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Hello friends! Thank you for stopping by to read about some great sites and tools. Please be sure to read to the end to see how you can get access to THOUSANDS of FREE e-books that you can use with your class. Trust me, you will want to start using this one right away.
First is a very lovely story about everyone's favorite S word- Stress. It is a metaphorical story about how we can approach stress. I think you will enjoy it. Coincidentally, in the online course I am spending time with, I am reading about stress and stressors. In a nutshell, we all need a balance of stress and non-stress in our lives; if we reach a tipping point that moves us toward the negative (wherein we shut down, close down, are not open to new ideas or change) we need to find a way back by seeking ways of renewing ourselves (yoga, meditation, exercise, spending time with loved ones, giving back to others, etc). It is only through the restorative process of renewal will we be open to new ideas, more creative, and able to move towards our goals. Interestingly, a recent article by Dr. Robert Brooks (if you have never heard or read his work, he is fantastic. Visit his site linked above to hear some of his talks on resilience) talks about stress and mindsets. It will complement and validate the lovely story very well.
Next is something very cool. I saw it on Twitter this afternoon (where else!) and I think it has a real place in the classroom. It's called Periscope and it's an app that allows one to broadcast a live-feed of themselves and what is around them. When used for good like @JudyArzt used it for today (and not like the girl in Florida who thought it would be a bright idea to share her post-party joy ride), this app can offer amazing opportunities to share learning with others. So, how can you use it? Well, first idea that comes to my mind is virtual field trips. You all go on great learning adventures- why not broadcast these to your Twitter followers & other classrooms who might not be able to go to Gettysburg, Ellis Island, the Chesapeake Bay, or the Insectarium! Let them learn along with you. Invite others to view your makerspace I-day inventions, or share your Painted Lady butterfly habitat. I think there are many possibilities to use this app AND to incorporate proper digital citizenship/positive digital footprint lessons at the same time.
By the way, if I have not recently told you about the power of Twitter, I have been remiss. I sent a tweet (a couple actually between Friday and Monday) looking for a class to do a virtual debate with our debate club. The response has been overwhelming and very kind. There have been over a dozen retweets, half dozen favorites. And a few teachers and edutopia bloggers who personally messaged me letting me know they are either trying to find a class in their school or are offering to help if I don't find a class which, as of about 20 minutes ago, I did!! If you are not using Twitter as a personal learning network, please let me show you to the Kool Aid.
OK, so here is another very useful idea that I saw via Edutopia and it is about Flipped Learning. Flipped Learning is when you share information with the students via either a video that you create about the lesson, or a video someone else creates, or share information with students about the lesson before they come to the class so that they have a little knowledge ahead of time and you can go deeper during class time. Well this article talks about ways to best do this, and shares an example of a video that the teacher and author of this article used with his 4th grade students prior to the first day of school. Why I think this particular video idea is a great one is that it introduced his students to him and his classroom and some of the first day procedures before they came to school. To me, this is a great way to reduce and alleviate some first day jitters. If nothing else, it gives the students a taste of the type and styles of learning to come.
Here is another great tool that you can use with your class starting today. It's called Educanon and it is very similar to Zaption and Edupuzzle in that it allows you to create, borrow, use, edit, and share interactive educational videos with your students in order to Flip or formatively assess your students. While you can easily create your own "bulbs" which is what these learning videos are called, you can also choose to use a premade bulb like this one on multiplication and division using modeling. (while this teacher does not specifically call it "bar modeling" it is what he is demonstrating when he shows how to solve this problem), or this one on division as repeated subtraction or this one on fractions and decimals.
While I was watching videos on Educanon, I found that there is a great site for video math lessons called Math Antics that I think regardless if you use them to create interactive videos, they would be a great resource for homework help and reinforcing the lessons you are teaching like Please Excuse My Dear Aunt Sally PEMDAS or this one on long division.
Lastly, here is a site that you are going to LOVE. It's called Zing and it offers thousands of free ebooks of popular trade books for you and your students from PK-high school to read simultaneously while allowing each student the ability to annotate and highlight, check the built-in dictionary for unfamiliar words, and you to assign books by topic, subject, theme, lexile reading level, guided reading level, and more. Take a look at Richard Byrne's short video tour of Zing, then sign up. It's FREE! Want to personalize your Zing and get a few extra options— for $10 for the year, you can select and assign different books to one, some, or all of your students rather than everyone reading the same book.


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Some things to look for:
Can you open the link with a browser on a laptop/desktop?
Can the mobiles touch the server (i.e. are there firewalls in the way)?
Is the http task running on the Domino server?
Does the user must have a Notes internet password?
Is the app web-enabled?
Is the mobile browser supported by Domino?
Register Hereor login if you are already a member

subset: commoncrawl


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We're offering one lucky Press Packer the chance to do just that.
There are loads of your fave acts playing at the event including Busted, Atomic Kitten, Big Brovaz, Blazin' Squad, Daniel Beddingfield, Darius, Kym Marsh, Mis-teeq and the Sugababes!
How to enter
If you think you'd be the best Press Packer for this poptastic assignment then all to have to do is tell us why in less than 100 words.
Maybe you're an expert on all things pop? Maybe you want to be a journalist when you grow up?
You and your parent/guardian must also be free travel to Milton Keynes on Sunday 15 June.
Don't worry about travel - we'll pay for you to get there.
You'd better be quick because the competition closes on Friday 6 June.
Good Luck!


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In order to account for the different paths that our students are taking, we work to individualize all of our students' experiences in the classroom through strong intervention programs, targeted use of technology, and reading and writing workshops. We also strive to engage our students outside of classroom academics by offering social and emotional programming and supports, and a robust variety of curiosity classes and extracurricular activities that invest students in school and support building strong intellectual habits and character traits.
The name KIPP Austin Vista is based on the idea that all of our students will climb the mountain to college, and will have both the college and the future of their choice at the top. We know that, as the saying goes, "there are many paths to the top of the mountain, but the view is always the same."


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Netflix profits double to $71m as subscriptions rise
Online video service Netflix reported profits of $71m (£42m) in the second quarter, more than double compared with the same period a year ago.
The company said revenue from its streaming content service rose nearly 50% to $1.2bn, compared to $837m a year earlier.
Netflix said it added 1.69 million users during the period from March to June.
The streaming video firm now has 50 million users in over 40 countries.
Netflix has sought to upend the television industry by commissioning original content for its streaming-video platform and taking on established brands like HBO.
Viewers have reacted positively to shows like House of Cards and Orange is the New Black.
Last year, the company's original programming was nominated for 14 Emmy TV awards, winning three, and this year its programming garnered a record 31 nominations.
However, the company has recently suffered some setbacks in the US, as it has battled with internet service providers (ISPs) such as Verizon over who must pay for the increasing pressure that streaming video puts on download speeds.
Netflix chief executive Reed Hastings has been a vocal opponent of Comcast's proposed $45bn purchase of Time Warner Cable, fearing it would lead to too much consolidation in the industry.
In a letter to shareholders announcing the earnings, Mr Hastings wrote, "Our focus on strong net neutrality, including interconnection, is about preventing large ISPs from holding our joint customers hostage with poor performance to extract payments from us."
Shares in Netflix - which are already up 22% for the year - rose nearly 2% in trading after US stock markets had closed.


