smile, and gently shook her head.
Part Two
When it is revealed to us that the Wirrn is just a corpse, Sue still isn't impressed.
Sue: It looks like a giant poo with green bits sticking out of it.
Suddenly, a woman named Vira awakens from her cryogenic sleep.
Sue: Oh, the polystyrene was a bit too squeaky when she stepped out. They should have thought that through a bit more. Hang on, is that… is that Sue Lawley?
Vira demands to know who Harry and the Doctor are.
Sue: I love the line about Harry only being qualified to work on sailors. Tom Baker is practically laughing his head off as he says. He seems to be enjoying himself.
Vira attempts to revive Sarah by injecting her with some antiprotonics. Vira claims that Sarah now has a 50-50 chance of survival.
Sue: She could have told them the odds before she stuck that thing in Sarah Jane! And her bedside manner is appalling.
The Ark's commander, Noah (who's real name is Lazar), is the next occupant of the Ark to be revived.
Sue: His real name is even sillier than his nickname. How does that work?
As Harry and the Doctor argue with Noah, a maggot-like creature can be seen entering the inner-workings of the Ark.
Sue: I'm not even going to comment on that. But I have noticed something interesting: Tom Baker has a very odd shape.
Me: What?
Sue: I wouldn't call him fat but he appears to be carrying a lot of weight around his mid-section.
Me: That'll be all the crap he's carrying around in his pockets.
Noah is worried that the Doctor and Harry will corrupt humanity's gene pool.
Sue: Do they really believe that Harry is going to start shagging unconscious women in their plastic containers? It's a bit of a leap.
Finally, Sarah is revived from her enforced sleep and she quickly re-enters the fray.
Sue: The outfit she came out with is a lot better than the one she went in with. Actually, I'm sure the costumes in this story were influenced by the Osmonds.
Me: Are you mad?
Sue: The Osmonds were a very influential group. I'm pretty sure they wore white uniforms on stage just like that.
Me: That's weird, even for you.
When the Doctor investigates the Ark's solar stack, he encounters a large writhing green thing with a single eye bubbling away in a tank.
Sue: Giant tadpoles. That's quite unpleasant. Even Tom Baker looks as if he is genuinely freaked out by it.
The Doctor tries to reason with Noah, who is now acting very strangely indeed after a close encounter with some green slime. So strangely, in fact, he shoots the Doctor dead when he's in mid-sentence.
Sue: So has the Doctor just been atomised? That was a very short run.
Me: Still longer than Paul McGann's.
When Baker later regains consciousness, he picks up the sentence where he left off. I turn to Sue and I notice that she is grinning from ear to ear.
The Doctor describes the Wirrn's reproductive habits in gruesome detail.
Sue: So this is basically Alien?
Me: There are certain similarities, yes.
Sue: How did they sneak this idea into an afternoon tea-time slot? The concept is pretty horrific.
Me: This story scared the shit out of me when I was a kid. I couldn't hide behind a sofa, though – ours was pushed up against the wall – so I had to use a cushion instead. In fact, I'm fairly certain that The Ark in Space gave me nightmares.
Sue: Yes, and you've been terrified of bubble wrap ever since.
Another crew member named Libri is revived but he detects a problem with Noah. So Noah kills him.
Sue: What's with the star-jumping death, mate? I'm glad he's dead – he couldn't act his way out of a plastic bag.
The episode concludes with Noah realising that he's not feeling himself.
Sue: Now, that is going to **** up the gene pool.
Part Three
As Noah struggles to overcome the Wirrn inside him, Sue can't decide if she should be impressed or incredulous.
Sue: I know I really should be laughing at this but the actor's performance is selling it to me. But it's still just some bubble wrap sprayed painted green, you know. There's no getting around that fact.
Me: You have to remember that bubble wrap was probably quite exotic in 1975; it wouldn't have been so familiar to the audience back then. Give them a break.
Sue: You never got this defensive when I criticised some of the monsters in Jon Pertwee's stories.
Me: Yes, but this is an incredible performance from Kenton Moore as Noah. Just look at the anguish etched into his face. It's incredible!
