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Japanese officials were trying frantically to thwart partial meltdowns presumed under way Sunday at two earthquake-stricken nuclear reactors in Japan.
Fuel rods were briefly exposed and radiation levels briefly rose above the legal limit at the second reactor Sunday, said Chief Cabinet Secretary Yukio Edano.
A partial meltdown in the unit is "highly possible," he told reporters. "Because it's inside the reactor, we cannot directly check it but we are taking measures on the assumption of the possible partial meltdown."
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He also said a hydrogen explosion could occur at the reactor, Unit 3 of the Fukushima Daiichi nuclear complex. That would follow a Saturday blast at Unit 1 of the same complex as operators attempted to prevent a nuclear meltdown by injecting sea water into it.
Japan's largest electric utility Sunday released what it said was slightly radioactive air at Unit 3.
Both reactors are among three shut down Friday at the Fukushima Daiishi plant when their cooling functions stopped after the area was jolted by a magnitude 8.9 earthquake.GE-designed reactors in Fukushima have 23 sisters in U.S.
Tokyo Electric Co., or TEPCO, Saturday began pouring seawater and boric acid into its Fukushima Daiichi power plant Unit 1 reactor, whose core partially melted. On Sunday TEPCO released air containing radioactive materials for more than 2 hours and injected water at the Unit 3 nuclear reactor container vessel to reduce pressure and temperature to save the reactor from a possible meltdown.
Critical core cooling systems failed at both reactors. The Unit 2 reactor, though shut down by the quake, was not in the same trouble.
Released steam raised radiation levels above safety limits outside the Unit 3 reactor Sunday, TEPCO officials said, adding they informed the government of an "emergency situation." Still, they said, there was no immediate threat to human health.
Edano said the radiation levels later fell.
A similar radiation increase was seen Saturday during venting at the No. 1 reactor before it exploded. The blast destroyed the exterior walls of a building, but did not breach the steel housing enveloping the reactor there, officials said.
Radioactive cesium and iodine were detected near the facility Saturday, indicating that the melting had occurred, Kyodo News Service reported.
Officials said that at one point, the Unit 1 was releasing each hour the amount of radiation a person normally absorbs from the environment each year.
It is the first time a Japanese nuclear plant has ever experienced any level of reactor core melting.
TEPCO on Sunday also said it was preparing pressure reducing measures for its nearby Fukushima Daini Nuclear Power Station, where four reactors were shut down due to earthquakes. Releases of air with radioactive material were being considered for Daini units 1, 2, and 3.
Story: Radiation risk from nuclear plant seen as worrisome, not critical
Earlier Edano said TEPCO has begun new cooling operations to fill the Daiishi No. 1 reactor where the melting occurred with seawater and pour in boric acid, which absorbs neutrons, an operation expected to take several hours, Kyodo reported.
Filling the entire reactor container with seawater will take about 10 days, Edano said. It is likely that the reactor will have to be decommissioned because of the contamination by salts and other substances, experts said, according to Kyodo.
Edano on Sunday said the cooling operation at Unit 1 was going smoothly.
Robert Alvarez, senior scholar at the Institute for Policy Studies and former senior policy adviser to the U.S. secretary of energy, said in a briefing for reporters that the seawater was a desperate measure.
"It's a Hail Mary pass," he said.
He said that the success of using seawater and boron to cool the reactor will depend on the volume and rate of their distribution.
The evacuation zone around the facilities was doubled in size from 6 miles to 12 miles. More than 210,000 people had been evacuated from the area by early Sunday morning, and evacuations were continuing, the safety agency said.
Footage on Japanese TV showed the explosion had crumbled the building's walls, leaving only a skeletal metal frame standing. Its roof had also been blown off. Plumes of smoke spewed out of the plant, 20 miles from Iwaki.
The Japanese authorities have classified the event at Fukushima Daiichi Unit 1 as a level 4 "accident with local consequences" on the International Nuclear and Radiological Event Scale (INES). The scale is used to consistently communicate the safety significance of events associated with sources of radiation. The scale runs from 0 (deviation -- no safety significance) to 7 (major accident).
