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Posting from a bunker after discreet meeting with 911. It is amazing when the two smartest people in the U.S. get together. But there really is an urgent need to inform the public. Seems as though Al Gore has unleashed some of his polar bear sperm taking scientists on a mission to create what can only be known as the uberlibtard. They are trying to take the most disgusting features of the most prominent tards and fuse them into an ubertard capable of defeating all rational thinking
I have obtained a list of parts.
Diane Feinstein. Left testicle
Nancy Pelosi. Right testicle and microcephalic brain that repeats "it's for the children."
Chris Matthews's Legs. They have the ability to super tingle when the great leader speaks
Rachel maddow's Man hands super grip
Obama. Enormous Ears to listen in on opposition and supervision eyes that can read TelePrompTer at 100 yards
Harry Reid's High girly voice and vagina hole. They were going to use his penis but he didn't have one Also hermaphrodite will appeal to lgbt crowd
Al gore. Voice. Slow drawl entrances enviro lib tards into a frenzy.
Hillary Clinton taint.
Michael Moore. Abdomen. Absorbs any frontal attack and repels all women.
Ted Kennedy's. Liver. Kept in a jar on marthas vineyard Must have powers to have left him in senate that long
Matt Damon's brain. He won't miss it. Spewing nonsensical pseudo intellectual crap 24/7
Michael bloomberg Mouth and butthole as both can simultaneously spew shit in all directions.
God save us if this creature is actually made.
Tuesday, March 26, 2013
Cheyenne mountain
Posted by shrodingers cat at Tuesday, March 26, 2013
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Read a performance review on Nike Hyperdunk 2011 shoes! The Nike Hyperdunk 2011 basketball shoe is designed for the baller who wants exceptional lockdown and responsiveness in a lightweight package that's ready for the game played at all levels. Flywire construction locks the foot down and conforms to the foot to minimize any unnecessary movement inside the shoe. Lightweight Phylon midsole adds impact protection and comfort . 3D reinforced midfoot shank provides torsional rigidity. Solid rubber outsole with herringbone traction pattern offers the ultimate in on-court traction. Wt. 11.5 oz.
Nike Hyperdunk 2011 - Mens - Varsity Red/White
- Buy Now:
- Eastbay
- Price:
- $69.99
- By:
- Nike
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subset: commoncrawl


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Snake Coloring Page
Sponsored Links
About these Animal Coloring Pages:
Please see our Terms and FAQ page.
Actual Images do not have borders when printed.
How to save this Coloring Page to my computer?
1. Simply Right click on the image with your mouse.
2. Select "Save Picture As" / "Save Image As" and save it locally.


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Help: FAQ for Job Seekers
Answers to your questions about job search with Gigajob
- Is Gigajob free?
- Yes, Gigajob is always completely free for job seekers to use.
- I'm new to Gigajob—how can I register for free?
- Simply click "Register" on the top right corner of the page, fill out the form, and send. You will receive an email with a confirmation link to click—and you're registered.
- How does Gigajob work for job seekers?
- Step 1: Register for free.
Step 2: Create a free resume. Include information about where you are and what sort of work you would like. With your online resume...
… potential employers can find you quickly and easily.
… you can directly contact job postings that interest you.
Post your Resume for FREE.
Tip: You can create as many resumes as you like on Gigajob. When applying for a job, simply choose the resume that best suits the posting you're interested in.
- What can I do so that multiple employers will contact me?
- A good applicant profile has a brief headline and accurately describes you. Employers can then see what you can do, your work history, and where your strengths lie--all at a glance. A good photo will round the profile off nicely.
Tip: Are you versatile and able to do different jobs? Create an applicant profile for each occupation in your repertoire.
- How do I find job offers?
- Job offers can be found using the search functions on the start page. Type the job you're searching for into "What?" and the place in "Where?" Click on "Find Jobs" and you'll get a results list with all job offers appropriate to your search. Search now
- How do I contact a job posting?
- Send a Contact Request:
Let the job poster know that you are interested in their job opening. Send the job poster a Contact Request via the button "Contact Now". This will invite the job poster (Employer) to have a look at your profile.
- How they view it
Your contact request will be sent to the job poster. They can then accept or decline your request. This step is taken by Gigajob to protect the candidate's and the job poster's identity at an early stage.
- When your request is accepted
Once the job poster has accepted your Contact Request, the contact details will be made available for both parties. You will find the contact data in your contact center. The further contact will take place via email.
- Send a Contact Request:
- How can "Free Email Alerts" help me to keep track of new postings?
- You didn't immediately find the right offer? New ads are being published in Gigajob all the time. We can instantly send you an email whenever somebody posts an offer that matches your search profile. On all Gigajob search results pages you'll find a link called "Create Email Alert" in the right column. One click on that link — and your search is saved. We'll send you the latest jobs and resumes on a constant basis. This service is free and can be cancelled at any time with just one click.
- What's my password again?
- Please click "Sign in" (or "Register") at the top right of the page and follow the link "Forgot your Gigajob Password?" Then enter your email address and click "Submit". You will receive an email with a password-reset link, which you can click to enter a new password.
Important: The password-reset link is only valid for 2 hours. If the deadline passes, you will have to have a new email sent.
- The password reset email I requested didn't come. What can I do?
- Repeat the same process to be certain it worked: Please click "Sign in" (or "Register") at the top right of the page again and follow the link "Forgot your Gigajob Password?" Then enter your email address and hit the "Submit" button. Please make sure your email address is typo-free. You should receive the email with the password reset link. It's also possible that the email is in your spam folder. Please check the folder, adjust your settings accordingly, or enter another email address in the field.
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- You must be logged in to change any data. When you are logged in, you see "My Dashboard" in the top right corner of every Gigajob page. Please click it to get to your settings. There you'll find the option to change your password or email address.
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- You must be logged in to do that. Click on "MY Dashboard" in the top right corner of any Gigajob page. Please click it to get to your settings. There you'll find the option "Cancel Membership".
Note: You cannot login again after you cancel your Gigajob membership. Your data and ads will be permanently deleted.
- ... I didn't find the answer to my question.
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- ... I have a suggestion for an improvement.
- We already have a long To Do list, but naturally we're happy to know that our users are thinking about and helping us to make Gigajob even better! Send us your suggestion.


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Laser Cutter
The laser cutter is a CNC(Computer Numeric Control) machine capable of the following:
- Cutting
* paper * cardboard * plastics up to 1/2" depending on type * craft foam * plywood of certain thicknesses depending on number of layers as well as what type of bonding glue was used * other stuff I haven't yet tried
- Engraving (raster and vector)
* cardboard * plastic * wood * glass * dark stone
Contrary to popular belief lasers don't melt things. They remove material via a process called sublimation; turning an object from the solid state directly to the gaseous state skipping the liquid stage almost completely.
The laser uses an RF excited CO2 gas laser producing an invisible to the human eye beam at 1090um. Almost everything is opaque to this wavelength and as such if it can sublimate the material it will. This means that if you put *anything* in the path of the laser it'll try to cut it. If it can't cut the material and it doesn't reflect the beam it *WILL* heat it up very very rapidly. The excited gas you can visually see in the tube is kind of the same thing you see in neon signs. 25KV is applied and the gas is excited to the point where it has to release extra electrons and you see this as light. Do not forget that the beam coming out of the tube is completely invisible and completely dangerous.
In this picture from left to right you can see:
- 24VDC power supply; large aluminum case
- 12VDC power supply; small aluminum case
- In the back are 3 Keling stepper drivers; black aluminum cases with green wiring terminals
- In front of those are 2 120VAC solid state relays (not wired and currently not present in the enclosure); grey plastic cases
- Breakout board
- Power entry
- Hole for 120VAC duplex outlet
In the second picture you can see the high voltage power supply
The gantry is driven by a single dual-shaft stepper motor. This motor has a driveshaft on either side that goes to a bearing mechanism attached to the Y rails. Nearest this bearing mechanism there is a timing belt pulley on the shaft. The belt rides on this pulley and connects to the gantry's carriage to pull it back and forth. All motion in the laser cutter is established via pulling as you can't push a belt.