Sue: Well, it was. Now he looks like Rod Hull practicing his act in his bedroom. It doesn't help that if you look at the bubble wrap pattern you can make out a little face. Look! Can you see its eyes and nose? But full marks to the actor for banging his hand on the desk without popping it. It is a great performance.
As Noah succumbs to the Wirrn, Vira laments his passing.
Sue: Maybe they can pair bond Harry with Sue Lawley. Does Harry stay behind to revive the human race? That would be a nice end to his story.
Me: You don't like Harry, do you?
Sue: I just don't see the point of him.
I think this could be a new record when it comes to Sue wishing that a companion would be ejected from the TARDIS.
Sue: Oh look, there's someone in a sleeping bag that has been spray-painted green. But what can you do, eh? And as long as the actors believe it, I can go along with it. And Tom Baker looks as if he really believes it. He is very good, I have to admit.
When the Doctor and Sarah are attacked by the beast, the story reaches a new low point for Sue.
Sue: You could easily run away from that thing! It's moving like a snail – literally like a snail.
The Doctor decides to plug his mind into the brain of a Wirrn corpse while the rest of the crew keep the "Hungry Caterpillar" at bay. The Doctor eventually discovers that electricity is the key to their salvation.
Sue: Why couldn't the Doctor have worked that out from what happened to Harry's shoes? They should have guessed that ages ago. It's so obvious – they spent an episode trying to switch the bloody thing off.
The episode concludes with Noah reaching the final stages of Wirrnhood.
Sue: I could have done without the shaky dissolve. In fact, I can't say I'm impressed with the direction in this story. It's alright, but it's nothing special.
Part Four
Sue: Okay, it's stopped being like Alien, now. I don't remember the crew stopping to have a long chat with the monster in that film.
I can tell that something else is bugging her.
Sue: I'm sorry but the monsters are rubbish. What were they thinking? How did they think this would work? I'm sorry but I just wish it looked a little better. I think part of the problem is that this story is lit far too brightly. Nothing can be that scary when it's under strip lighting, and they should try to hide these aliens as much as possible.
When searching for a means of escape, the Doctor realises that the Ark's matter transporter works both ways.
Sue: You can reverse anything in this programme. Everyone knows that.
As a crew member named Rogin climbs onto the magic bed, Sue finds fault with the Ark's ergonomics.
Sue: They should have worked out a better access route to that bed. You know, like some tiny fold-a-way stairs. If they had to clean somebody's piss up, they'd have to trample over all the expensive machinery just to get at it.
Me: What possessed you to think of such an eventuality? Jesus!
The Wirrn put a spanner in the works when they instigate a massive power failure.
Sue: This is much more like it. Why didn't they cut the power ages ago? It's a lot more scary now. They should have lit the whole thing like this.
As the Doctor concocts yet another plan, Sarah tries to interject but the Doctor shuts her down.
Sue: Here we go again. Nothing ever changes.
But, just a few seconds later, the Doctor is sweetness and light as he asks Sarah for her input.
Sue: Okay, fair enough. That is a big difference. Pertwee wouldn't have behaved like that. Still a bit rude, though. And does Tom Baker ever blink? I don't think I've seen him blink. He'd be good against the weeping statues in the new series.
When the action moves to the Ark's shuttle, Sue is impressed by the scene's ambience.
Sue: Oh, I like the lilac lighting. Why didn't they shoot the whole thing like this? The lighting in the first three episodes was terrible but this is really nice.
In the mist of all this insanity, Sarah and Harry start bickering with each other.
Sue: You can see how Amy and Rory's banter may have been influenced by Harry and Sarah Jane. They have a similar chemistry. I just hope they don't start shagging each other in the TARDIS.
As Sarah makes her way through the Ark's ventilation shaft, Sue is once again struck by the story's similarities to a certain sci-fi blockbuster.
Sue: It's definitely turned into Alien again. When was Alien released?
Me: 1979.
Sue: So Ridley Scott could have seen this before he made Alien?
Me: It's entirely possible.
Sue: Maybe he showed it to his crew and said, "I want it to look like that, but with decent lighting, sets, monsters and music".
When Sarah finds herself stuck in the shaft, the Doctor decides to taunt her out.