The 1979 Three Mile Island accident in Pennsylvania was a level 5 ("accident with wider consequences"). The 1986 Chernobyl disaster was a level 7 ("major accident).
Four workers were injured by the blast at Fukushima Unit 1, officials said.
Edano said the radiation around the plant had not risen after the blast, but had in fact decreased. He did not say why that was so.
Area residents were told to stay indoors, not to drink tap water and to cover their faces with masks or wet towels, according to Britain's Sky News.
Japanese authorities also told the U.N. atomic watchdog that they were making preparations to distribute iodine to people living near nuclear power plants affected by Friday's earthquake.
Iodine can help protect the body from radioactive exposure.
Japan has 55 reactors spread across 17 complexes nationwide.
Road to meltdown
Officials began venting radioactive steam at Fukushima Daiichi's Unit 1 to relieve pressure inside the reactor vessel, which houses the overheated uranium fuel. Officials declined to say what the temperature was inside Unit 1.
Officials were aware that the steam contained hydrogen, acknowledged Shinji Kinjo, spokesman for the government nuclear safety agency. More importantly, they also were aware they were risking an explosion by deciding to vent the steam.
The significance of the hydrogen began to come clear late Saturday:
— Officials decided to reduce rising pressure inside the reactor vessel, so they vented some of the steam buildup. They needed to do that to prevent the entire structure from exploding, and thus starting down the road to a meltdown.
— At the same time, in order to keep the reactor fuel cool, and also prevent a meltdown, operators needed to keep circulating more and more cool water on the fuel rods.
— Temperature in the reactor vessel apparently kept rising, heating the zirconium cladding that makes up the fuel rod casings. Once the zirconium reached 2,200 degrees Fahrenheit (1,200 Celsius), it reacted with the water, becoming zirconium oxide and hydrogen.
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— When the hydrogen-filled steam was vented from the reactor vessel, the hydrogen reacted with oxygen, either in the air or water outside the vessel, and exploded.
A similar "hydrogen bubble" had concerned officials at the 1979 Three Mile Island nuclear disaster in Pennsylvania until it dissipated.
If the temperature inside the Fukushima reactor vessel continued to rise even more — to roughly 4,000 degrees Fahrenheit (2,200 Celsius) — then the uranium fuel pellets would start to melt.
According to experts interviewed by The Associated Press, any melted fuel would eat through the bottom of the reactor vessel. Next, it would eat through the floor of the already-damaged containment building. At that point, the uranium and dangerous byproducts would start escaping into the environment.
At some point in the process, the walls of the reactor vessel — 6 inches (15 centimeters) of stainless steel — would melt into a lava-like pile, slump into any remaining water on the floor, and potentially cause an explosion much bigger than the one caused by the hydrogen. Such an explosion would enhance the spread of radioactive contaminants.
If the reactor core became exposed to the external environment, officials would likely began pouring cement and sand over the entire facility, as was done at the 1986 Chernobyl nuclear accident in the Ukraine, Peter Bradford, a former commissioner of the U.S. Nuclear Regulatory Commission, said in a briefing for reporters.
Another expert, Ken Bergeron, a physicist and former Sandia scientist, added that as a result of such a meltdown the surrounding land would be off-limits for a considerable period of time, and "a lot of first responders would die."Video: Expert: Already 'one of the worst nuclear disasters' (on this page)
'Not a fast reaction like at Chernobyl'
TEPCO, which operates the six-reactor Daiichi site, said Friday that it had also lost cooling ability at a second reactor there and three units at its nearby Fukushima Daini site.
The government declared a state of emergency at all those units.
Kinjo acknowledged there were still fears of a meltdown.Interactive: How a nuclear plant works
A "meltdown" is not a technical term. Rather, it is an informal way of referring to a very serious collapse of a power plant's systems and its ability to manage temperatures.
Yaroslov Shtrombakh, a Russian nuclear expert, said a Chernobyl-style meltdown was unlikely.
"It's not a fast reaction like at Chernobyl," he said. "I think that everything will be contained within the grounds, and there will be no big catastrophe."
In 1986, the Chernobyl nuclear reactor exploded and caught fire, sending a cloud of radiation over much of Europe. That reactor — unlike the Fukushima one — was not housed in a sealed container, so there was no way to contain the radiation once the reactor exploded.