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Aleve Easy Open Arthritis Cap Caplets with Naproxen Sodium, 220mg (NSAID) Pain Reliever/Fever Reducer, 100 Count
Getting pain relief from minor arthritis pain shouldn't be a pain. That's why there's the Aleve Easy Open Arthritis Cap, featuring a contoured bottle that fits comfortably in your hand and a cap that covered with a cushioned material to give you better control. It's the easiest way to get the 12-hour pain relief that… Read More »


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LOUIS VUITTON CAISSA HOBO BAGCategories:Louis Vuitton
The Caissa Hobo Bag is making waves in bag design, mainly because loyal LV customers are die-hard classic print fanatics! From the beloved Original Monogram, down to other house signatures, we are never, ever getting tired of waiting for what the luxury goods empire is cooking-up for us next. This time, we are getting the Caissa Hobo Bag, which features another well-known print, the Damier canvas.
When you see the bag for the first time, you might think that it's too slouchy for comfort, but we're guessing that this is where its hidden charm comes from. Relaxed and no-nonsense are the two adjectives that could best describe it (and we're not kidding, it really takes the best of both worlds!). Imagine a luxury print that's refined to perfection…mix all wonderful elements together and you've got yourself the Caissa Hobo Bag.
Our favorite thing about this bag is its fine details (contrast-edge dyeing, and a leather bag charm), which really give it a welcome pop of color. Inside, it even has a double smartphone pocket and a zipped inside flat pocket which adds up to its functionality. Yes indeed, it's a perfect 10!
Measuring 15" x 12.2" x 5.9" inches (L x H x W), you can get your very own Caissa Hobo Bag for $1960 USD or €1460 EUR via Louis Vuitton online boutique.
Tags: Louis Vuitton bag Hobo CAISSA


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IBM MobileFirst for iOS apps for your industry
Business Tech
IBM MobileFirst for iOS Business Tech is built to improve the field technician's ability to handle service events for enterprise contracts. With this app, technicians can take advantage of enhanced information about the work being performed, prior service history and integrated access to network-based testing tools. With these capabilities and additional collaboration tools, they can more efficiently keep track of work orders to satisfy service level agreements.
Network Tech
IBM MobileFirst for iOS Network Tech is designed to help technicians better manage their work in the field. It allows them to more effectively maintain and service their internal network infrastructure ─ such as cell towers and central exchanges. The app uses mobile technology to give technicians relevant site and service history information. Technicians can access company descriptions and geographic data stores about the telecom's logical and physical network infrastructure.
Expert Tech
Putting smart mobile tools in the hands of technicians empowers them to make each customer touch point a positive experience. With IBM MobileFirst for iOS Expert Tech, field technicians can better prepare for their service calls, more accurately diagnose and fix problems, and resolve service issues on the first visit. Quick and successful restoration of service can improve customer satisfaction.
Offer & Sell
IBM MobileFirst for iOS Offer and Sell gives field technicians the information they need to recommend additional products or services to customers at the conclusion of an installation or service event. The app enables technicians to professionally present eligible offers – whether standard or personalized by analytics – to customers who can authorize their acceptance on the spot. By providing technicians with the right tools and information, they can successfully close more add-on sales.
Network Check
IBM MobileFirst for iOS Network Check enables field technicians to easily connect and test the service performance of communication lines using mobile access to system test systems. Using the app, field technicians can monitor line speeds or request diagnostic tests from their mobile device to quickly rectify service quality issues in the field. Work order information can also be used to establish the service context as the app connects into the networks for testing.
Install Assist
IBM MobileFirst for iOS Install Assist gives infrastructure field techs the mobile tools and information they need to improve the speed and quality of a property build out. Using the app, field techs can track completion of each activity and identify and report blocking issues as the work progresses. The app helps bring a property online faster so telecom companies can more quickly begin selling their services to landlords and tenants.


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When the temperatures drop, it's natural to want to dress as cozily as possible. Some days it's a challenge to put together a stylish outfit when all you want to do is drink hot cocoa under a pile of blankets, so we compiled a little inspiration for you to be the best dressed girl in your fleece.
Upgrade your standard jeans and hoodie look for your next family get together with a pair of coated jeggings and a festive sequin embellished sweatshirt. Add a fringed metallic bag and a pair of trend-right booties and you'll easily be best dressed in your family photos.
Get the look:
Do you have tickets to that can't miss show over winter break? Stay warm with a faux shearling bomber and a soft sweatshirt. Add a girly lace skirt to balance out cool moto boots.
Get the look:
Collarless Faux Shearling Bomber
Heading out to the mall to scope out your holiday shopping list ideas? Look cute and stay comfy by pairing a blazer with a zippered skinny sweatpant. Finish the look with a pair of cool buckled booties.
Get the look:
Zipper Detail Skinny Sweatpant


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Today Politico Arena asks:
Do the 13 state attorneys general have a case against ObamaCare?
My response:
Absolutely. It will be an uphill battle, because modern "constitutional law" is so far removed from the Constitution itself, but a win is not impossible. There are three main arguments. (1) Under the Constitution, as properly interpreted, Congress has no power to enact such a plan. (2) The plan conscripts state governments into carrying out and paying for federal mandates. And (3) the individual mandate amounts to an unlawful capitation or direct tax.
The first argument will almost certainly lose, because under post-1937 readings of the Commerce Clause, Congress can regulate anything that "affects" interstate commerce, which at some level is everything. Under modern "constitutional law," that's what we've come to – under the pressure of FDR's infamous Court-packing scheme, a Constitution authorizing only limited government has been turned into one that authorizes effectively unlimited government.
The second argument has promise: In New York v. United States (1992) and Printz v. United States (1997) the Court held that the federal government could not dragoon state legislatures or executives into carrying out and paying for federal programs. Yet that is just what's at issue here with the "exchanges" that states are required to establish. To be sure, the states can "opt out," but as yesterday's suit argues, with so many people already on the Medicaid rolls, that option is effectively foreclosed. Indeed, the new bill will force millions more on to the Medicaid rolls, which is one of the main reasons these states, already strapped by Medicaid expenditures, have brought suit. Florida alone estimates that the added costs will grow from $149 billion in 2014 to $938 billion in 2017 to over one trillion dollars by 2019.
The third argument holds the most promise. ObamaCare compels individuals to buy insurance from a private company (why stop there? why not cars from GM?), failing which they will be required to pay a tax (fine?). This is an unprecedented expansion of Congress's power "to regulate interstate commerce." But even if it were to pass the modern Commerce Clause test, the tax should fail because it's not apportioned among the states in accordance with their population.
Let's be clear, however. This suit was brought because the 13 states (and I predict more will follow) see the handwriting on the wall. ObamaCare will mark the effective end of federalism as we've known it, will bankrupt the states, and, because of that – here's the clincher – is but a stalking horse for federal single-payer health care in America. This suit will keep the issue alive until November, when the American people will have a chance to weigh in.


text: Dyssomnias The Dyssomnias are sleep disorders that either cause difficulty initiating or maintaining sleep, or cause excessive sleepiness. The most common dyssomnias include snoring and obstructive sleep apnea (OSA), insomnia, restless legs syndrome (RLS) and periodic limb movement disorder (PLMD), narcolepsy, and circadian rhythm disorders. Snoring and Obstructive Sleep Apnea Primary snoring is characterized by loud upper airway sounds during sleep. As much as 60% of the population snores at one time or another and the prevalence increases with age. Although primary snoring is not life threatening, it can be considered a social nuisance. In recent polls conducted by the National Sleep Foundation, 31% of Americans take measures to deal with their partner's snoring on a regular basis. These include sleeping in another room or using earplugs to block the noise. Many treatments are available for snoring, including nasal strips, throat sprays, prescription nose medications, mouth guards and various surgical procedures aimed at reducing the amount of tissue at the back of the throat. Obstructive Sleep Apnea (OSA) is characterized by the recurrent collapse of the upper airway at the level of the soft palate and tongue during sleep. Obesity, facial deformities and enlarged upper airway structures can contribute to the airway's collapse. Apneas are associated with oxygen deprivation and can cause cardiac arrhythmias, or irregular heartbeats, during sleep. Although generally unnoticed by the sleeper, apneas cause repetitive and brief arousals, leading to poor sleep quality and daytime sleepiness. Patients suffering from OSA may experience difficulty with concentration or memory, poor mood control, impotence or feelings of depression. They may also suffer from hypertension (high blood pressure), heart failure or abnormal heartbeats. If left untreated, OSA can increase the risk for sudden heart attack or stroke by as much as 60%. The good news is OSA is a very treatable condition. Treatment options can range from Continuous Positive Airway Pressure (CPAP) to surgery to dental implants. A careful sleep history and an overnight sleep study are used to distinguish primary snoring from OSA. Insomnia Insomnia can mean difficulty falling asleep, difficulty staying asleep, waking up too early, or sleep that is chronically nonrestorative or of poor quality. According to the National Sleep Foundation, about one-half of America's adults say they frequently experience at least one symptom of insomnia. Insomnia is characterized as being either acute, chronic, or primary. Acute insomnia lasts less than one month. Chronic insomnia occurs consistently for one month or longer and is likely to be associated with an underlying medical or psychological condition. Primary insomnia is often lifelong and occurs without an underlying cause. When acute insomnia is not addressed, poor sleep can become a habit. The insomniac continually expects that he or she will have difficulty sleeping, a vicious cycle occurs, and insomnia can become long term. There are pharmacological and behavioral treatments for insomnia, and these two approaches are often combined. For acute or chronic insomnia, a sleep specialist will determine if there is an underlying problem and treat this condition first. Behavioral treatments include stimulus control, sleep restriction, cognitive behavioral therapy and relaxation training. Pharmacological treatments for insomnia include over-the-counter (OTC) medications and prescription hypnotics. OTCs are usually antihistamines and have ingredients that may leave a person feeling groggy and less alert in the morning. They stay in the body longer and side effects may include headaches, nausea, reduced reaction times and dizziness. The Food and Drug Administration (FDA) has approved many sleep promoting medications, called hypnotics. These sleep medications are effective with fewer side effects than other sleeping medications, and are usually prescribed for short periods of time. A careful sleep history, including a review of current medications, and sometimes an overnight sleep study are used to determine the cause of insomnia. Restless Legs Syndrome (RLS) and Periodic Limb Movement Disorder (PLMD) Restless Legs Syndrome (RLS) is a neurological movement disorder, and is often referred to as the most common medical problem ever heard of. It affects an estimated 12 million adults, usually those in middle age, but it may first appear in children as growing pains. It is more prevalent in women than men, often first appearing during pregnancy. The National Sleep Foundation found 17% of adults, ages 55-84, reported symptoms of RLS, which include unpleasant feelings in the legs and an urge to move them. These unpleasant feelings are often described as tingling, pulling,, creeping or nervousness in the limbs and are more prevalent in the evening and at night, resulting in disrupted sleep. Family history accounts for approximately one-half of those diagnosed. Anemia, or low iron levels, has also been found to be contributors. Many RLS sufferers also experience Periodic Limb Movement Disorder (PLMD) during the night. PLMD is characterized by periodic jerking or kicking of the legs making it difficult to fall and stay asleep. This results in sleep deprivation and daytime sleepiness for the individual, and also disturbs the sleep of a bed partner. A detailed sleep history, certain blood tests, and sometimes an overnight sleep study, are required to diagnose RLS and PLMD. Narcolepsy Narcolepsy affects approximately one in 2000 people, and its cause is unknown at this time. Onset occurs mostly between the ages of 15 and 25 years. The primary symptom is excessive daytime sleepiness with uncontrollable urges to sleep. Other symptoms vary among individuals, but can include cataplexy (episodes of muscle weakness during intense emotions), sleep paralysis (brief paralysis at sleep onset or awakening), and/or hypnogogic hallucinations (dreams that continue into wakefulness). Untreated, narcolepsy can severely impair many areas of an individual's functioning, including the ability to safely operate a car or maintain employment. A careful sleep history which includes a review of current medications, and an overnight sleep study followed by a daytime nap study are required to diagnose narcolepsy. Circadian Rhythm Disorders Circadian rhythm sleep disorders are those that are related to the timing of sleep within the 24-hour day. They can include Delayed Sleep Phase Syndrome, Advanced Sleep Phase Syndrome and Shift Work Sleep Disorder. Delayed Sleep Phase Syndrome (DSPS) is marked by sleep onset and wake times that are later than desired in order to fulfill social and work obligations. Typically DSPS patients are frustrated by their attempts to fall asleep and arise earlier. They are considered night people, preferring to stay up later, and sleep in, in the morning. Very often, medication has little to no effect in aiding sleep onset, and may aggravate the daytime symptoms of sleepiness and difficulty awakening. Advanced Sleep Phase Syndrome (ASPS) is a disorder characterized by the inability to delay sleep onset and final morning awakening. Although a mild degree of ASPS may be a normal part of aging, frustration may occur at the difficulty remaining awake in the evening and the early morning insomnia that accompany this disorder. Shift Work Sleep Disorder (SWSD) can be very challenging as shift work requires sleep in the daytime, when our natural instinct is to remain awake. The day sleeper may experience sleep onset insomnia, difficulty remaining asleep, complaints of unrefreshed sleep and difficulty remaining awake during their work shift. Back to top