Sue: I knew he was just pretending to be mad at her. If this had been Pertwee I would have believed him. Maybe that's why Sarah believed him – maybe she's used to it.
The Doctor and Sarah reach the control room but a Wirrn attempts to interfere with their progress.
Sue: Just walk away from the grill! Sarah Jane is starting to irritate me a bit now. Get a grip, girl!
The Wirrn are lured in the Ark's shuttle but the Doctor is denied an opportunity to nobly sacrifice himself when Rogin decides to intervene on his behalf.
Sue: What a nice man. And it's nice to know that cockneys wills survive in the future; at the beginning, I thought it was just stuck-up pompous twats who were going to repopulate the planet; there's hope for us all yet.
The story concludes with the last vestiges of Noah's humanity reasserting themselves long enough for Noah to blow up the shuttle, killing all the Wirrn in the process.
But instead of returning to the TARDIS, the Doctor volunteers to fix the Ark's T-Mat instead.
Sue: I thought you said this story was only four episodes long? Why hasn't this ended yet?
Me: It's a return to the formula of the early days where the stories would flow into each other.
Sue: So, they will come back to the Ark later, then?
Me: Of course they will, they've left the TARDIS there.
Sue: So, The Ark in Space has an arc in space? Can you see what I did there?
Me: Yes, very good.
As our heroes prepare to leave, Sue suddenly becomes very animated.
Sue: Hang on a minute – I recognise this. I'm sure I've seen this before. I recognise Sarah Jane's yellow coat and bobble hat.
Me: I believe you are experiencing your first memory of watching Doctor Who with me – almost 19 years ago to the very day. But we'll save that story for another time.
The Score
Sue: It was good but it wasn't great. I admit that Tom Baker was brilliant and the overall concept was okay (although I'm sure the story could have been told in a much better way), but the direction was a bit flat and the acting ranged from the very good to the completely bizarre. It could have been a lot scarier, too. And I'm very sorry but the monsters looked ridiculous. Having said that, it flew by. It's a tough one to score but I'll give it the benefit of the doubt.
Me: That was our first story from new producer Philip Hinchcliffe and script editor Robert Holmes. Could you tell?
Sue: It did feel a little different. I couldn't imagine Jon Pertwee appearing in that story. I can imagine Patrick Troughton doing it but not Pertwee. I'm glad that Robert Holmes is a regular feature now – his scripts are always a cut above the rest – and the tone does seem to have shifted a bit. I can't quite put my finger on it yet but it's definitely an easier programme to watch. And no CSO either, which was nice.


text:
The Most Mundane Man in Metropolis
For a character who has been central to American pop culture for more than 80 years, Superman, it really must be said, is pretty darned boring. Since 1938, he has worn the same outfit. He has worked the same job. He has hung out with the same people. He has even kept the same haircut, except for a month or two in the 1990s, when a few strands poked out a bit behind the ears, an offense for which Superman can be forgiven, considering that he had recently died.
Superman is a fictional character who, by his very nature, cannot change, which would be fine were he a supervillain bent on global domination, a tortured ad man facing dramatic cultural change at the end of the 1960s or simply a wisecracking rabbit. But Superman can't change in a specific, creatively crippling way: He must be absolutely perfect at all times. He cannot lie, he cannot kill, he cannot pirate music. He cannot be anything other than the ideal beacon for us all to aspire to be, to admire from below.
Superman is always saying that he is a shining example of what humans can be, but we humans know better: He is the embodiment of what we are not and never were. He is a lack of frailty personified. He can leap tall buildings in a single bound, but we can't relate to that. A vigilante like Batman, who wants to put a fist through some creep's face, that we can understand.
By Larry Tye
Random House, 409 pages, $27
Larry Tye's "Superman: The High-Flying History of America's Most Enduring Hero" attempts to track the history of an icon that has no real history. The story of his creation, by high-school friends Jerry Siegel and Joe Shuster, is in many ways the beginning and ending of his journey. From Superman's first appearance in Action Comics No. 1, the basics were all there: the cape, the exploding home planet, the dorky Clark Kent alter ego (modeled by Siegel and Shuster on themselves), the physical invincibility, even Lois Lane. There were a few important additions made along the way—Kryptonite was actually introduced by the radio show, not the comic, and Lex Luthor was in fact an afterthought modeled after Siegel's and Shuster's earlier, evil vision for a superman. Forgettable characters like Superdog came and went. But, mostly, Superman was Superman initially and forever.