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The #1 goal I get asked about in regards to strength and conditioning is how an athlete can increase their speed on the ice. Rightfully so, as speed of movement (in reference to Yuri Verkhoshansky's research) is the most powerful physical component a hockey player can bring to perform at their absolute best.
**Although this article contains some great information, Coach Dan has written a brand new comprehensive Hockey Agility Training Guide that I would recommend going to check out instead**
Speed is the intersection of many different qualities within an athlete that are placed in the correct balancing act so that one may not overpower another (free explosive speed package here). One of these qualities that contribute to speed development is agility.
Why Agility is Important For Hockey Players
Although your top speed (the fastest you can go on the ice, no matter how long it takes you to reach that pace) can help on the ice, agility is MUCH more important for hockey players. Your starting speed, explosiveness, deceleration, and high-velocity direction change are very dependent on how agile you are.
Put another way, if you have a blazing fast 5th gear of speed, but it takes you forever to reach that gear, how many times will that be of value out on the ice?
Rarely, if ever at all.
The game of hockey moves incredibly fast and it's not so often you have open ice in front of you to skate straight ahead and try and find your top gear. More often than not there is a ton of external stimuli going on with the play – things such as the position of the opposing players, the position of your players, the position of the puck and what's going on in your mind – that will almost always break up this straight away course.
This is why the development of agility is a highly desirable trait out on the ice. If you can move swiftly and have a very quick stop/start speed, you have a distinct advantage over those who can't. Regardless of their top speed.
What is Agility?
Agility in and of itself heavily involves both physical and mental qualities within an athlete.
Most people assume the physical part. I mean that just makes sense, right?
Physically train for agility and you become more agile.
What many people seem to forget though is how important the mental aspect is behind what I would consider a more thorough and complete look at what agility truly is.
Agility demands you have a strong mental game, and when it comes to hockey this requires mental agility, emotional comfort, and a high level of confidence.
Mental agility can be thought of as your ability to follow two conversations at once. You need to have the vision, attention span, and focus to be able to read what's in front of you in unpredictable environments. A game setting is as unpredictable as it gets, in just a matter of a few seconds, all of the players on the ice will have changed their position and the puck can/will be far from where it originally was. If you can't foresee the actions of those around you and read where the play is going to be (and not where it is right now), your ability to be agile can suffer greatly.
Because a mental block is a physical block.
You may have all the physical components in the world, but if you're not "in the zone" it doesn't matter what your body is capable of doing because your mind is making the wrong decisions.
Take the example of female gymnasts in the Olympics. If you have a look at these girls – they are pretty much all have identical height, identical muscle mass, identical flexibility, and identical limb lengths.
So, what makes them different than one another on that day?
Their mind.
Whoever came the most mentally prepared is going to be the one who executes her routine most flawlessly. This plays out just the same in hockey.
Maybe the first and only reference ever towards hockey using female's gymnasts? Most likely.
But I know you can level with me here and understand the analogy.
Everybody has had that game or had that workout where their mind just wasn't there. Their body was probably physically capable of performing better but it was being limited by your decreased mental performance.
So, what do hockey players need out there to make sure they have this mental agility?
Comfort and confidence.
You need these in order potentiate your maximal agility capability. Let's have another more "real world" example on how confidence and comfort can have a huge impact on your agility.
Let's say this year you made it up to the next level in competition, you're in the semi-pro's now.
But with the jump up you also had to move away from your friends and family to another city, play on a team that you have never played with before, and you're also traveling much more than you have ever been used to.
You're probably not going to have the best hockey season this year. This is a lot of change and a lot to take on all by yourself.
But, next year rolls around.
Now you're comfortable in your new city, you have a lot of new friends, you are used to your teammates now and know how they play – you're also used to the traveling schedule now.
You may not have actually changed at all physically, but your performance is going to increase drastically this year compared to your last year just because now you're more comfortable and confident. This plays directly into your agility.
The more confident and comfortable you are out there in a game setting, you more agile you will appear regardless of your physical fitness.
How To Improve On Ice Agility
Now let's get to what everybody really came here for, the physical aspect to agility development.
First and foremost, I have to say to you that as a professional strength and conditioning coach my job is to provide you with the best information possible in order to improve your game, whether that information is boring or not. I don't post blogs to make headlines, I post blogs to get results.
Which is why I am going to tell you that the absolute #1 thing you can do to improve your agility is to simply play the game. There is no getting around this. Playing the game of hockey is as sport specific as it possibly gets and the more comfortable and confident you can be out there expressing your skills on the ice the more agile you will be. Period.
Nothing in the gym or off the ice can outweigh the benefits of this.
Getting lots of ice time, scrimmaging at practice, and putting some time on the old pond with the boy's plays into your favor here.
Besides that though, what else can we do for agility?
I think it's important to define how agility works in the body first to properly understand how we can program for it and why some exercises are better than others.
Agility is essentially a hockey player's ability to effectively absorb and redirect forces. Played out in real life, this includes things like high-velocity direction change, explosive starting speed, exploding into different planes of movement, and deceleration.
Looking at the above examples, the one overwhelming thing they all have in common from a physiological perspective is their association with relative strength. That is, how strong you are in relation to your body weight.
If two men both weigh 180lbs and yet one is stronger than the other, this is an example of an increased relative strength.
Knowing that agility is how efficiently and how quickly our bodies can absorb and redirect force, we can also say that agility is the demonstration of an eccentric to concentric contraction — or a "load" to "explode" action.
How agile you are, depends on how fast your body can go from an eccentric (load) to concentric (explode) muscle contraction. Think about it like how fast you can hit the brakes and then immediately start re-accelerating in a different direction.
A huge part of this is relative strength, but another part of it is power. Specifically, the amortization phase.
Relative strength ties in here because the stronger you are in relation to your body weight, the more control you have over your body in movement. Take the example of two men who are 180lbs, one can squat 400lbs and the other can squat 200lbs.
The one who can squat 400lbs will have much more control of his body in deceleration and high-velocity direction change simply because he is strong enough to overcome the forces that he is presenting upon himself during the game. Whereas the weaker opponent will be more likely to succumb to momentum issues trying to perform similar tasks.
Additionally, relative strength plays into your explosive starting speed as a man who can squat 400lbs who is 180lbs will be much better able to press down on the ice and propel himself forward with more force than somebody who can only squat 200lbs. Giving the stronger opponent both a quicker start and a greater stride length.
Some of my absolute favorite exercises towards the improvement of relative strength in my hockey athletes include:
• Barbell squat variations
• Deadlift variations
• Split squat variations
• Pull up / chin up variations
• Dip variations
• Weighted sled pulls
• Row variations
• Jump variations
• Sprint variations
• Weighted carries
Now, digging a little deeper into the above-mentioned amortization phase for power development. The amortization phase is essentially the measurement of the time spent in between the eccentric and concentric muscle contraction.
The moment in between the eccentric and concentric contraction is the amortization phase
This concept is crucial to optimal power development (and therefore optimal agility development) as there is a direct correlation between time spent in the phase vs. a decreased power output.
Meaning, the longer you spend in the transition phase, the more and more power you lose from that stretch shortening cycle. Just picture yourself going for a standing vertical jump, your body's natural inclination is to load and explode very quickly. We never extend the loading period. Why? Because we'll get a weaker jump.
Picture this out on the ice. Imagine if you had to spend time and load your whole lower body anytime you wanted to change direction or explode into a different plane of movement? No, it doesn't work like that. It takes too long and on top of taking too long you actually lose power output.
The quick load and explode takes advantage of the stretch shortening cycle within the muscle, in that you build up a type of "elastic" energy in the muscle and use it to rebound and explode. If we're thinking about ways we can physically develop greater agility, we definitely should also be looking here.
In order to maximize true agility, we need to train the body to take full advantage of the stretch/shortening cycle. To do this, we need to decrease the length of the amortization phase as much as possible because the longer the amortization phase lasts, the less elastic energy and power output we are able to express through that movement.
Some of my favorite exercises for power development that improve this area of agility include:
• Olympic lifts
• Medicine ball throw variations
• Jump variations
• Plyometric exercises
• Low load sled work
• Low load band/chain work
• Reactive training
For more information on power and the many roles it plays into hockey performance be sure to check out my hockey power blog post.
Moving on from here we now know the mental aspects behind agility, what makes people agile from a physical perspective and how relative strength, amortization phase's and power development play into this.
So what else can we do?
Well, let's have a look at the pure definition of agility:
Agility is the ability to be quick and graceful. You might have agility on the basketball court or in the courtroom, or even with your gaming remote. The noun agility can be used for both mental and physical skills in speed and grace.
Quick and graceful. Sounds about right.