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Read the original article in FORM here.
These days, Portland, Oregon, is synonymous with progressive leadership on a host of topics, with issues relating to land use and the environment up there on the list. With the new Center for Public Interest Design at Portland State University's School of Architecture, add another. The center, funded by an anonymous $1.5 million gift and the first of its kind in the United States, will be dedicated to studying and harnessing the power of design to effect social, economic and environmental change to disadvantaged communities locally and globally.
At the heart of the new center is Sergio Palleroni. A recent winner of the AIA's Latrobe Prize for Public Interest Practice, he brings decades of experience to the project and a unique perspective on the impact architecture can make in the lives of people and communities. "I grew in South America and saw indigenous communities displaced by other cultures," Palleroni explains. The experience ultimately led him to architecture. "It allowed me to engage and to resolve who I was and where I came from," he says. "First I went into practice and then into teaching. I love teaching and feel I have more of an impact—opening the eyes of a new generation."
The new endeavor already has several projects lined up. There's the design and construction of an environmental-technical school in Haiti, undertaken in collaboration with faculty and students at the Ecole Speciale d'Architecture in Paris. Also on the docket is the Sage Classroom, a new, healthier, greener, more affordable modular classroom. Closer to home, the Rosewood Initiative is working with an underserved Portland community to create a safe space for public gathering.
With the new center, Palleroni and his colleagues are aiming, he says, "to get architects to engage across the world and make deeper systemic changes." And he adds, "It's a chance to create an institution to address sustainability on all levels and rethink education. Why wouldn't I want to be a part of that?"


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Diane von Furstenberg is in need of a new wrap, and we're not talking about her iconic dress designs.
The renowned fashion designer is currently recovering from a serious ski accident where she injured her shoulder in Aspen, Colo., this week.
"I broke my shoulder in three places," the 66-year-old style icon told Women's Wear Daily. "No surgery required. I am resting and mending in my house in L.A."
Diane von Furstenberg collaborates with Roxy
And just yesterday she tweeted, "Sometimes the universe gives you signs...'stay still' is the message I got from my ski fall and broken shoulder! Love Diane."
This isn't the first ski accident for the highly respected CFDA president. In 2011, she also broke her nose and cheekbone when a novice skier sidelined her on the slopes.


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Collecting organizations try to give credit where it's due, don't always succeed
In a recent series on credit information reporting, the Asahi Shimbun explained the plight of a young Kanto woman who had applied for a credit card last March. The card she was interested in offered discounts at selected stores and could be used as an IC card for public transportation. It also had an attractive point system. Almost all her work colleagues had the card and since her financial particulars were the same as theirs she didn't think she'd be turned down, but she was and the rejection confused her. She had one other credit card, which she had always paid on time. When she called the credit company that refused her they said they couldn't give her the reason for the rejection.
Then she received a letter from Softbank Mobile, her cell phone service carrier, which said that due to a mistake her payments had been reported to a credit information (CI) company as being delinquent. The period of her false delinquency, she realized, fell during the same time that she applied for the credit card. In the letter Softbank said that it had corrected the mistake with the CI company, and when she applied for the card again after a while, she was approved, but when she tried to find out why they had changed their mind the company again said they couldn't tell her.
Such situations are not uncommon, but since credit card companies are not obliged to give reasons for rejecting or accepting customers, most applicants have no idea that these problems even exist until it's too late.
In Softbank's case, the carrier was actually alerted to the "mistake" last March when customers pointed it out to them. The company investigated the claim and found that between December 2012 and March 2013, about 63,000 customers were reported to credit information companies as having been late with their payments, even though they hadn't been. The reason for the mistake was fairly complex, and common enough for such a reporting system. All of the affected customers, including the woman profiled by the Asahi, had purchased their terminal devices — meaning their cell phones — through a revolving credit plan. Moreover, they accumulated points over time that could be redeemed as credit through the revolving payment system.
Softbank reported all this information to the relevant CI collecting company, but because of a computer programming redesign that took place late last year the settings that translated points into credit did not work correctly, so people who had paid for their cell phones through points were incorrectly flagged as being delinquent as far back as 2009.
When a financial institution screens someone to determine if the person is credit-worthy, they use CI from various sources: the Credit Information Center (CIC), which mostly works with credit card companies and revolving payment plans; the Japan Credit Information Reference Center Corporation (JICC), whose members are consumer loan outfits; and the Japanese Bankers Association, which collects information related to bank loans. When someone applies for a credit card or a loan the institution requests credit history information from the relevant organization. All lenders and retailers who offer revolving payment plans are obliged by law to report credit histories of customers to one of these CI organizations.
CI includes personal data, such as name, address, birthdate and nature of the transaction; as well as "payment information," including payment trends and the balance of the account. As long as the customer pays on time, no information is recorded, but when the customer misses a payment the CI collecting company receives a notice of there being an "unpaid situation." If that situation continues for 3 months straight, the payment situation is reported as being "irregular," which means the customer is placed on a blacklist.
Being on a blacklist does not necessarily mean that the person will lose his or her credit card or be denied a loan. The financial institutions who request this information for screening purposes can interpret it however they want, but generally if an irregularity is persistent the person's credit history will be tarnished. Information about irregularities stay in the customer's credit history for five years, even if the loan or credit bill has been paid off. However, if the irregularity is the result of a mistake on the part of either the company reporting the credit information or the company collecting it, then it is immediately removed from the record.
The problem is that often such mistakes don't come to light, and while credit reporting companies and lending institutions or credit card companies are not obligated to reveal reasons for rejections to applicants, the credit collection companies are. For instance, if you have a question about your credit card history you can call CIC and, for a fee (¥500-¥1,000), they will give it to you. It's the same for the other two organizations, depending on where you have borrowed money. An expert in the Asahi article recommends that anyone planning to take out a large loan check beforehand with CI collecting organizations to find out whether or not there may be problems.
The Asahi also reports that an increasing number of young people are showing up on blacklists due to their phone bills. CI, it should be noted, has nothing to do with paying utility bills, a matter that is strictly between the utility and the customer. In the case of cell phones, CI is only reported on people who have bought their phones through revolving payment systems, which are usually attached to phone bills.
The problem here is that many young people forget that they are paying back money loaned to them for their phones. They think that they are paying their phone bill, so if they're late with a payment they simply have to pay a small penalty. They don't realize that their credit history is being damaged in the process. In many cases, in fact, it is their parents' credit history that's being damaged, since some parents cosign for their kids's cell phones. It gives them more reason to monitor their cell phone usage.