The main reason for this was that Superman was an instant smash, the best-selling comic the week that it was released and just about every week since. (Most of the early buyers were schoolchildren, but Joe DiMaggio, then only in his second year in baseball, used to ask his less-recognizable Yankees teammates to buy copies and sneak them to him when no one was looking.) Any good capitalist knows that you don't mess around with your flagship product; this success, more than his status as a platonic ideal, explains why Superman remains so constant.
The biggest news that Supes has made in the past 20 years was in the early 1990s, when DC Comics briefly killed him in "Superman: Doomsday," a terrific series of comics that nevertheless were irrelevant two years later, when he inevitably came back to life. (They filled the two years with stories of superheroes mourning, replacement superpeople failing to fill his shoes and finally the buildup to the hero's return.) The series was a huge smash, if only because killing Superman was sort of the only story option DC had left.
Mr. Tye, rather than craft a thesis that explains how such a static character has remained so popular through so many different eras, overloads the reader with anecdotes. The story of how DC obtained the rights to Superman at a Dutch-buying-Manhattan price—the original sin of American comic-book history—is rich enough to be a book of its own (it is, actually, 2005's "Men of Tomorrow"), but Mr. Tye merely touches on it before getting bogged down in arcane contract details. The tale of poor doomed George Reeves, the television actor who played Superman in the 1950s before either committing suicide or being murdered (depending on which conspiracy theory you subscribe to), has been made into a feature film ("Hollywoodland"). It's all neatly summed up by Mr. Tye in two paragraphs. One minute Reeves is a star, the next minute he is dead.
Even Christopher Reeve, the affable Broadway actor who became the embodiment of Superman in a way no one had before, is glossed over. Reeve, like everyone who has played Superman, became so connected to the role that he never escaped it, something he came to embrace late in his life. His Superman was basically Cary Grant—witty, funny and noble, harking back to a beloved type from an earlier era. But Mr. Tye spends more time discussing producer Ilya Salkind's money woes than Reeve's reinvention. And he spends even more time that giving plot summaries.
Mr. Tye relentlessly keeps his focus on the fictional character of Superman, but real-life stories keep popping up all over. I kept hoping that he would dispense with the endless Wikipedia-esque plot summaries of various Superman comics and get back to the human beings who created this character and were so profoundly affected by him. After all, they are capable of change.
Yet Mr. Tye is so close to his subject that he has trouble seeing anything else. There is no question that Superman has served as a symbol of American power, strength, ideals and resolve, but he is, after all, just a cartoon character. Mr. Tye sees changes in the culture and attributes them to Superman just because he happens to be writing a book about him. I have no doubt that kids were inspired to eat their cereal and brush their teeth at an increased rate by listening to Superman implore them to do so on the radio. I do highly doubt, however, that when America, reeling from Waco and the World Trade Center bombing and Rodney King, "needed a break and a hero in the fall of 1993" it was TV's "Lois & Clark" that provided "a great escape." And I wish I would have known that, when the later Superman TV show "Smallville" hit the air, its "launch in the wake of 9/11 gave America a hero it could believe in when it needed one." That might have helped, I think.
The theme of Superman's relationship to America is, in fact, an important one, which Mr. Tye clumsily tackles but can't quite get his arms around. Superman reminds us of who we once were (or, more accurately, who we like to pretend we were). The difference of his world and ours is precisely the point. The first two "Superman" films with Reeve worked because they contrasted his square-jawed do-goodnickism with a Metropolis that resembled the New York of "Taxi Driver" far more than that of "An Affair to Remember." Bryan Singer's less successful "Superman Returns" was overly reverent toward those Reeve films, stacking one level of nostalgia on top of another.
The next step for Superman is another big-screen reboot, "Man of Steel," due out around this time next year. Starring Henry Cavill, Amy Adams as Lois Lane, Kevin Costner as Pa Kent and Russell Crowe as Jor-El (Superman's dad), the film continues the movie tradition of casting bigger stars to play the supporting characters than the man in the blue tights himself. It is fitting that the producer of the film is Christopher Nolan, who reinvented Batman in the "Dark Knight" movies. One suspects that he'll have less luck with reinventing Superman.