Hockey players who have a high level of agility make highly explosive accurate movement appear almost effortless. You know, kind of like female gymnasts! (Alright, I'm done.)
A big part of this is simply how these hockey players actually move.
What can both positively and negatively affect these movement patterns in an athlete?
Mobility and Structural Balance For Agility
These two components are quite unforgiving. Take mobility for example, if you're tight in certain areas of your body that are restricting optimal movement patterns, then no matter what you do you're not moving with the correct technique to get the greatest result and the greatest energy economy.
This means that no matter how mentally agile, relatively strong, or how powerful you are, if you're tight you're not going to be able to properly execute the techniques that would allow you to express this strength and power in agile movement.
Simply put, if you're not mobile you're not moving right and if you're not moving right you're definitely not agile.
That sounds pretty bad, right? But turn this around for a second.
This means for you guys reading this out there who currently are tight in the hips, lower body, calf, and Achilles tendon – that just relieving these tightness's alone without any further training can increase your agility.
That's some powerful stuff right there.
If you aren't allowing your body to move without restriction then how can you expect to meaningfully improve your agility?
These same principals also apply to structural balance within the athlete. By structural balance I mean an athlete should have equal strength levels from left to right, and from the upper body to the lower body.
If you're one side totally dominates your other side, you're not moving right. Additionally, hockey players are notorious for structurally imbalanced lower bodies due to the mechanics of skating. Alleviating these issues creates a quick increase in many physical qualities, agility just being one of them.
For some much greater detail on these two extremely important aspects, check out my two blog posts on structural balance and mobility in my Hockey Correction series.
Core Strength for Hockey Agility
I think it's important we revisit a component of strength development that is heavily tied into your agility out on the ice, which is your core strength and stability.
The body's ability to effectively absorb and redirect forces relies heavily on how well your core is developed from the inside out, meaning both your inner and outer core chains need to be well-developed to optimize these forces in your favor.
All power and forces are created from the ground up, but it is your core that allows you to maximally express this force output effectively and safely. The core is both transmitting all this force you are outputting, let's say into a body check, but also at the same time stabilizing your spine and pelvis to prevent injury.
You can think about a strong person with a weak core like shooting a cannon out of a canoe. You simply have too much power for your body to handle so it will either go one of two ways:
1. You will get injured
2. Your neurological system will limit the amount of muscle fiber recruitment it will allow you to use as a safety mechanism to protect the body
Either way, not optimal for agility which is dependent on this type of explosive force.
Read this line twice:
Your core strength is allowing your relative strength to express itself in multi-planar motion.
Yes, relative strength is huge, but relative strength is limited by core strength in that you don't want to be that cannon in the canoe. You need to be in a strong, stable battleship that isn't going anywhere when you fire a shot off.
I highly recommend you check out my core training blog post where I discuss this at length, but here are some of my favorite exercises for core development that are going to impact your agility.
Inner core:
• Planks
• Side planks
• RKC planks
• Low back extension iso-holds
• Ab wheel rollouts
• Dead bug
Anterior core chain:
• Ab wheel rollout
• Variations of explosive medicine ball throws
• Hanging leg raise
• V-ups
• Anti-rotation weighted sled pull
• Plank with alternating leg lifts
• Stir the pot
Posterior core chain:
• Hip thrusts
• Deadlift variations
• Stiff legged deadlifts
• Sled drag variations
• Row variations
• Low back extensions
• Low back extension iso-holds
• Explosive medicine ball throw variations
As you can see from what I mentioned in the beginning of this blog post, agility is the intersection of so many qualities at play. One cannot really just say "Hey Dan, what's your best agility workout?" because this entirely resides on you and your current situation.
This is because agility requires many very individualistic components. You have to first look at yourself and say "Ok, agility requires total body relative strength, mobility, power, good body composition, structural balance, and a well-developed core"
From here you need to ask yourself which area has the greatest room for improvement and then you have your personal and customized answer. I cannot give a blanket answer here because some people may need power where others may need relative strength. Maybe somebody else is totally tightened up in the lower body. Whichever one currently has the most room for improvement is going to be your personal "Best agility workout"
One thing that can disguise itself as strong agility is good conditioning, which makes it worth a mention here. Even if you're totally mobile, have great structural balance and everything else we have discussed here; if you gas out early in the game your agility is going to appear terrible. Even though it may not be at a fundamental level.
Whereas another guy who may technically have less of these qualities than you but has a great gas tank even in the 3rd period is going to appear much more agile than you simply because he is better conditioned.
Don't let conditioning ruin your game, come in shape and allow your body to express what it has the ability to do.
What NOT To Do For Hockey Agility Training
Finally, since we have talked about so many "Do's" when it comes to agility I think it's also important we cover some "Don'ts". The most popular of the "Don'ts" include:
• The overuse of unstable equipment (Swiss balls, BOSU balls, balance boards, etc)
• The use of ladder, dot, and cone drills
I have hammered these two "Don'ts" in the past through mentioning them in several blog posts and also writing a blog post all on its own dedicated to why I believe this type of training is counter-productive towards hockey so I am going to keep this explanation quite straightforward and directed at agility since it is the main topic but for more information, feel free to check out my blog on the topic titled "Hockey training on unstable surfaces?"
The two most deep-rooted training principals in sports science theory are specificity and overload and training on an unstable surface lacks both of these. It is a very far cry to try and deem unstable surface training functional or specific to hockey performance.
When are you ever unstable like that on the ice? Why would you need to train it like that?
All movement in hockey occurs because the athletes are moving, not the surface they are playing on. So unless you plan on playing hockey during earthquakes, it becomes difficult to make the connection between the two.
But now that we know agility absolutely requires large relative strength levels we are shooting ourselves in the foot trying to squat on a ball. Anytime you incorporate unstable surfaces you sacrifice both how much weight you are capable of using plus the speed at which you are able to move that weight.
Think about that for a second.
We just decreased the weight so we are directly limiting our relative strength training, but not only that, we are moving slower!
You don't train slow to move fast. You need to move fast in order to recruit the high threshold motor units responsible for explosive movement. This really makes no sense from a physiological perspective, this is honestly like you going outside and playing basketball and telling me you're working on your slap shot.
It's definitely not specific, and it definitely lacks progressive overload as you can only do so much on a ball.
How many people do you see squat 400lbs on a ball? Zero.
How many people do you see squat 400lbs on the ground? All the time.
If you had to put money on it, who do you think is going to be harder to knock off the puck on the ice and is going to have more explosive movement, the guy who squats 135lbs on a ball or the guy who squats 400lbs on solid ground?
Seems pretty straightforward.
Additionally, since we are also moving much slower it's a guarantee that these athletes are increasing the amortization phase length as well creating another problem. If you move slow and train with low weight you're going to be weak, and if you're weak you're not fast or agile.
As far as the ladder and cone drills, they also lack specificity and overload.
When do you ever move like this on the ice?
When does a hockey player ever need this type of stride frequency? Never.
Also once you get good with the ladder, how do you introduce overload from here?
Agility is all about swift and graceful movement in unpredictable environments. Cone drills and ladder drills are pre-determined movement patterns. You can't really say it's a true function of athletic agility if you know exactly what you're doing beforehand. You simply execute the pre-determined movement and then you're done. This doesn't replicate a hockey game situation from a mental or physical perspective.
This is why I feel your time would be much better spent either strength training or getting a scrimmage together with your teammates/buddies. At least in the gym we can replicate the kinetic segments, muscle actions, intensities, and energy systems required for each athlete's position out on the ice and train them effectively. Ladder and cone drills do none of this.
Is doing unstable surface training and cone drills the worst thing in the world?
No of course not.
But when really dissecting hockey and looking at what will have the greatest amount of carryover to your on-ice performance, these methods fall pretty low on the list.
Again, it's my job as a coach to simply provide you guys with what works whether it looks cool on Instagram or not. I look at the sport of hockey and all its demands and match up what I feel are the most effective ways in which to train athletes into a high level of performance. This means creating a hierarchy of performance training methods and weighing the cost/benefit analysis.
If this athlete can only train 4-5x a week, like most everybody out there, then I feel their time could be better spent doing different tasks.
So what does the broad picture of agility really look like then?
Well, here are the primary components:
• Mental agility
• Relative strength
• Power
• Core strength + stability
• Structural balance
• Mobility
• Good body composition
Hockey Agility Training Recap:
Overall, there is nothing too shocking about agility once it's explained and laid out from a sports physiology perspective. A hockey athlete looking to improve their agility should have a well-designed periodized training structure both during the season and in the off-season, which encompasses hypertrophy (within the realm of specificity of course), strength, power, lots of ice time, and some mobility work. Provided your training systems are created well, the structural balance work should be incorporated right into the strength, power and hypertrophy phases.
Last but not least, an athlete with a poor body composition is an athlete who is not agile. Good nutrition should be a focus year round, regardless of the goal.
If you're ready to take your hockey game to the next level, including improving your speed and agility check out our Hockey Training Programs.