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This article or section contains information relating to gameplay taken from the World of Warcraft Trading Card Game.
Loot cards are special rare versions of WoW TCG cards found in booster packs, starter decks, and raid decks that have a revealable unique code. Once this protective layer concealing the code is scratched away, a 25 digit promotion code is revealed that can be entered into the Blizzard official promotions page. These codes work for both US and EU servers.
I have the 25 digit loot code, now what?Edit
All accounts from every region in the world use http://www.worldofwarcraft.com/misc/promotion.html to redeem any and all special loot. This webpage allows you to enter the 25 digit promotion code and also select the region and realm for the character that will receive the loot item.
Upon succcessfuly submitting the above information, you will be presented with an in-game code. Write this code down print it out or simply copy and paste it into the game; you will need it to retrieve your item. Log into the game with the character that is to receive the item and travel to Booty Bay in Stranglethorn Vale. There, you will need to find a goblin by the name of Landro Longshot. He is located on the lower parts of Booty Bay on the docks, and should be easily recognised due to the fact that he has a distinctive purple shirt and two body guards wearing Tabards of Flame next to him.
When you find Landro Longshot, he will first ask if you are here for a promotion, and then ask you which TCG expansion your item comes from (or Points Redemption); check your loot card if you are not sure which item that is. Ensure you have got bag space to hold the item!


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Marius Petipa created Raymonda when he was in his eightieth year, and it was one of his late grand ballets. Its simple story, based on a medieval chivalrous legend, brought together everything that was the best of the best that Petipa had done in the course of his long career as a choreographer in Russia. Here there is a ballet and detective plot including dreams, kidnappings and joyous releases, a complex and varied ballerina role and a conflict between the male roles – the refined and classical Jean de Brienne and the passionate and pointedly typical oriental Abderakhman, the vast number of characters, meaning a similar number of dancers engaged in the ballet, the colourful character dances and, arguably, Petipa's main pride and glory – the fully-developed dance scenes of classical ensembles.
The composer, on the other hand, began his ballet career with Raymonda. The production was staged when Alexander Glazunov was in his thirty-third year. In this work the composer, new to the ballet genre, so ardently used his experience as a symphonist and maestro of vivid and colourful orchestral music that his subsequent dance works (The Trial of Damis and The Seasons) never cast a shadow over the glory of Raymonda, and it is this ballet that remains in history as perhaps Glazunov's most famous work.
Its conflict is based on the contrast of two different worlds: the serene and knightly noble idyll of Raymonda's medieval castle meets the Barbarian world of ungovernable passions embodied by Abderakhman and his suite. The choreographer resolved the musical contrast by juxtaposing the expressive nature of Abderakhman's gestures, the temperamental character dances of his suite and the classical dance of Raymonda's world. The role of Raymonda is one of the most demanding in the classical ballet repertoire. In this masterpiece by Marius Petipa, the ballerina performs five variations as well as incredibly beautiful adagios, the Pas d'action and the Grand pas. Alexander Glazunov did not stint in the musical richness of the female protagonist, accentuating each of her variations with different emotional colours. Choreographically, too, she reveals new sides to her character in the solo variations. In Act I Raymonda is light-heartedly youthful, in the scene The Dream her variation is songfully dreamy, in Act II she is ceremonially triumphant, and in Act III she alone is coquettish and different, performed to piano solo, meditative. Together this all creates the image of a heroine who embodies the many facets of womanhood. That's on the one hand. And, on the other, it is a role that showcases a virtuoso ballerina fully armed with universal technique and grace, beauty of line and absolute skill, a ballerina the likes of whom Marius Petipa sought throughout his creative career and an anthem for whom was to be his "swan song", Raymonda.
Olga Makarova
Set and costume design: Simon Virsaladze World premiere: 7 January 1898, Mariinsky Theatre Premiere of Konstantin Sergeyev`s version: 30 April 1948, Kirov Theatre, Leningrad
Raymonda is a ballet, originally staged in 3 Acts-4 Scenes with Apotheosis, choreographed by Marius Petipa to the music of Alexander Glazunov (his 57th opus). First presented by the Imperial Ballet at the Imperial Mariinsky Theatre on January 7/19 , 1898 (Julian/Gregorian calendar dates) in St. Petersburg, Russia. The ballet is famous for its Grand Pas Classique known as the Grand Pas Classique Hongrois or Raymonda Pas de Dix from the third Act, which is often extracted from the full-length work to be performed independently.
The full-length Raymonda has been revived many times throughout its performance history, the most noted productions being staged by Mikhail Fokine for the Ballet Russe (1909); Anna Pavlova for her touring company (1914); George Balanchine and Alexandra Danilova for the Ballet Russe de Monte Carlo (1946); Konstantin Sergeyev for the Kirov Ballet (1948); Rudolf Nureyev for American Ballet Theatre (1975), and for the Paris Opera Ballet (1983); Yuri Grigorovich for the Bolshoi Ballet (1984); Anna-Marie Holmes (in a 2-act redaction) for the Finnish National Ballet (2004), a version which was then staged for American Ballet Theatre (2004) and the Dutch National Ballet (2005).
Act I
Scene I Everybody is awaiting Raymonda as is Jean, who wants to present her with a silk shawl as a farewell gift. Raymonda's first solo immediately shows her as an exquisite young woman whose path is strewn with flowers. When Jean puts the shawl around her shoulders she seems to sense the symbolic power of this gift of love. Yet she also painfully senses that Jean's feelings for her have no real depth, that he will leave her easily for his world of knightly fights, tournaments and crusades. The guests try to cheer Raymonda up with a grand valse and can even persuade her to dance a solo by which she tries to overcome her melancholy mood.
Quite unexpectedly a new guest bursts in on the court: the Saracen prince Abderakhman. He tries to overwhelm Raymonda with presents which she refuses. However, at long last – deeply fascinated by the sensual power of the prince, - she accepts the gesture when Abderakhman presents her with a spray of jasmine.
The festivities are ending, but Raymonda is hypnotized, bewildered by the sudden intrusion of an erotic elemental force upon her seemingly secure happiness with Jean. Clйmence, Henriette and the two troubadours try to cheer her up. And in a dance with Jean's shawl Raymonda tries to reassure herself of her love for him.
She takes leave of her friends and falls asleep. Entranced by the sweet scent of the jasmine that seems to embody an erotic oriental world, her shoulders wrapped in Jean's shawl, the symbol of the perfect elegance of the court, she begins to dream.
Scene II The White Lady leads Raymonda into an unknown world, beyond all material reality. Raymonda falls under the spell of the dance of a group of fairytale girls that finally leads her to a magic reunion with Jean in an adage. At the climax of the dream which follows the formal structure of classical ballet with the adage followed by variations for Clйmence, Henriette, the White Lady and Raymonda herself, as well as a coda where Jean can demonstrate his virile strength – Raymonda suddenly sees the Saracen prince Abderakhman in the place of Jean and is overwhelmed by his fascination, his seductive power and blunt erotic attack. Only the intervention of the White Lady averts the extreme. Raymonda awakens in deep confusion, with the shawl and the jasmine spray in her hands.
Act II
Scene I The court society assembles for a festivity called "La Cour d'amour", a popular pastime of the aristocracy in the South of France, at which troubadours court elegant ladies according to strict rules of etiquette. Jean de Brienne, busy with preparations for the crusade, is delayed and instead, Abderakhman appears. Raymonda is dismayed and delighted at the same time. They dance together and he observes the exquisite rules of the courtly festivity with perfect politeness. His entourage entertains the society with exotic dances ending in a bacchanale. At its climax, in a fury of passionate love, Abderakhman commands the abduction of Raymonda.
At this moment Jean de Brienne and King Andreas II appear. The king urges the two men to decide their rivalry, as befits knightly rules, in a duel. This seems to end in a draw until the White Lady appears and gives Jean the strength to inflict a deadly wound on Abkerakhman. The Saracen dies at Raymonda's feet. She is deeply distressed and can only see Jean as Abderakhman's murderer.
Jean senses Raymonda's predicament, her repulse. Again he begins to court her and for the first time really endeavours to win her love. He succeeds in winning back her confidence.
Scene II The wedding ceremony confirms the love between Raymonda and Jean de Brienne. In honour of the Hungarian King Andreas II the courtiers are dressed in Hungarian style, dance the czardas and finally the grand pas classique hongrois. It begins with a great adage for nine couples led by Raymonda and Jean. This is followed by variations for four men (Bйranger, Bernard and two other troubadours), for two ladies (Clйmence and Henriette), for Jean and finally for Raymonda. Her solo expresses her strength of character and secret melancholy of conquered pain. The coda leads to an apotheosis and the blessing by the White Lady.
Provided by Wikipedia - Raymonda