As is the case with Mr. Tye's book, Superman is a black hole at the center of every story. Because he is invincible, because he can do everything better than anyone else can do anything, you run out of things to do with him.
—Mr. Leitch is a contributing editor for New York magazine and author of "Are We Winning? Fathers and Sons in the New Golden Age of Baseball."

subset: commoncrawl


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The UN-REDD Programme is undertaking a series of consultations with Indigenous Peoples and other Forest Dependent Communities in three regions (Africa, Asia-Pacific and Latin America and the Caribbean (LAC)) to develop FPIC recourse guidelines for the UN-REDD Programme. The regional FPIC consultation for Africa will take place in Arusha, Tanzania on 24-27 January 2011, and will be the third regional consultation that the UN-REDD Programme has held over the past year.
The initial consultation took place in Hanoi, Vietnam in June 2010, and resulted in a set of draft guidelines which were further elaborated during a similar consultation in the LAC region in October 2010. These draft guidelines will be further developed after receiving input from this regional consultation for Africa.
After the recommendations from all three workshops are analyzed and merged, the draft guidelines will be released for a public comment and input process and will then be added as an annex to the UN-REDD Programme's Operational Guidance on the Engagement of Indigenous Peoples and other Forest Dependent Communities.
The Africa region consultation will gather about 60 participants from Indigenous and tribal peoples organizations, civil society, the UN-REDD Programme, FCPF and a variety of partner organizations from Africa, in particular representing UN-REDD Programme partner countries, including Central African Republic, Democratic Republic of the Congo, Gabon, Kenya, Nigeria, Republic of Congo, Sudan, Tanzania, Uganda and Zambia.
Building on the guidelines drafted in the Asia-Pacific and Latin America and the Caribbean workshops, the Programme hopes that the Africa consultation will help to refine a set of definitions, recommendations, and guidelines for FPIC processes and recourse mechanisms to be applied to UN-REDD Programme activities to inform a final draft of guidelines to be adopted by the UN-REDD Programme.
Click here for the agenda, working documents and background materials of the UN-REDD Programme's upcoming FPIC consultation in Tanzania.
Copyright © 2008-2016 UN-REDD Programme. All Rights Reserved.


text:
Related Artists
The Weeknd
Born: 1990/02/16
Birth Place: Toronto, Ontario, Canada
Years Active: 2010–present
Genres: R&B
Birth Place: Toronto, Ontario, Canada
Years Active: 2010–present
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The Weeknd (born Abel Tesfaye February 16, 1990) is a Canadian R&B recording artist and record producer from Scarborough, Ontario. Songs recorded under The Weeknd name first leaked in late 2010, though the identity of the individual behind the project was initially unknown. The Weeknd released a nine-song free album, "House of Balloons," in March 2011. Production was headed up by Canadian producers Doc McKinney, Zodiac, Illangelo. In June 2011, "House of Balloons" was named as a shortlisted nominee for the 2011 Polaris Music Prize. The album was a part of a trilogy which included "Thursday," released in August 2011, and "Echoes of Silence," released in December 2011. Product... Continue Bio >>
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text:
Back in Colonial times, before bottles of medium and tubes of premixed paint were readily available in the local art supply store, painters were like mad scientists, grinding pigments and developing secret methods that would make their paintings more lifelike, stable and, thus, more sought after. For early American artists, painting was a competitive business, and over time, some artists' recipes and methods have fared well, while others have led to cracking and discoloration. Curators Lance Mayer and Gay Myers, who have been collecting recipes and stories from journals, letters and old painting manuals for the past twenty-five years, have recently published American Painters on Technique: The Colonial Period to 1860, a wonderful book, rich with practical information and lively anecdotes about painters such as Thomas Cole, Gilbert Stuart, Thomas Sully, and Rembrandt Peale.