text: I have tried to submit online claim to get the rebate for the Back to School Promotion on iPod. My order date is Sep 15, the shipping date is a few days later. I could not submit the online claim because the system says my purchase has been done outside of the promotion period (ending Sep 16). Did anyone have the same problem?


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About Us
There are many reasons to fly Azul Brazilian Airlines. As a top low-cost domestic carrier in Brazil, it was established in 2008 by Brazilian born-and-bred David Neeleman, who also co-founded WestJet and JetBlue and was the former president of Morris Air. Based in Barueri, Azul Brazilian Airlines operates a fleet of 130 aircraft, reaching more than 100 destinations across Brazil, and providing customers with more than 850 daily flights to underserved markets throughout Brazil at affordable prices......


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Exhibition catalogue published in conjunction with show held at The Renaissance Society at The University of Chicago, Chicago, Illinois, May 6 - June 27, 1987. Traveled to Newport Harbor Art Museum, Newport Beach, California, January 24 - March 20, 1988. ... [details]
Exhibition catalogue published in conjunction with show held September 24 - October 29, 1988. Curated and with an essay by Stephen Nowlin. Artists include Edith Baumann-Hudson, Gerald Giamportone, John Millei, Cindy Bernard, Jim Isermann, Nancy Riegelman, Tim Ebner, Ruth Grace Jervis, and Pauline Stella Sanchez. ... [details]
Exhibition catalogue published in conjunction with show held March 17 - July 28, 1996. Traveled September 21, 1996 - January 5, 1997, Wexner Center for the Arts, Columbus, Ohio; June - September 1997, Palazzo delle Esposizioni, Rome, Italy; October 11, 1997 - January 21, 1998, Museum of Contemporary Art Chicago, Illinois. ... [details]
Exhibition catalogue published in conjunction with show held at Museo Reina Sofía, Madrid, Spain, June 10 - September 27, 2010. Edited by Lynne Cooke and Douglas Crimp with Kristen Poor. Artists include Alvin Baltrop, Bernd and Hilla Becher, Dara Birnbaum, Jennifer Bolande, Stefan Brecht, Matthew Buckingham, Tom Burr, Roy Colmer, Moyra Davey, Terry Fox, William Gedney, Bernard Guillot, David Hammons, Sharon Hayes, Peter Hujar, Joan Jonas, Louise Lawler, Zoe Leonard, Sol LeWitt, Glenn Ligon, Robert Longo, Vera Lutter, Danny Lyon, Babette Mangolte, Gordon Matta-Clark, Steve McQueen, John Miller, Donald Moffett, James Nares, Max Neuhaus, Catherine Opie, Gabriel Orozco, Barbara Probst, Emily Roysdon, Cindy Sherman, Harry Shunk & Janos Kender, Charles Simonds, Thomas Struth, James Welling, David Wojnarowicz, and Christopher Wool. ... [details]
Compendium of statements published in conjunction with press conference "Mak Without Compromise - Museums Without Futures" with Peter Noever, held February 1, 2001. Edited by Peter Noever. Contributions by Sergej Bugaev Afrika, Judith Barry, Cindy Bernard, Bazon Brock, Karel Dudesek, Fon, Kendall Geers, Liam Gillick, G. ... [details]
September / October 1968 issue of Arts Magazine. Cover features color reproduction of work by Lucas Samaras. Edited by Joseph James Akston, with written contributions by Joseph James Akston, Nicolas Calas, Jacqueline Barnitz, Lawrence Alloway, Cindy Nemser, Charles Nagel, Gordon Brown, Roderick Young, Jeanne Siegel, Alfred Werner, Pietro Gilardi, and Noel Frackman. ... [details]
Auction catalogue published in conjunction with benefit held April 29, 1991. Artists include Felix Gonzalez-Torres, David Wojnarowicz, Patti Martori, Saint Clair Cemin, Christopher Wool, Dan Asher, Cindy Bernard, Tom Brokish, John Coplans, Melvin Edwards, Jane Hammond, Carol Hepper, Carter Hodgkin, Jacqueline Humphries, Liz Larner, Annette Lemieux, Donald Moffett, Claes Oldenburg, Josef Ramaseder, Sam Samore, Jessica Stockholder, Susan Unterberg, Vincenc Viaplana, Nancy Dwyer, Yasumasa Morimura, Franz West, Peter Fend, Larry Johnson, Matt Mullican, Quattara, Carrie Mae Weems, Ford Beckman, Joseph Beuys, Guillaume Bijl, Sophie Calle, Kevin Carter, Dale Chihuly, Larry Clark, Martha Fleming, Lyne Lapointe, Günther Förg, Georg Herold, Michael Kessler, Martin Kippenberger, Roy Lichtenstein, Donald Lipski, Robert Lobe, Patty Martori, John McCracken, James Nares, The Peppers, Chéri Samba, Sarah Seager, Andres Serrano, Jim Shaw and Thomas Struth. [details]
Exhibition catalogue published in conjunction with show held in December 1990. Essay by Anne Dary. Artists include Vincenzo Agnetti, Didier Bay, Bernd & Hilla Becher, Joseph Beuys, David Boeno, Christian Boltanski, Bernard Borgeaud, Marie Bourget, Victor Burgin, Balthasar Burkhard, Ger Dekkers, Barbara Ess, Robert Filliou, Eric Fonteneau, Hamish Fulton, Jean-Louis Garnell, Jochen Gerz, Paul-Armand Gette, Sigurdur Gudmundsson, Andreas Gursky, Hans Haacke, John Hilliard, Louis Jammes, Steve Kahn, Barbara Kruger, Bertrand Lavier, Jean Le Gac, Barbara & Michaël Leisgen, Clegg & Guttmann, Urs Lüthi, Allan Mac Collum, Annette Messager, Patrick Meunier, Nils-Udo, Arnulf Rainer, Patrick Raynaud, Georges Rousse, Thomas Ruff, Jean Sabrier, Cindy Sherman, Philippe & Sylvain Soussans, Patrick Tosani, Françoise Vergier, Jeff Wall and Boyd Webb. [details]
Exhibition catalogue published in conjunction with show held October 4, 1984 - January 6, 1985. Essays by Howard N. Fox, Miranda McClintic and chronology by Phyllis Rosenzweig. Artists include Vito Acconci, Mac Adams, John Ahearn, Terry Allen, Carlos Almaraz, Laurie Anderson, Eleanor Antin, Siah Armajani, Richard Artschwager, Conrad Atkinson, Alice Aycock, John Baldessari, Robert Barry, Jean-Michel Basquiat, Lynda Benglis, Joseph Beuys, Christian Boltanski, Jonathan Borofsky, Derek Boshier, Louise Bourgeois, Troy Brauntuch, Marcel Broodthaers, Joan Brown, Roger Brown, Chris Burden, Victor Burgin, Scott Burton, Jo Ann Callis, Peter Campus, Henry Chalfant, Louisa Chase, Sandro Chia, Francesco Clemente, Robert Colescott, Enzo Cucchi, Donna Dennis, Jane Dickson, Jiri Georg Dokoupil, Bernard Faucon, Rafael Ferrer, Eric Fischl, Vernon Fisher, Hamish Fulton, Charles Garabedian, Gilbert & George, Leon Golub, Robert Graham, Denise Green, Philip Guston, Hans Haacke, Keith Haring, Helen Mayer Harrison, Newton Harrison, Mariusz Hermanowicz, Nancy Holt, Jenny Holzer, Douglas Huebler, Jörg Immendorff, Neil Jenney, Anselm Kiefer, Edward Kienholz, Nancy Reddin Kienholz, Ken Kiff, Alain Kirili, Komar & Melamid, Joseph Kosuth, Jannis Kounellis, Barbara Kruger, Thomas Lanigan-Schmidt, Jean Le Gac, Les Levine, Sherrie Levine, Richard Long, Robert Longo, Markus Lupertz, Carlo Maria Mariani, Gordon Matta-Clark, Mario Merz, Duane Michals, Malcolm Morley, Ree Morton, Robert Moskowitz, Bruce Nauman, Hermann Nitsch, Isamu Noguchi, Jim Nutt, Dennis Oppenheim, Tom Otterness, Nam June Paik, Mimmo Paladino, Esther Parada, Ed Paschke, A. ... [details]
Issue edited by Bice Curiger. Essays "Sophie Calle: C'est Mon Plaisir," by Sheena Wagstaff; "Alighiero E Boetti," by Jean-Christopher Ammann; "Alighiero E Boetti," by Giovan Battista Salerno; "Alighiero e Boetti: The Difference between Invention and Exploration or from Geography to Experience with Two Maps," by Rainer Crone and David Moos; "The Halted Gesture Of Writing," by Friedemann Malsch; "Logic And Disruption In The Work Of Alighiero E Boetti," by Jean-Pierre Bordaz; "Franz West," by Herbert Lachmayer and Brigitte Felderer; "Mike Kelley: B-B-Bildung / C-Culture And B-Culture," by Jutta Koether; "War - Sign - War," "Inquiries On Afghan Rugs," by Friedrich Kittler; "Les Infos Du Paradis: Interview," by Trevor Fairbrother, Meyer Vaisman, Andy Warhol; "Cumulus From America," by David Rimanelli; "Cumulus Aus Europa," by Kimmo Sarje; "Balkon," by Bernard Marcadé. ... [details]