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Reading time: < 1 minute I'M BACK!!
It's been over a year since doing anything creative and expressive, such as writing, blogging, vlogging, and I realize now, it's nearly killed me…
Reading time: < 1 minute I'M BACK!!
It's been over a year since doing anything creative and expressive, such as writing, blogging, vlogging, and I realize now, it's nearly killed me…
Tonight, Nick and I are celebrating our Birthdays together for the first time in a long time. His birthday is the 29th; mine on the 20th.
We are having an informal gathering at the infamous Trailer Park in Chelsea. As part of the birthday celebration, and in conjunction with our lovely embrace of social networking and technology, we will be posting tweets, 12seconds, etc with the "hashtag" #hbtn (for happy birthday troy nick) Below is the live feed from tonight's events, if you feel like joining us in spirit, remotely! If you want your tweet to show up in this thread, just include #hbtn and it will feed directly here, LIVE!
More to come…
Reading time: 3 – 4 minutes
I've been looking for a way to begin my 2010 entries, and I can't think of a better way than to launch with this incredible, unseen footage of Flight 1549 that landed in our Hudson River last year. I remember how inspiring, and touched all of us were when this happened, especially in conjunction with Obama taking office. Everything at the beginning of last year just reeked of hope and anticipation and inspiration. All of that energy took me by surprise last year because, well, who could have anticipated the survival of every person aboard a crash-landing in an icy river off the banks of New York City, and although I was supportive of Obama by default, I was never one of his fanboys. But I had to admit to the impact of such excitement over the possibilities for America, the psychological possibilities for our evolution, and then this beautiful landing of 1549… it just sparked a great sense that things were just… "right."
And then the nasty Right-Wing, Republican, Christian, Nasty Nutjobber Whackadoodles came out of the woodwork and spent the entire year doing everything they could to destroy all possibility and inspiration for anyone and everyone not in alignment with their vile sliver of ideals. Like a lanced wound leaking of pus from ages of neglect, they came forth from the festering Bush years and only from this slightest pin-prick injection of hope and inspiration that so many felt for all of us for the first time in a long time.
I know there are all kinds of things we could pick as the challenge against inspiration in 2009, and that there were also many personal events that happened over 2009 that contributed to our losing our footing with our inspiration, but I'm using the Nutjobs as the symbolic representation for all of that, because that's what I found to be the biggest pain in the ass for the U.S., at least. You can pick whatever you want. But the point is… that's how change happens. That's how inspiration works. That's exactly the path any true transformation takes once we've found our footing… SOMETHING comes along and challenges it.
It's bound to happen because now we have a glaring contrast between the old and new. It's not that it wasn't there the whole time. It's just… now it's surfaced in a way that can't be ignored.
So I think this footage below is one of the more important symbolic visuals for starting off 2010. It's a reminder that our inspiration is still intact; that we can resurrect it, rescue it, pull it up and out of the icy depths of 2009 and give new life to it. Even if it means disassembling it and spreading it out.
I have more to say about the possibilities of 2010 for myself, and for all of us, but I'll save that for another entry. For now, mesmerize yourself with the film below, and let it stand as a symbolic meditation on bringing your own inspiration back to the surface, back to solid ground, and at least give it the nurturing it might need to do what it can do.
Happy 2010, everyone… I'm back.
Reading time: 1 – 2 minutes
Hey gang!
This week I worked really hard to rise above my experience of frustration, pain, and sadness involving friends I feel were being… well, less than friends. I got to a point where I almost quit, gave up, and walked away from all of it, but there was a moment when I realized I had a choice. So I experimented… and chose Love over Fear (protection), and I'm happy I did.
Reading time: < 1 minute I almost forgot to post this to my blog! I will be posting a new one every week! Woo Hoo!


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MHPM's Infographic CSR (Corporate Sustainability Report)
MHPM Project Managers has taken a different approach with the release their first CSR (Corporate Sustainability Report). Instead of the normal text report that other companies release, MHPM created an infographic poster with all of their sustainability information. It serves as a great example to their clients of how even CSR data can be designed in an engaging way.
MHPM Project Leaders passed a milestone towards integrating sustainable practices into its business operations today, with the release of its first annual corporate sustainability report.
MHPM's corporate sustainability report evaluates MHPM's impact on the environment and the community, its transportation practices and workplace policies. The findings reveal areas for improvement and provide a benchmark against which to measure future performance.
Designed by InfoNewt, this poster was printed at 24" x 36" by MHPM and is also available online on the Corporate Sustainability Report section of their website. The front side of the post visualizes all of the data, and puts most of it into context by comparing to prior year results. The back side of the design includes all of the required text, which keeps the front side less cluttered and easy to read. The entire design is inspired by the Global Reporting Initiative's guidelines.
This is a fantastic use of infographic design principles! The full size, high-resolution poster is available as a PDF download from the CSR page.