Here's an excerpt:
Thomas Cole's correspondence also indicates he knew that a period of time should elapse before varnishing, which was one reason that he needed to discuss the topic--he had the awkward job of explaining why their pictures did not look as good as they would eventually look after they were varnished. Ridner said Cole varnished his paintings "as soon as they became perfectly dry," which is not very specific. Mount said that Cole "did not varnish in under a year," but this may have been a theoretical goal rather than his actual practice; the testimony of Cole's letters hint that he was not so dogmatic. Cole himself described working on a painting until the last minute before an exhibition, and he variously told patrons that paintings recently sent to them should remain unvarnished "a short time" or "one month longer." Of course, once a painting was sent to a patron, varnishing was out of the hands of the artist and the new owner was free to follow or reject the artist's advice on when to varnish, or perhaps never to varnish the painting at all...
Table of Contents:
Obviously, anecdotes about painters and their techniques will not appeal to the general reader, but for artists who still concoct their own recipes (linseed oil? stand oil? varnish? silica? polymer?) or admire the glazing on those incredible early American portraits and landscapes, the book, both amusing and instructive, is a fascinating read.
American Painters on Technique: The Colonial Period to 1860, by Lance Mayer and Gay Myers, Getty Publications, 2011
Subscribe to Two Coats of Paint by email.


text:
Billabong Scout Flexfit HatView Larger Image
Check out the 'talent' walking around the food court while eating your orange chicken and wearing the Billabong Scout Flexfit Hat. You might get lucky and score some digits from a girl who appreciates your sense of style and culinary tastes.
- Twill fabric
- Flexfit sizing (see chart)


text:
Few people can say they have turned their favorite childhood hobby into a career. But Weili Lin, Ph.D., still spends his days taking pictures, just as he did as a kid. Only now the images he captures are of the developing brain, not rocks and dragonflies.
Lin, director of the UNC Biomedical Research Imaging Center (BRIC), uses his passion for photography to devise innovative approaches to capture the body's internal structures.
"There are so many different parameters you can play with, just like when you take pictures you can adjust the parameters to see things in a completely different way," says Lin.
His own research has used the latest imaging technology to chart the course of brain development in some of the tiniest of research subjects, babies from two weeks old to two years of age. Propelled by funding from the NIH Clinical and Translational Science Awards (CTSA) at UNC (NC TraCS Institute), although more studies are needed, Lin has found that several major neural wiring may be present in babies earlier than what have been thought previously.
He plans to conduct similar studies to see how development could differ between normal subjects and those at risk for neurological disorders, such as schizophrenia or autism.
"I spend a lot of time looking at how improvements in technology can help us address fundamental biological questions, and that is fun to me," Lin says. "It's all I've ever wanted to do."


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It is not uncommon for owners of buildings to sell their property with current tenants (think apartment buildings). Sometimes existing leases may be used to increase the implied value of their holding.
Non-story. Should be good for some rampant speculation in the comments.


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Downloadable files
IBM Configuration Assistant for z/OS Communications Server provides centralized configuration of AT-TLS, IP Security, NSS, PBR, QoS, IDS, and DMD policies.
Download Description
IBM provides a configuration graphical user interface (GUI) that you can use to generate configuration files for Application Transparent-Transport Layer Security (AT-TLS), IP Security (IPSec), Network Security Services (NSS), policy-based routing (PBR), quality of service (QoS), Intrusion Detection Services (IDS), and Defense Manager daemon (DMD). The Configuration Assistant (CA) is a stand-alone application that runs on the Windows® operating system and requires no network connectivity or setup to begin using it. Through a series of wizards and online help panels, you can use the Configuration Assistant to create configuration files for any number of z/OS images with any number of TCP/IP stacks per image.
The Configuration Assistant reduces configuration complexity by providing a consistent and easily manageable interface to implement AT-TLS, IPSec, NSS, PBR, QoS, IDS, and DMD. It can dramatically reduce the amount of time required to generate and maintain policy files for these disciplines. The Configuration Assistant is intended to replace manual configuration of the policy disciplines, but it can also incorporate policy data directly from the Policy Agent.
New for V1R13:
- IDS configuration for new attack types and IPV6 addressing
- Ability to create common IPSec configuration for multiple stacks. This function includes new reusable rules and local IP addresses as names.