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But the last one: the baby who trails her scent like a flag of surrender through your life when there will be no more coming after - oh, that's love by a different name. She is the babe you hold in your arms for an hour after she's gone to sleep. If you put her down in the crib, she might wake up changed and fly away. So instead you rock my the window, drinking the light from her skin, breathing her exhaled dreams. Your heart bays to the double crescent moons of closed lashes on her cheeks. She's the one you can't put down.
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Lighting equipment4054
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|1stImpression3D private msg quote post Address this user
|Hey yall interested in finding out if anyone has suggestions on lighting equipment that is affordable for interior photography. Or a photoshop you recommend? I want to better my photos to make them brighter and to have less glare through windows thanks for your help!!!
|Post 1 IP flag post
|BrettMtn private msg quote post Address this user
|if you are talking about lighting for still photos (not 3D), then it's more than just getting some cheap lights. It's about knowing how to use the lights and blending with the existing light that will really make a difference. I would recommend getting an online course in architectural interiors like this one: https://fstoppers.com/product/mike-kelleys-where-art-meets-architecture-1
Interiors can be one of the most complicated and technical things to photograph well, so it's worth investing in education before lighting so you know why you are adding a light or if you even need to. Good luck!
|Post 2 IP flag post
|TrustedPhotoDC private msg quote post Address this user
|Since shooting with an A7RII for over a year now, I find I'm using less flash, less multiple exposures and just more ambient light. The benefits of the dynamic range in this camera are incredible.
|Post 3 IP flag post
|mcatino private msg quote post Address this user
|Good luck. There are several different things I would do for still work, change bulbs to higher output would be one idea but $$$
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For many years I my library included a well worn copy of Mr. Lincoln's Forts: A Guide to the Civil War Defenses of Washington (White Mane Publishing Company, 1988) by Benjamin Franklin Cooling III and Walton H. Owen II. This 256-page work offered the best "field guide" to the fortifications around the District, Fairfax and Alexandria Counties in Virginia, and Montgomery and Prince Georges County in Maryland. This work filled a void in the body of knowledge by offering a fort by fort description, coupled with a suggested driving route. The one complaint I had regarding the work was the binding – my copy fell apart four years back, eventually migrating into a three ring binder for safekeeping. Allow me to skirt around a direct discussion of the publisher but say in my non-expert opinion that the glue was not up to the test. For a "field guide" binding durability and flexibility is paramount.
I was delighted to hear through the blogs a new edition of the book had rolled off the presses. This edition is published by Scarecrow Press, and offers about 50 more content pages. The binding is certainly stouter, as the book can lay open on my desk without creasing the comb. Time will tell if it is up to the tests of field duty. The page layout and format reduces white space, so in addition to just fifty more pages, the pages have more content than before.
Like the old edition, the new opens with a forward by historian Edwin C. Bearss. After acknowledgments, an introduction provides the reader an update on the state of the Washington defenses. Three other prefaces invite the user to help with further research, explain what visitors will see at the fort sites, and offer an administrative note about maps. The later promises to offer GPS coordinates for the forts in later editions. (I would offer up our historical marker series, the Defenses of Washington, for those who'd like to use marker related GPS data.)
The chapters offered in the new edition are the same as that of the old. Chapter one is a well documented orientation to the defenses. Chapter two is a reprint from General John G. Barnard's A Report on the Defenses of Washington to the Corps of Engineers, providing the technical aspects of the fortifications. Chapters three through six discuss the specific forts, broken out into geographic sections – south of the Potomac, north of the Potomac, east of the Anacostia, and the river forts. Appendices include a short biography of General Barnard, ordnance statistics, engineer glossary, essay on communications, reprint of regulations for care of earthworks, and (added in this edition) selected engineering drawings.
The heart of the book, what will interest most of the "battlefield stompers" is those last four chapters. An entry for a fort starts with location information, generally describing the driving route from the previous fort, but often giving street addresses. The next paragraph describes any visible remains and mentions interpretive markers on site. The description section relates details of the fort's history, construction, purpose, and armament. The notes/anecdotes section provides any background information, collected stories, and often a list of units which garrisoned the fortification. Included throughout is an outstanding set of photographs, engineering plans, and other illustrations.
The directions are impeccable, and get my whole approval. I spend many of my work day dodging traffic around some of the same neighborhoods and find the routes logical and easy to follow. However as each chapter assumes a start to finish tour, visitors isolating a single fort might be confused picking up directions in the middle. I would advise, even if you are familiar with the area, a map check before you tour. And during a tour the use of a quality street map and/or GPS.
Surprisingly, I noted very few changes to the visible remains paragraphs. One case that stands out is Fort Lyon in Alexandria, Virginia. There, property owners have cut backyard access through the old fort traces. In 1988 only one such cut existed, but sadly the authors note several such in place today.
While to some degree the lack of significant changes noted about the remains does bode well for preservation, there are threats. The authors note the pending deactivation of Walter Reed Hospital, important ground for interpreting the attack on Fort Stevens. Several forts, particularly Forts Totten and DuPont, suffer from bike traffic which damages and erodes the remains. Some of the changes reflected include administrative changes, as property moved to city or county parks. But the authors note a threat to Fort Ethan Allen where misguided managers modified a park as part of a multi-use plan (a $400,000 dog park!). I found the discussion of recent history regarding Fort Marcy rather balanced, adding "the event is an interesting study in what happens to a Civil War site when it becomes a high-profile crime scene."
My only point of criticism is the identification of some artillery pieces. The authors of Mr. Lincoln's Forts tend to mix the proper identification of the 4.5-inch Siege Rifle with the non-standard, and erroneous nomenclature of 4.5-inch Rodman. The ordnance statistics in the appendix even identifies the weapon as a "Rodman." While period reports sometimes used the name "Rodman" for this type of gun, I feel perpetuating the error can confuse readers. And adding to the confusion, the appendix in question proposes the "Rodman" might actually be a 4.62-inch rifle Model 1862, noting Warren Ripley's Artillery and Ammunition of the Civil War. In his book, Ripley correctly identifies the 4.5-inch Siege Rifle as a Federal type, without the Rodman name. However Ripley notes the 4.62-inch Siege Rifle as a limited production Confederate model. But these are minor points, that only an artillery aficionado such as my self would pick out, which do not detract from the overall work.
Overall I must rate Mr. Lincoln's Forts as a must have for anyone interested in the eastern theater and Civil War fortifications. At $34, a softbound copy is within reach of most budgets. The guide will sit well on the shelf as a reference book. And at the same time should accompany any who wish to visit the forts in person. I have already carried my copy out on two excursions. Doubtless it will see more in the near future. Just hope the binding holds up this time!


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Madness in the mist from Eric Willet, Mark McMorris, Chas Gulemond and Enni Rukajarvi.
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Chatting with another author, I became inspired to make a post about a few of the things that I have learned in the few years that I have been writing. This list is certainly not all inclusive, but they are things that I feel are beneficial to keep in mind; especially for those looking for ways to improve the way their work 'feels' when it's being read. Please enjoy.
Look out for WAS – as in WAS sitting… use sat, WAS standing…. use stood, WAS smiling…. use smiled Do a search for was – if it appears more than about 400 times in a 50k word manuscript, you probably have this issue. That doesn't mean they all need to go away, but be sure it is the BEST way to say what you mean, and if it's not, change it.
Avoid VERY, JUST and NOW – if you have put one of these words in, be sure that it adds to the meaning of the text; otherwise they are JUST filler and get annoying to look at.
Speaking of annoying, watch for 'catch words' that have been repeated often in a short space, such as a paragraph or page. If you need to talk about a table, but you say the word TABLE ten times on the same page, it gets on the reader's nerves. Find a different word, or work around it so that you don't become repetitive, unless you mean to be. Repetition is a literary device, and you want to save it for those times when it adds to the meaning.
Don't be GRABBY – grabbed is a verb of last resort, and there are lots of other words that mean to pick something up, so only use grab if nothing else works.
"Tried" implies that an action failed; only use it if it did in fact fail, and then only sparingly. It also can become a filler word, so make a list of your bad habits and watch for them in the future so that you can filter them out – don't try, do it.
I can't say enough about word variation, especially when it comes to verbs; SAID gets old fast, and tells us nothing about the feeling behind the words. I read a book once were everyone was HEADING somewhere, and to this day I cannot put that in a text without stopping to think about it. Word programs come with a thesaurus option you should use regularly; after a while, you won't need it as much, as new words will become a part of your tool-box and you will begin using them without effort.
Sentence lengths should vary. Using short choppy sentences as a rule makes your work sound artificial and dull. They also lead to heavy repetition as the noun is used over and over; avoid this by combining smaller sentences into longer ones, and saving the short ones for emphasizing a point.
On the other hand, longer sentences need to be punctuated well, so that they flow; insert commas where clauses fall and where speech naturally pauses. Oh, and use the semicolon to separate main clauses or to give a longer pause; especially when two ideas are connected, or you want one of them to stand out.
In dialogue, how often do we REALLY say the other person's name? Reading a passage where they keep saying each other's name REPEATEDLY gets annoying. Take all of those out, unless you are emphasizing a point, and stop using your character's names excessively in descriptions as well. It's a filler and can become tiresome for the reader.
Do searches of your finished manuscript before you start editing; locate hot-spots that you want to address when you are re-working the text, and add to it if you notice something new has crept in; like using an adjective excessively. If everything is AWESOME, you need a new way to describe it.
Finally, keep at it. You only get better at something when you do it regularly. Read articles, ask questions, and join in discussions; all of these things improve your understanding of mechanics. Also, never take what someone says about your writing personally; even a one-star review can have a nugget of wisdom hidden inside it, if you take the time to look with an open mind.
Fortunately for us, there are many styles of writing, and we are not all the same. Someone early on told me that I should write more like Stephen King. My response? Why – I don't even like Stephen King. Shocking, I know, but therein lies the beauty of being a writer: I am working on being the BEST Samantha Jacobey that I can be, and all my wonderful fans make this journey all the more fun. So relax, and enjoy the ride; the bumps only make it more exciting and certainly can give us insight if we are open to the experience .


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You can buy a bag of pre-made popcorn, stuff it into your microwave, and let it pop, but let's face it. The smell of it isn't that pleasant, the taste not so great either, and queer chemicals abound. It's actually silly easy to make it from scratch with healthy ingredients. A popcorn popper and a microwave are the only gizmos you need, though I also use a garlic slicer and a cheese grater to speed up the process.
This recipe takes about seven minutes, and makes a good amount of popcorn for four people, or an extravagant amount for two, or an overwhelming amount for one. If you want to go full vegan, skip the ghee or butter and use just olive oil, but only cook half and add the other half raw, for optimum health benefits.
|My garlic slicer makes this a snap!
2 to 3 tablespoons ghee or good quality butter
1 to 3 fresh garlic cloves, sliced almost paper thin
½ or (to taste)teaspoon dried chilies
1 teaspoon crushed oregano
¼ teaspoon salt
1 inch cube Parmesan cheese, grated
¼ cup best quality olive oil
¼ cup popcorn kernals, or fill machine to its limit
|My cheese grater makes this even easier.
In a microwavable container, mix ghee, garlic and chilies. If you don't have ghee, use a good quality butter. Microwave for about one minute. Add the salt. It will bubble up a little. If the garlic is still white, microwave for another 15 seconds, so the garlic is a pale gold. Any darker would get bitter, but barely gold will make for delicious garlic chips.
|Garlic chips should be barely golden.
While ghee is still very hot, put popcorn into popcorn maker and start machine. As it's beginning to pop, add olive oil to the ghee.
Dribble ghee mixture over popcorn as it arrives in a bowl. Start sprinkling in grated Parmesan.
Continue to dribble and sprinkle, and then stuff some popcorn directly into the oil container and stir to get every last molecule of deliciousness back into the popcorn. Don't waste a drop of that delicious topping.
Eat right away. We like this in front of a movie, preferably with a glass or two of nice, red wine. Lazy weekends are so heavenly. We sometimes don't even bother with dinner when we're having this.
|I use a maniac amount of popcorn to keep the oil levels down, but you shouldn't!


text: In beautiful countryside of Eltham, Ballara Reception Centre delivers an all in one service. From my view as a photographer, this can be good and not so good. The good is the time for photographs which is not taken up by travelling between the ceremony, locations, to the reception. The not so good is that often, there is not enough room for beautiful, intimate photographs of the couple and the bridal party and all the guests milling around waiting for the reception to begin. Ballara has the space. Whenever I've photographed at Ballara it's been easy to move from their on-site chapel, to my favourite family formal spot, then gather everyone for a group photograph, and then scoot the bridal party off around the lake with the gazebo and a couple more little spots on the grounds. Barely noticing that there are more than 100 people just meters away.