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Legato shares his Oscar nomination for Hugo, his third Oscar nomination, with special effects supervisor Joss Williams, visual-effects supervisor Ben Grossman at Pixomondo, and Alex Henning, digital effects supervisor at Pixomondo. Directed by Martin Scorsese, Hugo, which is based on the award-winning children's book The Invention of Hugo Cabret by Brian Selznick, tells the story of an orphaned son of a clockmaker, who lives in a secret part of a 1930s Paris train station and winds his way into the heart of Georges Mà©lià¨s. Watch Pixomondo's VFX reel, below, then read our Q&A.
Rob Legato: There's something about the subject matter and what it celebrates that is special and unique to people who work in the business for sure. I don't think anyone can help but appreciate the art of the magic, literally the magic of movies by the first visual-effects supervisor, the magician who created the vocabulary we use today to transport us into another land, another day.
But we also like to think that on this movie we took visual effects and turned it into the art of it to transport people back in time in an evocative way. The art of the images is something people strive for. Everyone has the same tools and we can all do the same explosions, but we can also use the tools to create a tone and beauty and art. And I think there was an appreciation for that. At least, I hope there was.
It sounds like working on Hugo was a unique experience.
It was a joy to do. I think Marty [Scorsese] showed so well the joy that Georges Mà©lià¨s had directing his movies. That's infectious and it infected the crew. It was a long film to work on. To keep your momentum requires inspiration and I think that happened.
Do you have a favorite shot?
The opening shot was the first one we designed and the last one we completed and it is probably the best reviewed shot I've ever done. Somehow that shot resonated. There's something about being transported into this landscape all in one piece that sets the tone for this movie. It had a lot of what I was trying to achieve in it. I didn't calculate the impact of it; it was just the best way to tell the story and melt you into the world, and sometimes you make magic.
Was that opening shot the most difficult?
That shot set the benchmark for the most difficult challenge. It's easy to put something "back there." It's difficult to create the largesse of the set right, everything past the actor's head. We were dealing with the greatest collaborators, Dante Ferretti [production designer, ten Oscar nominations, two Oscars], Francesca Lo Schiavo [set decorator, eight Oscar nominations, two Oscars], and others. Every department was heavily steeped in the art and craft on the highest order, and our work had to fit into that. The lighting and staging that Marty would do, the sets Dante would do, the art direction and set dressing Francesca would do. We were asked to rise up and do, invisibly, what they do in the movie with an impossible shot that we could only get [with visual effects].
What was the most challenging artistically?
Half the movie is a visual effect. And, it all had to feel like it came from one artistic source. I am so impressed with the caliber of people we were graced to be working with and the hardest thing was to not let them down. Everything had to be up to their caliber. Even though they might not have much to do with what we were doing, what we did would appear like they did it. If we made something invisible and mediocre, it would make Bob Richardson's [cinematographer, seven Oscar nominations, two Oscars] photography look not as good because half of it was lit by someone else. All the way down the line, even to the extras' costumes. We rejected things that on another film we might think were great. We had to make a statement, and the statement was how beautiful the film is.
How did you achieve that?
The answer is like answering "How do you compose music?" At some point the artistry transcends the mechanical ability to put notes on paper. It's harder to talk about than do. I guess to some degree, it's a mystery.
You achieve it the way they achieve it, by getting into the art of it. It's every choice you make. It's where Bob decides, based on his years of experience, where to put a lamp. Putting it in one spot rather than another is the art form. Where, what it's aimed at, the exposure, how it blends. When Dante designs, he builds on his years of experience. A lot of people can direct a scene, but few can direct like Marty. Marty sets the tone. We had many conversations with him and he made judgment calls, but even if he didn't say another word, if you sandwiched in a shot that didn't fit the tone, you'd know it was incorrect. And, you don't live with that.
The first thing is to set the bar: It's not OK to just fill in the frame. Then you search for people who understand what you're going for. When you're dealing with hundreds of people, you cast them. Some of the best artists might deliver mediocre products on one shot, but on another, they shine. So you remember the artist who did that shot.
In our case, the visual effects are not a gag you can apply on top. The skill is in rejecting pieces not up to caliber. It's the thousand decisions that go into it. Is it framed correctly? Is it on screen long enough or too long? How many lamps to light it? What is the exposure, the coloration? It's a sum total of all those things. Once you set the tone – what we'll accept and what we won't – everyone steps up to the plate. The artists appreciated the artfulness of it. The best artists were self-motivated to match the rest of the movie.
Who did you work with on the film?
I had worked with Ben Grossman on Shutter Island and "The Key to Reserva" and I knew he was good. He had never worked at Pixomondo, but I saw them do procedural animation perfectly, and we had to do steam trains. There was something about the way they did it – I knew we could get there with them. I knew they could do something beautiful. I asked Craig Barron [Matte World Digital] to do a few shots and help me talk to the matte artists at Pixomondo to help communicate possibilities, assist with the subtleties, help them understand when something didn't work for me. We had Uncharted Territory do some work. And we got some last minute help from ILM and John Knoll. But 90 percent of the work was by Pixomondo.
Who did the previs for the show?
I like to do previs myself because I can. I'll design sequences from Marty's notes, my notes, talks with Dante and Bob, then go off and do it. It's not something I like to give to anyone else because my focus is not the effects but the shot. We can figure out later how to break things apart, but we have to think of it artistically first. I think that order gives you the greatest result. Start with the art. Then break it down, making sure all the ingredients are high quality, with attention to lighting every step of the way.
How do you do the previs?
I set up a thing similar to what I used for Avatar, scaled down, because the only way I can create things is with the orientation of a camera person. I think it's easier to have free access to a movie camera in real time to find the shot and then sit in judgment. Edit, put it together, look at the tone, shoot another. That's part and parcel of what we're talking about. To not just see the shot, but set the composition and evoke the mood.
What equipment do you use? What does your studio look like?
I basically have a mini crane arm. I hand operate the crane, but it has a fluid head like what you'd have on stage. As soon as I pan and tilt, I see it live. It goes through [Autodesk] MotionBuilder, which talks to the fluid head and crane, so I have real-time feedback, just like with a mouse. I have the [digital] background, the [digital] actors, a 360-degree view of the world. I pick and choose lenses verbally, then I look at the monitor. As soon as I like a take, I play it live and record the camera. Then I send QuickTime movies to the Avid and cut them into the sequence. I show that to Marty [Scorsese]. For a couple scenes we picked an image from the book that was evocative, and created a setup using that. For the dream sequence, we found shots of the steam engine and put it in exactly as it was in the book.
Did you previs in stereo 3D?
Yeah, I did, and that was part of the reason the stereo worked as well as it did. The opening shot was the first I did in 3D and once we saw it in 3D we changed things, made it more evocative. We considered 3D for every setup, viewed and altered it for every setup. Once we could see it, we'd add foreground, dust, change how we lit the shot, stage the actors to take advantage of the art form of depth. This film was totally designed as a 3D movie, never as a 2D movie with 3D to be added later. It was photographed in 3D, all the takes were judged in 3D, all the previs was in 3D, and it was cut in 3D. We looked at how depth enhanced the telling of the story. The sum total of all those things created a feeling that's different from post conversion.
Did you use practical as well as digital effects?
As many as we could. The physical effects helped enormously. I always like to shoot whatever I can live because my belief system is that creativity is analog driven. You can take a camera and walk around until your senses tell you you're in the right place. And if something is live and in camera, you have that ability to know this take is right. It's somehow easier to do it in realtime and judge it that way.
Everything was an homage to persistence of vision, to [Georges Mà©lià¨s'] original vision. When you watch him in his flashback scenes recreate these indelible images – we got moved by it. The gears were beautifully filmed on a set that was safe, and then we took that idea of how they move and operate. For the train crash, we had a green car to help feel the mass. We used a stop-motion mouse. We made it look and feel like a vintage mouse Mà©lià¨s would have created in the first place. We created Mà©lià¨s' glass house. It does something to you that's hard to define.
Do you think this film points to a trend in visual effects?
Visual effects are so sophisticated now. At the bake-off, you could see that what was a miracle 10 years ago is commonplace now. It's common to have computer sets fill in backgrounds. So, now we're at the point where it isn't whether it's believable, it's how well it's done. How artistic. It isn't enough to put something good in there. It has to be great.
One of the things we did is show that 3D can be embraced and used like any other piece of cinema. It's like lighting, acting, staging, music – another tool to tell the story, not a gag or a gimmick. And neither is visual effects. It's how you tell the story in an artistic way, not a technical way.
The industry has grown up. It's akin to the beginning of movies, when the gag of a train crashing through a station was enough. Then, that wasn't enough. People started using movies to tell stories. And then, interesting stories. Sound came in, and then not just sound. Scriptwriting became an art form. Color was garish and loud at first. Then art direction came in and set mood and tone. Now we're in the visual effects age. CG could do anything, but not well at first. Now, it's starting to do things well. And that's because of the caliber of the people. It's the artists of visual effects, not the art.
I think people get tired of a steady diet of superheroes, however much fun. There is a sense of pride in creating something simple and beautiful, creating a nice photograph framed properly, creating a beautiful tone in the lighting, rather than 50,000 elements. The great thing about this film is that the visual-effects artists loved working on it. They got to participate in the art of something.
Crafts: VFX/Animation
Sections: Creativity Technology
Topics: Feature
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Thursday, 1st November 2018
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Thank you for visiting O Me Of Little Faith. This blog is no longer being updated. Please enjoy the archives. Here are some other blogs you may also enjoy:
Recent prayer post on Prayables
Most Recent Inspiration blog post
Happy Reading!
You said you had a big announcement coming today. What is it?
The announcement is this: Right now you are reading the final post on this blog. Ever.
So you're shutting this blog down?
Well, I'm going to stop writing any new posts for it. But the blog will still be here. There's no deletion or anything. If, at some date in the future, you want to know some stuff about Harold Camping or what I think about the "Farewell, Rob Bell" carnival and/or Love Wins or why one of the most controversial things I did was when I blogged about taking back a snap judgment, you will always be able to find those posts. As long as Beliefnet stays around, I guess.
Well, that's good news. Because I like to start each day by reading your "Family Portraits with Jesus" post.
That's weird.
So are those photos.
You might also want to browse through the archived Conversions series and "Voices of Doubt" posts. People seemed to like those.
Why are you shutting down the blog?
Three reasons. The first is that I started this blog — in fact, I joined up here at Bnet — around the time O Me of Little Faith released. I wanted to support the release of the book by blogging about it. So I did. That was last May, and it's been a year. No one wants to spend his or her entire life writing about doubt, so it seemed a good time to bring this season to a close.
What's the second reason?
Being a religious blogger is tiresome. I love religion and theology and all those things, but it's such a divisive topic. Regardless of what you say, people start yelling.
You don't like when people yell?
I don't mind the yelling in general — bloggers need to develop a thick skin for that kind of stuff — but there comes a point when I've begun to wonder if it's doing any good. A friend of mine on Facebook compared religious chatter with a dog she used to know who barked non-stop at the wind. THE WIND. Sometimes religious blogging feels like a big pile of barking at the wind. All light and no heat. (To mix metaphors extravagantly.)
At any rate, I'm not just closing the door on doubt-blogging but blogging about religion in general. It's probably not permanent, but I need a break from it. I'll keep doing some stuff at FaithVillage and will likely contribute to On Faith on an infrequent basis, but not so much here at Beliefnet.
And…now you can commence with the weeping?
No one's weeping. You said there were three reasons. You've only listed two.
Oh. The third reason is that I'm starting a new blog.
Your personal blog at jasonboyett.com? That's not news.
No, not that one. It'll stay around, though. Actually, I'm starting a new blog about an entirely new subject.
Cats? Ferrets? Michael Bublé being stalked by a velociraptor?
No. It's about fatherhood.
Gasp. A daddy blog?
Well, it's about being a dad and a writer. My kids are almost too old to call me "daddy." Instead, they call me "Captain."
I've never read a Captain blog before. Is that a Star Trek reference?
I'm just kidding about the Captain thing. The new blog is called Dadequate: Ordinary Adventures of a Write-Brained Dad.
What's it about?
Me. Being a dad. Thoughts on dad stuff. Things I try to do. Miscellaneous daddage. And maybe some writing-related stuff, based on the subtitle.
Why the fatherhood topic?
Because blogs are only good when you're passionate about the subject. And you know what I'm passionate about at this stage in my life? It's being a good dad.
And ferrets. Don't forget ferrets.
True, but ferret blogs are a dime a dozen. Also, there are bajillions of mommy blogs in the world but a much smaller number of fatherhood blogs. Beliefnet and I thought it would be a good fit.
Ugh. You're staying at Beliefnet? Everyone hates those ads, remember?
Yes, but the new leadership at Bnet are good people and they are working hard to make it a better destination online, including making the ads less intrusive. I am cautiously optimistic.
When does the new blog start?
Today. Here's Dadequate.
Do you have any closing thoughts?
Just that I'm very grateful for so many readers who created a fun, fulfilling community here at OMOLF. I loved getting to know you and sharing your stories. The thing I'm proudest of is having created a safe place for people (including believers and non-theists alike) to ask hard questions, explore the topic of faith and religion, and be encouraged. I'll miss that.
But I hope you'll follow me to the new blog, even if you're not a dad. If you do, you'll probably get to know me a bit better.
Will the new blog have self-interviews?
Of course. Why would it not?
Watch it, buddy. I'm the one asking questions here.
Fine. See you at Dadequate.
On Monday, author Adam McHugh delivered a guest post about the "snarling 8-headed monster" of the writing process. Today I return the favor — sort of — via an interview at his blog, Introverted Church. We talk about how my introverted personality has impacted my faith and doubt, and how the extroverted nature of the evangelical church can be a challenge for people like me.
From the interview:
How do you think that introverts might process doubt differently from those who are more extroverted?
I think this goes back to your descriptions of introverts as possessing a thoughtful temperament and a slower, deeper interior life….Most of my doubt is intellectual–not the relational doubts of "Can I trust God?" or the experiential doubts of "Where was God when…?" but the even bigger questions of logic, anthropology, literary influences and science. That's an analytical kind of doubt, and once it takes up residence in your brain, it's tough to shake. I think extroverts may process doubt more on a relational level — "I don't feel close to God" — and those are feelings that can resolve and seasons you can grow out of. You get better over time. But when you process God on an analytical level, feelings have nothing to do with it. You don't grow out of or away from knowledge. Once you know something you can't just ignore it or let it go, and so many of these intellectual doubts then become a constant challenge to your faith. And, being an introvert, you're not always likely to want to talk through them, so it becomes a private burden, a daily argument in your intellect. It can lead to an even deeper level of isolation from the rest of the church.
And thanks, Adam, for turning the spotlight toward us introverts.
When the rapture didn't occur as predicted on May 21, 2011, Harold Camping had a few options. Here is how he could have responded to the failed prediction, in descending levels of crazy:
1. He could announce that he was wrong. This is the most reasonable option and was therefore unexpected. I would have been shocked had this happened. Failed prophets rarely do this.
2. He could announce that God, in his great mercy, had intended to bring judgment on May 21 but decided against it as a result of the faithful efforts of Camping and his followers. This is the so-called Jonah scenario — based on God's plan to destroy Ninevah but then backing down once Jonah gave warning. Disclosure: this is what I expected Camping to announce.
3. He could inform us that he got the math wrong, recalculate, and come out with a new date. Camping has done this before, when the rapture didn't happen according to his first timetable, having predicted it for September of 1994. That was an option then, but let's face it: It's hard to get away with this too many times, as Edgar Whisenant found out in the late 80s and early 90s.
4. He could announce that his prediction was right, regardless of how it appeared. That's right: it DID happen, we just didn't see it. The predicted judgment day happened right on schedule, only it was invisible or spiritual. This is by far the weirdest option, taking a page out of the old Charles Taze Russell rapture playbook. (Russell gets credit for first coming up with the yes-in-fact-it-did-happen-only-it-was-invisible scheme back in 1874. This strategy went on to be appropriated a number of times by the Jehovah's Witnesses for their failure doomsday predictions.) It's insane but very very convenient, and this is exactly what Harold Camping did.
Last night, in an address on his Open Forum program on the Family Radio Network, Camping spoke about how he felt when the May 21 scenario seemed not to have occurred:
"I can tell you very candidly that when May 21 came and went it was a very difficult time for me, a very difficult time," said Mr. Camping, 89, a former civil engineer. "I was truly wondering what is going on. In my mind, I went back through all of the promises God has made, all of the proofs, all of the signs and everything was fitting perfectly, so what in the world happened? I really was praying and praying and praying, oh Lord, what happened?"
Thankfully, he figured out what happened. In the same program, Camping announced that May 21 hadn't been the expected visible judgment day but an invisible, "spiritual" one. God's judgment really did begin on May 21, he says, but on the down-low. Which means the end of the world will still occur on October 21, 2011 — only our "merciful and compassionate God" will spare us the chaos and tribulation of the next few months. So maybe there's a little of #2 in there after all.
"We had all our dates correct," Camping insists. And though it was spiritual this time around, the cataclysm won't be spiritual on October 21. "The world is going to be destroyed altogether, but it will be very quick."
"The world," he said, "has been warned."
"Yes, we have," the world answered back. "Multiple times, thanks to you."
Update: In honor of this weekend's invisible judgment day and October's end of the world, I'm having yet another last-days sale at jasonboyett.com — complete with an invisible book! Details here.