- Ability to configure both V1R12 and V1R13 level z/OS images and TCP/IP stacks.
Technologies and functions available in each release:
|Technology / Function
|AT-TLS, IP Security, NSS, PBR, QoS, IDS, and DMD
Policy Data Import for AT-TLS, IP Security, IDS, and PBR
|AT-TLS, IP Security, NSS, PBR, QoS, IDS, and DMD
Policy Data Import for AT-TLS, IP Security, IDS, and PBR
|AT-TLS, IP Security, NSS, PBR, QoS, IDS, and DMD
Policy Data Import for AT-TLS, IP Security, IDS, and PBR
|AT-TLS, IP Security, NSS, PBR, QoS, and IDS
Policy Data Import for AT-TLS, IP Security, IDS, and PBR
|AT-TLS, IP Security, NSS, PBR, QoS, and IDS
|AT-TLS, IP Security, QoS, and IDS
|AT-TLS, IP Security
Supported platforms:
- Windows 2000
- Windows XP
- Windows Vista
- Windows 7
Minimum hardware required (more is recommended):
Processor: 800 MHz
Installation Instructions
- In the "Download Package" section, follow the link to the download page and select the version of the Configuration Assistant you want to download to your Windows system.
- After you have downloaded the file, run the file on your Windows system and follow the InstallShield instructions to install the Configuration Assistant.
General notes:
- Do not attempt to run the downloaded file from a directory containing any non-alphabetic or non-numeric characters (for example, # or $). While attempting to install, if you encounter an error message indicating JVM NOT FOUND, move the setup executable to another directory with no special characters in it and install again.
- You can install and run copies of the V1R7, V1R8, V1R9, V1R10, V1R11, V1R12, and V1R13 Configuration Assistant on the same workstation.
- After installation, newer versions of the Configuration Assistant can migrate your saved binary backing store files into the newer version and will not overwrite or destroy the older versions.
Notes for Vista and Windows 7 only:
- Regardless of whether you are an administrator or not, do not install the Configuration Assistant in a protected folder, which includes the Program Files folder. Select an alternate location such as C:\IBM\zCSConfigAssist\V1R13. If you attempt to install to a protected folder, you might get a JVM NOT FOUND error message.
- When installing as an administrator, right-click on the setup executable and specify to "Run as administrator".
- A non-administrative user must uninstall from the Configuration Assistant's actual _uninst directory and must know an administrative password.
- During or after an install/uninstall, if you get a popup message box from the Program Compatibility Assistant telling you that the program might not have been installed correctly, always reply that the program was installed correctly.
Download package
|Download Options
|Releases 1.13; 1.12; 1.11; 1.10; 1.
|11 Jul 2011
Technical support
Support is provided on a best effort basis.
In V1R11 and later, the IBM Configuration Assistant for z/OS Communications Server is available as a fully supported task in the z/OS Management Facility (z/OSMF) product. z/OSMF provides a Web browser interface for a variety of z/OS system management functions. When invoked from z/OSMF, Configuration Assistant runs natively on the z/OS system and is accessed by your system administrators through a Web browser. To use Configuration Assistant in z/OSMF, your system must be running z/OS V1R11 or later. For more information, go to http://www.ibm.com/systems/z/os/zos/zosmf/.