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Campaign of the Month: January 2012
Star Trek Late Night
Crazy Eight's Personal Log - Episode 32
Hello Bookielog!!! Me sooo happy. Me found you a body and me going to get you set up real soon. Then you can travel with me and we can go see things together. Me wonder what you will do when you get your body. Me look at own body and frown. Me body is weak and stringy and not nice to look at. Me not like mirror who show me scars and makes sad faces at me. Me break mirror for being mean to me. Bad mirror not hurt me anymore.
Me was heading to detention when Kitten called me to bridge. Big giant super huge triangle ship was calling us. Me see black turtlehead staring at me on screen and telling me he want to board me. Me say, "Ok!" and giant ship grab us with grabby rays. After we get inside me go open the cargo bay and me gets to meet Turtlehead. Inky and Mantis were standing with me and we saw lots of turtleshells with guns. Me think they have not enough guns if me decides to make them go poof but me smile and wave at Turtlehead.
Turtle head says he wants turtleshells to go on ship to find something me nots have. Me says "OK" and lead them inside. Turtlehead ask lost of questions buts mes nots understands much. Me offer him drink but he get angry and he uses witchy powers on me. Me gets mad and tells him he is bad man. Me start screaming things me nots understand but he let me go and back up. Me see he scared and me let Oloo loose. Oloo tell Turtlehead many bad bad things he seem to shake and grow smaller. He tell turtleshells to leave ship. They run off of ship very fast.
Turtlehead then turned and slowly walked away. Me could tell he was scared of Oloo but me not scared of him. Me tell Oloo to go back to sleep and it does. Me walk down ramp and Turtlehead offer to make me student. Me laugh and tell him he should join my crew and be my student. Me sense danger but Turtlehead just turns and leaves. Me close ramp and tell Inky to get us out of here.
Me walk back to bridge with Mantis and she tell me Turtlehead is real big and dangerous bad man. Me start giggling. Me think he seem kind of small. Me make big bad man very small turtlehead. Me fall down giggling. Me gets to bridge and see giant super big humungoship and me say "Poofy them!!!" Kitten opens fire and me grin real big when giant hole is blown in tower on top of ship. Millions of beams of light then exploded around us but we just turn on the temper and go zooming to six o'clock. Me happy me have good crew and good ship. Turtlehead not mess with me again. Me got Temper ship and me never lose again. Since she is a Temper ship me will call her the Fury.
Spiderpet bit me while I was in the fresher so me squish him and eat him. Me sad now. Me like spiderpet. Now me look for new furry pet. Maybe me go to Vulcan and get a kitty cat.
Me think it time to go put you into new body. Bye-bye Bookielog.


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We try to evoke changes from within. A crucial factor is building up sustainable relationships with partner organisations on the ground.
Our partner organisations think in the long-term too and, by cooperating with them, based on the same values, our team can provide a long-term contribution. With music, we add something useful to existing programs.
We train adults from other organisations so they can strengthen the communities on the spot. It's people from the community who are best equipped to do the work; they speak the language and know the culture. One experience of this is Hashem, who gives trainings in Lebanon himself. Hashem Kabreet is a Syrian artist who started as a Sounds of Change trainee in Lebanon and is now a fully grown trainer. It is the deliberate intention of Sounds of Change to make itself redundant.
Interested in booking a training or becoming a partner of Sounds of Change ?
Please send us a message:


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Fujifilm X-Pro1 Officially Shipping in Japan; Coming to the US in March 0
Staying true to their announcement last month, Fujifilm are now shipping their highly-anticipated X-Pro1 mirrorless camera in Japan. The camera is "in stock" on Amazon Japan for the already confirmed price of 135,000 Japanese Yen, which translates to roughly 1,700 USD.
Ever since its announcement the X-Pro1 has caused quite a stir – most of it due to some phenomenal sample images and a sensor test that had the X-Pro1 outperforming even the D7000. If what they've speculated about the camera is true, then it should even provide competition for the likes of the Canon 5D Mark II (soon the 5DX?), or at the very least make for one heck of a back-up if you can afford it.
PhotoRumors expects that the camera will be shipping in the United States no later than March 20th, which is in line with Fujifilm's promise to bring the X-Pro1 to the US one month after their Japan release.
I'm just hoping that the next month will provide some insight from the Japanese market as to what the X-Pro1 can really do, maybe even making it easier to answer the real question here: To buy, or not to buy?


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The Belmont Abbey women's soccer team earned a 1-0 victory this evening at Lander University. The win improves the Abbey's record to 1-0, as it awaits a makeup date from Thursday's suspended match. The Bearcats, from the Peach Belt Conference, are now 1-1.
Defense was the style though the first 30 minutes, with a total of two shots taken between the two teams combined. After that, the Crusaders went on a shooting surge, getting three shots in the next seven minutes. The third of those was a goal by junior Kooba Richard. The Abbey continued to work the Lander defense, with seven shots by halftime. The defense limited the Bearcats to just one shot in the half, and led 1-0 at the break.
The offense kept the pressure on with a handful of shots early in the second. The Crusaders' back line also continued to play strong, working through a flurry of Lander shots, including two off corners. Goalkeeper Kaitlyn Paul made crucial stops down the stretch and her three saves on 10 shots faced were enough to keep Lander from tying the game at any point.
Abbey Head Coach Mike Lynch commented on his team's toughness "We were in control in the first half, going up 1-0 ten minutes before the half. In the second half, momentum swung their way, but players grinded the game out, withstanding numerous Lander attacks. Freshman goalkeeper Kaitlyn Paul came up big time with several key saves." It was the second contest in a row in which Richard tallied a point. Belmont Abbey's next contest will take place on Monday at 2:00 p.m., when it welcomes USC Aiken.


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Wednesday, December 15, 2010
Here's something nice for you! Our FREE downloads are now available on the website.
1. Eye of Revelation the authentic 1939 AND 1946 editions - e-book (59 pages)
2. Poster of the 5 Rites on one page
3. Poster of Five Rites warm-ups
4. Five Tibetans Brochure/info sheet
5. 7 Undulation to Relieve Office Tension
4 comments:
Should the 4th and 5th rites be performed in quick or slow repititions? Specifically, how long should the moment of tensing and contraction of all the muscles be held for greatest benefit?
- Monday, August 29, 2011 7:05:00 PM
- Carolinda Witt said...
Colonel Bradford gave very limited explanations on speed and duration. This is all he said on speed.
..."In either event he should not neglect the other Rites, and above all he should never strain himself. If he goes about performing the Rites in an easy, interesting manner it will not be too long before he finds everything working out satisfactorily, and that he is doing the Rites the required 21 times a day.
"Of course," he continued, "one must practice them every day in order to keep one's robust vitality. You may skip one day each week, but never more than that. The use of the Five Rites is no hardship at all; it requires less than 10 minutes a day to practice them. If necessary one can get up ten minutes earlier or go to bed ten minutes later."...
With regard to tensing. It is almost impossible to do these movements with activating (tensing) the muscles that are 'holding' you in the pose and acting as 'anti-gravity.' In a way this instruction is almost putting words into what is naturally happening. For SOME people tensing "all the muscles" can cause the spine to come out of its natural curves and put pressure on the joints and nerves (compression) and they may feel a pinch of pain or they may develop pain. In the T5T (The Five Tibetans & Energy Breathing Program) that I teach, we incorporate the use of the deepest muscles closest to the spine that when correctly activated wrap around and protect the spine like a natural weight belt. Therefore we do not "need" to "Tense all the muscles" in the way he broadly describes - because we have tensed the correct muscles to prevent injury and to keep the body strong from the inside out. These are repetitious movements and correct technique (aligning join over joint and no compression)is vital to prevent repetitive strain type injury over the long term. Having said that this is what Bradford said:
Rite No 4
As the body is raised upward allow the head gently to fall backward so that the head hangs backward as far as possible when the body is fully horizontal. Hold this position for a few moments, return to first position and RELAX for a few minutes before performing the Rite again.
and Next, return to a sitting position and relax for a moment before repeating the procedure. When the body is pressed up to complete horizontal position, tense every muscle in the body. This will have a tendency to stimulate Vortexes 'F,' 'G,' 'E,' 'D' and C.'
Rite No 5
Here he does not use the word "tense" but "hold" in the description under the diagram:
The Second position is attained by pushing the body, especially the hips, upward as far as possible. The hands are kept flat on the floor at all times. Hold this position for a brief moment and return to First position. After a moment of "hanging in suspension" perform the Rite over again.
but in the text he goes back to "tense"
"After a few weeks, that is after you become quite proficient in this movement, let the body drop from its highest position to a point almost but not quite touching the floor. The muscles should be tensed for a moment when the body is at the highest point, and again at the lowest point.
I have been meaning to write about this for some time, so you have reminded me. I'll post it up here when done, so you might want to subscribe to RSS feed or check the website www.T5T.com in the articles section.
All the best
- Tuesday, August 30, 2011 8:39:00 AM
I am a 40 year old man and I have been practicing five Tibetan Rites since late 2009 everyday, with full 21 repetitions. My muscles have toned up, my posture has become much better, sleeping improved, bowel movements have become smooth and my tummy and waistline have reduced. However, my skin has erupted into pimples from hips till my neck. I do feel energetic immediately after the rites but feel tired and sleepy in an hour. My hair has greyed considerably this year and I have also lost quite a bit of my hair. This quite the opposite effect of what is expected. I consulted a Traditional Chinese Medicine(TCM) doctor who advised me against these execises. He said the rites are putting a stress on my body. Whats your opinion on this matter? Thank you.
- Sunday, October 09, 2011 12:41:00 AM
- Carolinda Witt said...
Oh, that sounds awful!! Since you have been doing them for a long time without any problems, and in fact a lot of benefits, it is unlikely to be the Rites alone that is causing your issue. It is possible that the stimulating effect on the circulatory, lymphatic and hormonal system is 'activating' an underlying condition, allergy or detoxification. Exercise and moving the body is a normal human condition - being sedentary is not. Has your TCM practitioner advised you stop all exercise or recommended alternatives? I would suggest you look into other lifestyle factors such as diet, environment and stress from work, relationships etc. If this does not suit you, why don't you decrease your repetitions back down to 3 per day and see what happens? Then gradually build back up again? Generally, the idea is to eliminate possible causes including dietary (see above) and see if there is an improvement.
- Monday, October 10, 2011 11:04:00 AM