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Any situation is the right situation to record whatever you hear. And sometimes what you don't.
We all have an emotional response to sound effects. Take footsteps. Are they fast and sharp, like a woman in heels on a hard surface getting away from something? Does your heart beat faster? Or ocean waves crashing on the rocks. Calming?
Good effects evoke emotions.
An example is my recording in Chicago of a busy shopping area in December. What one thing defines the season more than anything? The charity bell ringer on almost every corner. Makes you think of the warmth of a roaring fire and holidays with family. But what if you need everything in your ambience except the bells? For after the holidays? What to do?
I often record with a Soundfield microphone. Soundfield mics record 360 degrees on 4 channels which can be decoded into almost format – mono, stereo, 5.1 and so on. And is steerable. So in making a stereo version on the recording, I steered away from the bells to make a more "generic" track. New software allows for even greater directional control.
Using the many tools available to record and prep thick, dense, interesting backgrounds makes for sound effects that producers, sound designers and editors want to hear and want to use.


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As you probably know, you can define $2$-tuples $(x_1,x_2)$ as $\{\{x_1\},\{x_1,x_2\}\}$; then you can define $n$-tuples $(x_1,x_2\ldots,x_{n})$ as $((x_1,x_2\ldots,x_{n-1}),x_n)$.
In alternative, you can define ordered pairs $\langle x_1,x_2\rangle$ as $\{\{x_1\},\{x_1,x_2\}\}$ (please notice the use of "ordered pairs" instead of "$2$-tuples" and the use of angular brackets instead of round ones); then you can see $n$-tuples as finite sequences, that is functions whose domain is the set of natural numbers from $1$ to $n$ and whose codomain is the set $\{x_1,\ldots,x_n\}$. So $n$-tuples are sets such as $\{\langle 1,x_1\rangle,\ldots\langle n,x_n\rangle\}$; $0$-tuples are defined to be the empty set.
The first definition is not so rigorous (see the use of dots) and works only for $n\geq 2$. The second definition is rigorous and works for every $n$, but then you end up having ordered pairs and $2$-tuples being different objects; this also implies that you have two kind of cartesian products, two kind of binary relations, two kind of functions and so on.
Is there a way to avoid such problems? Is there another better definition for $n$-tuples?


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The aim of the course is to teach competent Stata users the techniques that allow you to get the most out of Stata and speed up the output of your work.
As well as being a powerful tool for statistical analysis, Stata offers a variety of commands for manipulating your data and for formatting, arranging and exporting your results.
The course is aimed at researchers and other professionals, from any discipline, who regularly use Stata for analysis but want to learn how to work more efficiently. It would be particularly suited to those who are about to embark on large analyses and who would like a quick guide on how to automate the repetitive parts of the process.
The course is taught by research staff from the Population Studies Group, who regularly use Stata for large-scale analyses using multiple data sources. The examples used in the course are drawn from the background of the tutors and are, therefore, from the population and health sciences. However, none require any specialist knowledge of the field.
Much of the material in the course has been developed with students and staff from the UK and overseas. Most teaching is hands-on, using Stata to tackle a series of exercises designed to illustrate the use of particular commands in order to solve a variety of problems. These exercises are supplemented by short lectures and a very comprehensive set of notes. There is a strong emphasis throughout on providing information that can be built on to tackle new problems and to be applied in different situations.
We use Stata 14 in a Windows environment; users of other operating systems should note that, although almost everything is the same, there are some differences between operating systems and these are not covered in the course.
Who should attend?
The course is designed for people who want to be more efficient in their use of Stata. Those who are already experienced in using Stata for data analysis will benefit most from the course. As a minimum, you should be able to use Stata for an analysis of some sort (linear regression, for example) generate, recode and label variables, and be comfortable writing comprehensive do files. If you are already familiar with the merge, collapse, reshape and append commands, have used foreach or forvalues loops and can understand a simple Stata program, then this course may be too basic for you. If, on the other hand, none of that sounds familiar, then this could be exactly what you need! If you have any doubt about whether the course would be suitable for you, please do get in touch with the organisers who will be able to advise you further. Applicants should have a good command of English.Course objectives
Course Content
The course can be divided broadly into three sections:
- Data handling and manipulation
Stata has some powerful but simple commands for managing and manipulating data. We cover the commands needed to combine data from different datasets (appending and merging) and to rearrange data from wide format to long format. We will also cover searching for duplicate records, and managing these, reordering the variables in the dataset, generating summary variables and summary datasets.
- Accessing and outputting results
One of the commonest complaints about Stata is the difficulty of producing well-formatted results output. The output on the screen typically contains more detail than is required, and the formatting is often sub-standard. Cutting and pasting is tedious when there are many results to present and inefficient when analyses have to be repeated.
- It is possible to automatically output well formatted, concise and relevant results from Stata. You can set up do files which write the results you want to the screen, or external files, in the required format. These results files can then be automatically updated each time the analysis is repeated. There are several ways to do this using either additional user-written Stata commands or with some simple programming. This course introduces both approaches.
- Programming Stata
Data cleaning, data management and the initial stages of many analyses can be repetitive and time consuming. Many of these repetitive tasks can be automated in Stata, which not only speeds up the process but also reduces the chances of making an error. We cover the use of basic programming techniques to assist you in quickly and efficiently carrying out repetitive tasks.
Aims & objectives
By the end of the course you should be able to:
1. Generate variables that contain summaries of the data
2. Create a summary dataset using collapse
3. Navigate a dataset using _n, _N and subscripted variables
4. Rearrange a dataset using reshape
5. Combine multiple datasets using merge and append
6. Identify duplicate observations
7. Export data to a spreadsheet
8. Create tailor-made publication quality graphs
9. Understand what macros and scalars are
10. Be able to use foreach and forvalues loops
11. Understand and use if statements
12. Understand how Stata stores estimation results
13. Be able to access and use stored estimation results
14. Know how to export results using user-written commands: estout, outreg, tabout
15. Understand how Stata programs work
16. Be able to write and use a simple Stata program
17. Be able to write a do-file which exports results using file write
Methods of assessment
None. There will be an opportunity on the last afternoon for students to practice with their own datasets. A certificate of attendance will be provided on completion of the course.How to apply
Applying for this course
We are no longer accepting applications for this course.
The student is responsible for obtaining any visa or other permissions to attend the course, and is encouraged to start the application process as early as possible as obtaining a visa for the UK can sometimes take a long time. The Short Courses team, in the Registry, can provide supporting documentation if requested.
Accommodation and meals
A list of hotels and other accommodation located in the vicinity of the School can be supplied on request to the Registry. Lunch can be purchased from the School's Refectory in the Keppel Street building or the cafe on the Tavistock Place building. Evening meals are not catered for at the School, but there is a large choice of restaurants, cafes and shops nearby.
The London School of Hygiene & Tropical Medicine is committed to improving global health through its programme of short and full-time postgraduate study.
Please note:
- If you have been offered a place on the course you will not be able to register without bringing formal ID (Passport) and without having obtained the correct visa.
- It is essential that you read the current visa requirements for short course students.
- The School may cancel courses two weeks before the first day of the course if numbers prove insufficient. In those circumstances, course fees will be refunded.
- The School cannot accept responsibility for accommodation, travel and other losses incurred as a result of the course being cancelled.