text: Waiting for the HTC Hero Android 2.1 update? Try this Wired Blog 23 June 10 by Chris Finnamore HTC Like many Hero owners, I'm bored of waiting for the promised but much-delayed update to Android 2.1. As usual in these situations, I vented my frustration via Google, with various iterations of "Hero Android 2.1 delay", "HTC Hero Android 2.1 announcement" and "Where the hell is my Hero update?"This turned up an announcement that a preliminary upgrade was being currently pushed over the air, to pave the way for the monster 2.1 download at the end of June.This was a couple of weeks ago, but no pave-the-way update as yet. I really needed to scratch the itch, so had another self-righteous Google session. This turned up another gem from the forums -- set your Hero's calendar forward a month to force HTC's hand. Bingo -- pretend it's late July, wait 10 seconds and up pops the update notification.It's a four-megabyte download, which apparently upgrades YouTube and the Hero's update software -- the Settings menu now has an option to check for new software manually. I'm still stuck with ancient Android, but at least I'm a quarter of the way there. Baby steps. Edited by Nate Lanxon Latest on wired.co.uk


text: This report is being written while waiting for our drinks at OHANAS. So today we got a bit of a late start before heading off to Epcot. Epcot was a little crowded bot not overwhelming. When we arrived at about 1130 we immediately headed over to Soarin and grabbed our fastpasses which were for 335 pm. After grabbing our passes we went and watched Captain EO which was a trip back to the 1980's. Didn't really know what to make of it. My daughter wanted to.do Kimpossible so off I went with the wife while my 15 . Luckily for me we were assigned to Mexico so of course I sampled a Blood Orange margarita from La Cava and then headed over to Norway for a sweet pretzel....now that's living. I then stopped for a Grey Goose icey and then headed over to the UK for a pint and listened to the new band for the first time. They were great but I kind of missed the Fake Beatles. After my sampling of beverages we hooked up with kids and did Finding Nemo and walked around Innovations and my son did Mission Space and then we all did Spaceship Earth. After that we went to Test Track with fastpasses in hand only to be told it was closed because of an impending storm.......Just finished dinner and it was awesome. OHANAS might be my new favorite. The steak and shrimp were delicious. We have a 2nd reservation for later this week.


text:
The funds have been gradually accumulated from the £75 fee paid by the NHS and private clinics to the HFEA every time a woman has treatment.
Campaigners have demanded the organisation gives the money back to the dozens of NHS trusts which are refusing women IVF because they are so short of money.
Last year a report by MPs found three quarters of primary care trusts are denying women treatment and not funding the three courses recommended by the health watchdog NICE.
This includes five PCTs which refuse to pay for IVF altogether while many others reject women deemed too fat, thin, old or young.
As a result, couples desperate for children are having to go to private clinics and take out loans or re-mortgage their homes to cover the hefty fees.
Last year 45,000 women underwent IVF treatment, with 60 per cent having to pay for it privately.
One cycle of IVF can cost between £4,000 and £8,000 as clinics charge vast fees for 'extras', including up to £200 for a consultation and as much as £1,000 for freezing and storing embryos.
The surplus, the equivalent to half of the organisation's annual budget, could pay for about 850 women to have IVF at a cost of £4,000 a treatment.
Clare Lewis-Jones of the charity Infertility UK, said: 'We believe the funds built up by the HFEA should be re-invested back into the area which they regulate and that infertility patients should in some way benefit from this excess.'
The HFEA has insisted that the money was accumulated through 'prudent' budgeting, and said it would be too 'complex' to try to give the money back to cash-strapped NHS trusts.
The figures were obtained by the Health Service Journal.
A poll in December revealed that a quarter of women having IVF said that they have to take out high-interest loans, reach their credit card limit and even re-mortgage their homes for a chance to realise their dream of motherhood.
A third of the 2,500 British women questioned by Red Magazine for its annual fertility report had spent more than £20,000.
Success rates are just 32 per cent for women under 35, falling rapidly with age to just 1.5 per cent for those over 45.
This means that many are being forced to fork out for three or more cycles of treatment.
Dr Allan Pacey, of the British Fertility Society, said: 'This comes at a time when NHS funding for infertility treatment such as IVF has been cut in many parts of the country as a cost cutting measure, and both hospital and household budgets are feeling the squeeze.
'The £3.4million is a significant sum of money and by a conservative estimate would fund over 850 cycles of IVF treatment.
'The BFS believes it is inappropriate for the regulator to amass such a sum, which by its own admission is "unusually large".
'We will be writing to the HFEA chief executive to ask for an explanation.'
A spokesman from the HFEA said: 'Previously, we have agreed with the department not to pursue the possibility of returning the money to clinics due to the complex principles and practicalities that would entail.
'We developed proposals to enhance our capabilities in three ways, to spend the surplus money "wisely", over three years.
'The Department of Health have told us that they cannot agree to this for the next financial year, and so we await the department's alternative suggestions.'
Article: February 2012 www.dailymail.co.uk
Read more about IVF and the HFEA
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The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.
If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.
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