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Monday, September 24, 2012
Exclusive: Baby Seal Watches Sesame Street!
Well... actually this little Baby Seal liked to watch me, Cookie, from behind the glass of its habitat. Cookie loved the Baby Seal and me thinks the Baby Seal loved Cookie too. Me thinks me made a new friend Friday at Aqua Zoo Friesland in The Netherlands and me liked that a lot. Don't you think this is a very very cute Baby Seal?
Cute huh!
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Saturday, June 29, 2013
It's been too long!!!
Even though I've not been on here for a LONG while I have still kept pen palling and am happy to be back posting. I'd been travelling the past few months and too busy with work beforehand. Now I can look forward to having a little more time for posting. I will begin, though, by posting some of the letter detail from my latest written letter.
Sticker over hand-drawn border on white background.
I have TONS more to share with you, my lovely followers, in the next few days but in the meantime you can check out a little bit about my travels on my new blog,
Walks In Beauty
; also if you are a nature lover be sure to check out my newest blog featuring photos taken by my other half and myself,
Nature Delights
Thanks and keep an eye out for my next post!
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Nadia Marie
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PhotoScissors interactive cutout tool for foreground segmentation enables new smart ways of removing backgrounds from still images. Go to our Tutorials page and see for yourself how easy it is for anyone to do with just a few simple steps. Download our Try-Before-You-Buy demo and use it on your own photos!
PhotoScissors saves the day when you quickly need to cut out a person or an object to paste it to another picture, or to remove background from a photo. You don't need any specific skills or professional software for a perfect image clip: few mouse strokes produce an accurate clipping path that can be further enhanced with fine brushes.
PhotoScissors provides an extremely easy way to cut a background an image. Instead of trying to accurately enclose a region with the Lasso or Magic Wand tools in cumbersome professional graphical editors, you quickly mark areas you want to cut out and areas you would like to preserve, and the program automatically does the rest. Thanks to optimized analysis of the clipping edges, you don't have to hunt for pixels trying to select an unwanted background. PhotoScissors is easy background removal with minimum efforts!
PhotoScissors easily handles complex semi-transparent objects like hair and allows you to get rid of the background of such pictures as easy as with any other scenes. While in other tools you have to deal with hair literally pixel by pixel, with PhotoScissors you save hours, because the Magic Marker tool efficiently deals with transparent objects too.
Cutting out a background from photos is a popular picture editing procedure. Indeed, there are dozens of possible applications for PhotoScissors: uploading product pictures to eBay or Amazon, preparing photos for job seeking or dating websites, replacing a boring background with a more picturesque one or a solid color, creating photo jokes, collages, retouching vacation photos for fun or for a better impression and plus many more.
In the real world, some objects are transparent. And removing backgrounds from photos with such objects on them is pain. But with PhotoScissors you can effortlessly change one background to another thanks to the transparent marker tool that denotes areas that should retain both foreground and background textures.
PhotoScissors background removal tool easily extracts objects and remove background from photos. All you need to do is highlight some of the foreground and background and our algorithm takes care of details.
Not only is PhotoScissors very efficient in removing unwanted backgrounds from photos, the tool is also extremely easy to use. Unlike advanced graphical programs, PhotoScissors is user-friendly and straightforward clipping tool. With only basic picture editing skills, you can achieve excellent results comparable to those produced by specialized solutions.
The program features anti-aliasing, feathering and halo-prevention options for the best quality of the cutout. Coupled with transparency support it, gives you the best results, even on complex backgrounds.
I am very impressed with this simple and powerfull background remover software. Works as advertised.
Really nice app, swapped backgrounds on my photos without photoshop.
Excellent app to remove unwanted background from my photos, extremely easy in use!
Now I can easily cut out unwanted background!
Photoscissors makes it an easy and time saving excercise to remove backgrounds from photos - easier than in Pixelmator and easier than in Photoshop. It's great for people who don't know - or don't want to learn - how to use Pixelmator or Photoshop and the results are better than a beginner could obtain in either Pixelmator or Photoshop. It's s a simple case of painting the part (or parts) of the image you want to keep with the green brush and the parts you don't want to keep with the red brush. The software is quite "intelligent" in that it is able to recognise, without explicit user input, parts of the object that should be kept and which it would be impossible to accurately paint green. Spectacles for example seem to be identified by the software as belonging to faces despite the fact that sepctacles jut out of the side of faces. Quite impressive. The recent update does seem to have smoothed out the edges of the "cut" image although, and I can't be sure about this, perhaps the resulting image is not quite as sharply cut from the background as in the previous version of Photoscissors 2. In any case I use Pixelmator to smooth out the "cut" image - to ever so slightly blur the edge so that I can blend the image into a new background using Pixelmator. I would prefer the option to have a more rugged but possibly pixel accurate cut out that I could then smooth in an image editing program. It's a great, unique and very effective product though and I would not hesitate to recommend it.


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|Oracle FAQ
|Your Portal to the Oracle Knowledge Grid
Home -> Community -> Mailing Lists -> Oracle-L -> RE: How Does user have unlimited tablespace privilege?
grant RESOURCE => unlimited tablespace
> ----------
> From: Jeff Wiegand[SMTP:jwiegand_at_ancept.com]
> Reply To: ORACLE-L_at_fatcity.com
> Sent: Tuesday, June 13, 2000 00:35
> To: Multiple recipients of list ORACLE-L
> Subject: How Does user have unlimited tablespace privilege?
> Hello.
> I create my users in the following manner:
> create user user_name1 identified by user_name1 default tablespace users
> temporary tablespace temp quota 0 on system quota unlimited on users
> ;
> grant resource, connect to user_name1
> ;
> The user then has the system privilege unlimited tablespace. If I do not
> revoke this privilege, any dump for the user (from another database) is
> put
> into the system tablespace. No, the user I get the dump from does not have
> ANY objects in system. The user I get the dump from has a tablespace
> default
> set to users as well, along with quota 0 on system.
> Why is the dump put into the system tablespace?
> Thanks.
> --
> Author: Jeff Wiegand
> INET: jwiegand_at_ancept.com
> Fat City Network Services -- (858) 538-5051 FAX: (858) 538-5051
> San Diego, California -- Public Internet access / Mailing Lists
> --------------------------------------------------------------------
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> to: ListGuru_at_fatcity.com (note EXACT spelling of 'ListGuru') and in
> the message BODY, include a line containing: UNSUB ORACLE-L
> (or the name of mailing list you want to be removed from). You may
> also send the HELP command for other information (like subscribing).
Received on Tue Jun 13 2000 - 06:41:43 CDT
Original text of this message