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LONDON, March 2 (UPI) -- Scottish singer Susan Boyle is filming her big-screen debut, a Christmas period film set in an 1890s English village, the star said.
Boyle, who rose to fame after singing the "Les Miserables" song "I Dreamed A Dream" in 2009, stars along "Les Miserables" star Samantha Barks, the BBC reported. Former "Doctor Who" star Sylvester McCoy and Bafta-nominated actor John Hannah also appear in the film adaptation of U.S. author Max Lucado's novella.
The film, "The Christmas Candle" is about blessed candles that answer people's prayers, TMZ reported. It is being filmed on location.
"It's very cold. ... I'm wearing long johns under my bustle," Boyle said. "Everyone on set is a delight to work with and it's a fantastic experience to be part of the team."
Co-star Barks flew into Britain for filming immediately after an Oscar performance of the "Les Mis" song, "One Day More."
"I had an hour to unpack and repack and get to set," she said.
The film is set to be released at Christmastime.


text: Remote monitoring *VoCore* CPU use 16 April 2015 david Code So I really wrote my CPU monitoring webserver program to be able to monitor my Raspberry Pi, but hoped that the code should run on other Linux machines too. Indeed, I have also been testing it in a virtual box running Debian. The code is runnable from Xcode on my Mac, but unfortunately it's a simulation only for testing purposes, because /proc/stat does not exist on Mac OS. So, for the moment, it definitely won't work on the Mac. But I did think that it would work on OpenWrt, so decided to try it on my VoCore. In anticipation I had already put the necessary stuff in the makefile, so all I needed to do was go to a box with OpenWrt cross compilation set up and do this: make vocore. Then I copied the resulting binary executable to my VoCore and it worked straight away. I even made a recording of the initial run for posterity: Since all the resources (html and javascript files) are embedded in the executable it is really very simple to do, just copy and run a single file. The version compiled for the VoCore came out at 112 Kb in size. Hopefully that's not too bad. I could compress the resource files if space was really important, but I haven't felt the need to do that. It's pretty good to see this running on a machine about the size of a postage stamp. Obviously I could make it just show a single graph when it runs on a single core machine. Perhaps I'll do that when I get some time.


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PESHAWAR, Pakistan (AP) — Gunmen shot and killed a police officer Tuesday who was protecting a team of polio workers during a U.N.-backed vaccination campaign in northwestern Pakistan.
It was the latest of several attacks on Pakistani efforts to eradicate the deadly disease, found in only three countries in the world. Militant extremists view the vaccination campaigns as Western-backed plots to gain intelligence in sensitive areas and have frequently targeted the medical staff and those protecting polio teams.
No polio workers were wounded in Tuesday's attack in the Mardan district of Khyber Pakhtunkhwa province, said police officer Fazal Wahid. At least two attackers were hiding in a field near a narrow road as the polio workers walked by on their way to visit houses in the area, said Mardan Police Chief Inam Jan.
"The polio workers were going door-to-door and one police officer was protecting them when the gunmen suddenly attacked them near an open area and fled," Jan said, adding that the police were searching for the attackers but that so far no one had been arrested.
No one immediately claimed responsibility for the attack and it wasn't immediately known whether the police officer was targeted because he was protecting the polio team or for some other reason.
Janbaz Afridi, a senior health official, said the polio vaccination campaign continued in various parts of the province Tuesday despite the killing. "We have taken best possible steps for the safety of polio teams," he said.
In 2012, humanitarian workers, including those working to prevent the polio spread, were repeatedly targeted. According to UN figures, 19 humanitarian workers were killed last year in Pakistan. Of those deaths, 11 were related to polio, including a rash of shootings in December when nine polio workers were killed across Pakistan.
In an effort to protect people administering the vaccine, the government has increasingly sent police officers into the field along with the vaccinator. But they have come under attack as well.
On Jan. 29, gunmen riding on a motorcycle shot and killed a police officer protecting polio workers in the Swabi district in Khyber Pakhtunkhwa province.
Mazhar Nisar, a senior official working with the Prime Minister's polio monitoring cell, said at least 11 members of polio teams have been killed in various parts of Pakistan since December.
Some militant groups in Pakistan oppose the vaccination campaign, accusing health workers of acting as spies for the United States or the Pakistani government. They are also angered since it became known that a Pakistani doctor helped in the U.S. hunt for Osama bin Laden.
The physician, Shakil Afridi, ran a hepatitis vaccination campaign on behalf of the CIA to collect blood samples from bin Laden's family at a compound in northwestern city of Abbottabad, where U.S. commandos killed the al-Qaida leader in May 2011.
The samples were intended to help the U.S. match the family's DNA to verify bin Laden's presence there. In the recently released film about the search for bin Laden, "Zero Dark Thirty," a short scene shows a man going to vaccinate people at the compound where bin Laden was hiding.
The campaign however is portrayed in the movie as an anti-polio campaign, not anti-hepatitis.
The campaigns are made more complicated by the fact that many Pakistani residents are also suspicious of the repeated vaccination efforts going on across the country and fear the vaccines are intended to make Muslim children sterile.
Pakistan is one of the few remaining countries, along with Afghanistan and Nigeria, where polio is rampant. As many as 56 polio cases were reported in Pakistan during 2012, down from 190 in 2011. Most of the new cases in Pakistan were in the northwest, where the presence of militants makes it difficult to reach children for vaccination.
The virus usually infects children living in unsanitary conditions. It attacks the nerves and can kill or paralyze.
Associated Press writer Rebecca Santana in Islamabad contributed to this report.


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git: Error: Some Local Refs Could Not Be Updated; Try Running 'git remote prune origin' To Remove Any Old, Conflicting Branches
Lately I have been working on a Ruby project that has a bunch of different branches that various developers are working on. One of the development servers has multiple virtual hosts and at certain points in the code release cycle the various virtual hosts could be completely split from the main branch of Ruby code either because of a bug fix, a specific feature, or any number of other reasons. The other night I needed to bring one of the virtual hosts to a near production release to test some features of a product that uses the web application to record data and when I attempted to "git pull" I received an error which is described in detail below along with what I ended up doing to resolve the problem.


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Earlier today, Audi released official images and details on the new RS Q3, which will be displayed at the 2013 Geneva International Motor Show in early March. According to reports, to complete the sprint from 0 to 100 km/h (62mph) it takes about 5.5 seconds, and its top speed is electronically governed to 250 km/h (155mph).
To improve handling, Audi tweaked the suspension and lowered the ride height by 25mm (about an 1 inch), placed the battery in the luggage compartment (for better weight distribution), and added ventilated and perforated brake discs up front and larger discs at the back gripped by eight-piston calipers.
First deliveries in Europe will start this fall, with pricing in Germany to start from €54,600 or about $73,100 USD. For more information on the RS Q3 please visit CarScoop.


text: Special Medical Concerns (For Longwood Patients) Diabetic Patients Please do not take pills for diabetes at home on the day of surgery. If you take insulin injections, please follow the following directions, unless you have otherwise been directed by your medical doctor: If you normally take insulin before bedtime, please take 1/2 your regularly scheduled dose on the night before your surgery. On the morning of your day of surgery, please take 1/2 of your regularly scheduled morning dose of long-acting insulin. Do not take your regular insulin. Please report your dose when you check in at Longwood. If you are on an insulin pump, please contact your medical doctor for further instructions. You will be evaluated upon your arrival to the surgical center to determine how to best manage your diabetes on the day of surgery. If your surgery is scheduled in the afternoon, please contact the anesthesiologist at (617) 573-3380 unless instructed by your medical doctor. Respiratory Patients If you use any inhalers or breathing devices, please bring them with you on the day of surgery. Cardiac Patients If you have an implanted cardiac defi brillator or pace maker, you must inform your surgeon and the Anesthesiology Department. Please call (617) 573-3380 in advance of your surgery date. Please provide the secretary in the Anesthe siology Department with the name and telephone number of the clinic that checks your pacemaker/defibrillator. Also provide the information that is contained on your lCD or Pacemaker card. Please bring a copy of your implant device card with you on the day of surgery, unless you have completed your medical history in One Medical Passport. Contact Us Today! 617-523-7900


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With Rosh Hashana approaching many like to serve pomegrantes as a symbol of increasing good deeds as numerous as the pomegranate seeds.
How to deseed a pomegranate:
THANKS! Really appreciate this blog. I never knew how this is done easily, and I am happy to get this info. Will be deseeding the pomegranate for the holiday this year.
Thanx a ton!! I've tried so many different ways. Can't wait to try this one and finally do it right.