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DIRECTOR William Peter Blatty WRITER William Peter Blatty STARS Stacy Keach; Scott Wilson; Jason Miller DVD & BLU-RAY 25 April
Let's start with a statement: what a strange and brilliant motion picture The Ninth Configuration is. A true cult classic, it's a film that's often talked about and yet rarely seen, suffering from poor home video releases that have chopped the negative over the years. Thankfully, Second Sight are one of the new breed of companies dedicated to restoring cinema, and this new high-definition presentation is fully restored to the 118-minute approved version by novelist-turned-director William Peter Blatty. This is the second part of a 'trilogy of faith' from Blatty, which started with The Exorcist (both book and film) and concluded with Legion (a novel which formed the basis of The Exorcist III). Gesturing towards Hitchcock's Spellbound in term of narrative, but closer in tone to Shock Corridor or the works of David Lynch, the film presents a mix of beautiful visuals, ridiculous pretentiousness, humour and action. It's a film about psychosis and madness, and genuinely one of the more bizarre offerings of modern cinema.
For those who choose to submerge themselves in it, much of the power comes from the script, which is taken from Blatty's novel Twinkle, Twinkle, Killer Kane, (which was an early release title for the film in some markets). The US military are trying to establish if a group of apparently deranged servicemen and one astronaut, Billy Cutshaw, are faking their insanity at a gothic castle turned medical centre called Center 18. When psychiatrist Hudson Kane arrives to take charge, he is persuaded by Cutshaw and fellow patient Reno (who is adapting the works of Shakespeare for dogs, not the weirdest thing which happens here) to indulge in the men's delusions and engage in extravagant play therapy. Naturally Center 18 descends into insanity, and Cutshaw challenges Kane to prove the existence of God by showing him one single act of genuine self-sacrifice. But Kane himself is haunted by murderous dreams of his killer twin brother (who may in fact be himself) and is as equally disturbed as the men he's trying to help.
With hallucinogenic visions of a lunar crucifixion to the gritty realism of a bar room brawl, via such twisted scenes as Robert Loggia lip-syncing to Al Jolson and Moses Gunn in Superman drag, Blatty directs this like a man with no understanding of, or interest in, the supposed limits of mainstream moviemaking. The dialogue is wonderful: "You remind me of Vincent Van Gogh — either that or a lark in a wheat field," says Cutshaw. The cast are allowed to spiral off into their own individual lunacies, with Stacy Keach as Kane (never a consistent actor, but arguably career-best work here) playing straight while great character actors like Loggia, Jason Miller and Joe Spinell act like Abbott and Costello on LSD. Cinematographer Gerry Fisher tracks his camera around the castle's corridors to an eerie score by Barry De Vorzon, creating an air of intimacy and tension that casts the viewer as both inmate and observer. Miraculously, and just as the film seems to be about to fall into total lunacy from this chaos, comes order, with a truly brilliant final half hour that turns dark and surprisingly emotional, and a form of redemption is discovered and offered by Kane to the inmates of Center 18.
Understandably, The Ninth Configuration was confusing to audiences upon release who were expecting a more straightforward horror movie from the creator of The Exorcist, and two versions were released by Warner Brothers to different markets, both of which cut much of the satire and, crucially, reworked the ending, giving the feel of an entirely different conclusion to the story than Blatty was going for. The new audio commentary by Blatty on this release documents the changes, and is also a fascinating insight into the production struggles and his efforts to have a definitive version released. Second Sight have also provided a wealth of additional material, including interviews with all the cast members — Keach talks about the film with particular fondness — and features on the production design and soundtrack, plus deleted scenes, outtakes and promotional materials. Finally, The Ninth Configuration gets the release it deserves, and you should see it. A film almost impossible to describe, but a film that is also impossible to forget.


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Foxconn NetBox-nT330i Barebone Review
The NetBox-nT330i barebone from Foxconn is an interesting product for those that need a very small media center PC, which can be also used for office applications or browsing the internet; its performance varies depending on what 2.5inch HDD/SSD and DRAM you decide to use with it.
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Port Neches RiverFest
The 16th annual Port Neches RiverFest: Thunder on the Neches is officially underway at Riverfront Park in Port Neches and continues through Sunday, May 7. Sponsored by Neches Federal Credit Union, RiverFest features fantastic food, great music, vendors, the Mighty Thomas Carnival midway, plus the thrills, chills and spills of the tunnel power boat races on the Neches River.
The all-inclusive wristbands for the Entertainment Complex and boat races are $15, and they're good for Thursday-Saturday. Youth ages 3 and under get in free, and areas free to the public are events at the pavilion, vendors (arts and crafts, food), the boat show, barbeque cook-off, car show, and Port Neches Park.
2017 RiverPasses for unlimited carnival rides are on sale now at the Port Neches Chamber of Commerce and online at PNRiverfest.com. Price is $40 per person for unlimited rides and free admission to the Entertainment Complex Thursday though Sunday.
Gates will open at 5 p.m. (close at 11 p.m.) on Thursday, May 4, and performing at the Entertainment Complex will be local rock band Livin' Proof at 7:30 p.m. and popular Texas country act Reckless Kelly from 9:30-11 p.m. Brothers Willy and Cody Braun lead the band, which is touring in support of their ninth album, Sunset Motel.
Friday, May 5, the boats of the Southern Professional Outboard Racing Tour will begin testing from 3-5:30 p.m.
Carnival and vendor hours Friday are 5-11 p.m. with musical acts Pea Patch Orchestra (7 p.m.), popular country songstress Bri Bagwell (8:30-10 p.m.) and headliners the Turnpike Troubadours take the stage at 10:30 p.m.
The two-day finishing tournament for trout, redfish and flounder begins at 6 a.m. on Saturday, May 6. Entry is $30, and the deadline for entry is Friday, so register online at pnriverfest.com/entry-forms.
Tunnel boat action begins at 9 a.m. Saturday with races throughout the day, and the carnival area is open 10 a.m. – 11 p.m.
The classic cars will be on display from 10 a.m. – 3 p.m. and the Veterans Parade, which is set for 11 a.m., will begin at PN-G High School and end at the pavilion.
Other Saturday events include a cutest baby contest, a demonstration by Armentor's United Martial Arts, and the sky will light up at 9 p.m. with fireworks.
Musical performances include local act Bayou Sounds (6:30 p.m.), Brian Jack & the Zydeco Gamblers (8 p.m.), and headlining on Saturday will be Shinyribs, who will take the stage at 10:30 p.m. For those who have never seen Shinyribs perform, Kevin Russell is a whole lot of country-soul, swamp-funk and tickle.
RiverFest concludes Sunday, May 7, and Day 2 of the finishing tournament begins at 6 a.m. with a 2 p.m. weigh-in, while the tunnel boats crank back up at 9 a.m. and end at 5 p.m. with an awards ceremony.
The vendor area will open at 11 a.m. followed by the carnival at noon, which will close near dark.
There will also be no admission charge for the Entertainment Complex on Sunday with a horseshoe tournament at noon, washer-board shootout (3 p.m.) and the announcing of the winners of the Miss Port Neches Pageant and Mother of the Year at 12:30 p.m.
Beaumont Exotics will have animals of all kinds on display at the pavilion from 1-3 p.m.
Golf carts will be available for patrons to transport them to and from the festival grounds and parking lots.
River Front Park is at 620 Grigsby near Port Neches-Groves High School. For a complete schedule and more details, view pnriverfest.com online or call (409) 722-9154.


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The Mantra That Helped This Paralympic Medalist Thrive After Losing Her Legs
Amy Purdy was 19 when she was diagnosed with bacterial meningitis. A rare disease affecting just 4,000 people per year, it's very serious—10 percent of people who contract it die from it, according to the CDC. Purdy was lucky enough to live, but she went into septic shock and lost both her legs in the process.
"The doctors initially told me they didn't know if I would ever walk again," she says. "I just remember thinking, well, what if this just hasn't yet been done or figured out? I was determined to snowboard and use my legs again."
As determined and resilient as Purdy was for someone in her position, the days following her bleak diagnosis weren't easy. Still, she's gone on to win a bronze medal at the 2014 Paralympics, compete on Dancing With the Stars, and found her own nonprofit, Adaptive Action Sports. So, how did Purdy come out of a challenge like this with such strength and success?
"I wanted to focus on what I had left."
Before losing her legs, exercise had always been a huge part of Purdy's life. She loved to snowboard, and she went to the gym five times a week. When she lost the use of her legs, she decided to work with what she had left.
"Before I got my prosthetic legs, I would do floor exercises like crunches and donkey kicks and leg lifts and pushups, because I wanted to focus on what I had left," she explained. "I knew I couldn't do squats, but I also knew there were other ways I could get stronger. I had to find control somewhere, so I decided to control how I took care of myself. And since then I've gone on to do so much in my life, snowboarding at a high level, dancing on Dancing With the Stars. Things are different, but instead of focusing on what I can't do, I focus on what I have."
Finding resilience through visualizations.
The period following losing her legs was a dark one for Purdy. She spent a lot of it in bed, and even once she did get her prosthetics, it took her a while to feel comfortable in them—when prosthetics are even just a millimeter off, it can make all the difference for an amputee.
"There were moments when I thought to myself, Even if I snowboard again, how will I ever be happy again? But eventually I got sick and tired of being sick and tired," says Purdy. "I started actually visualizing what I wanted from my life. I didn't want people to feel sorry for me. I've always known myself as being active and healthy and capable, so I started visualizing what I wanted for my life, and I saw myself walking gracefully and snowboarding. I saw myself traveling and helping other people and letting them know everything would be OK, whatever it was they were going through."
The mantra that got her through.
In addition to her visualizations, Purdy had a mantra she called on every time she was feeling defeated. "I would say, 'If my life were a book and I were the author, how would I want this story to go?'" she says. "That was a key motivator for me. I decided I wasn't going to lie in bed and feel sorry for myself; I was going to have to use this to help better myself in the world."
Above all, she learned a lesson: What you have now can be gone in an instant. "You can't be too married to what you have, because it can leave in the blink of an eye," she says. "You don't want to have crazy attachments to who you think you are and what you have, you want to be accepting of what you have in your life. It's a matter of making the choice to persevere, getting creative, and finding a way."
To learn more about Amy, visit teamusa.org. The Olympics begin live on February 8 and The Paralympics begin on March 9.
And are you ready to learn more about how to unlock the power of food to heal your body, prevent disease & achieve optimal health? Register now for our FREE web class with nutrition expert Kelly LeVeque.