Edwin Lyman, a senior scientist with the Union of Concerned Scientists, which opposes nuclear energy, told msnbc.com Friday that TEPCO was facing a potential catastrophe.
"What's critical is, are they able to restore cooling and prevent fuel damage? If the fuel starts to get damaged, eventually it will melt through the reactor vessel and drop to the floor of the containment building," raising the odds that highly radioactive materials could be released into the environment, he said.
But Steve Kerekes, spokesman for the U.S.-based Nuclear Energy Institute, said that while the situation was serious, a meltdown remains unlikely and, even if it occurred would not necessarily pose a threat to public health and safety.
"Obviously that wouldn't be a good thing, but at Three Mile Island about half the core melted and, at the end of the day … there were no adverse impacts to the public," he said.Video: Japan in shock: 'Nothing compares to what happened' Open Channel blog: 2007 Japan quake was wake-up call on nuclear safety
The Daiichi site is located in Onahama city. The 460-megawatt Unit 1 began operating in 1971 and is the oldest at the facility. It is a boiling water reactor that drives the turbine with radioactive water, unlike pressurized water reactors usually found in the United States. Japanese regulators decided in February to allow it to run another 10 years. The reactors were manufactured by GE. (Msnbc.com is a joint venture between NBC Universal and Microsoft. GE is a part owner of NBC Universal.)
The Fukushima Daiichi Nuclear Power Station has six reactors. Units 1, 2 and 3 were shut down due to the earthquake and units 4 to 6 were shutdown earlier for regular inspection, TEPCO said.
At Fukushima Daini Nuclear Power Station, the units 1 to 4 were shut down due to the earthquake, TEPCO said. A trapped crane operator there died Sunday, TEPCO said.
In a statement released Saturday, The Citizens' Nuclear Information Center said, "This could and should have been predicted ... We warned that Japan's nuclear plants could be subjected to much stronger earthquakes and much bigger tsunamis than they were designed to withstand."
Greenpeace called for the existing reactors to be phased out, saying in a statement, "How many more warnings before we finally grasp that nuclear reactors are inherently hazardous?"
Open Channel: Read the full statements
NBC News, msnbc.com staff, Reuters and The Associated Press contributed to this report.


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A PLOT is one of the (9) thesis groups at Taubman College to recently complete final presentations (by recently I mean several months ago). Below is a look at some of the resulting work and investigations.
A PLOT brief:
As cities are strained, once familiar settings become anomalies or strangers to their original intentions. Material conglomerations acquire obscure and unfamiliar attributes, occupations and associations as the raw material of the city falls in and out of expected definitions, setting the stage for questionable legal, cultural and environmental interpretations. In a tangle of material culture and spatial implications speculation alone misses the unexpected push of reality. As an alternative, direct material manipulations and the actual items of production, collapse architectural interpretation with the city itself.
A two-fold definition, PLOT simultaneously collapses the keen focus on the physical and circumstantial attributes of explicit locations, and the weight of the scheme or narrative conjured up by the work. Predicated in making this research practice is a means to reveal, critique and alter the realities of our urban settings.
Tested first as an exhibit at the Civic Space gallery in Windsor, the PLOTTERS focus on specific plots of land in Detroit, exploring their material and atmospheric conditions as well as their immaterial circumstances (regulations, neglect, oddities). For the exhibit, Cross-Plotting: From Detroit to Windsor, material from selected plots were physically or conceptually lifted from the sites in Detroit, re-worked, and re-plotted in Windsor, exposing interests, realities and circumstantial agents. Yearlong pursuits continued the developing research practices; responsive to the peculiarities of the city and resonating with the present context. These endeavors were supported by allies in the effort. PLOT collaborates closely with the inspiring collective: Broken City Lab of Windsor through shared workshops and pursuits, as well as the nimble and dedicated Creative Rights legal team and their guidance in helping to decipher the stakes in the settings.
All the resultants are material based, real and of their invested circumstances. Distinct to the respective plots, and as a collective, PLOT is a practice and means by which to test and reveal the city.
Written by Catie Newell (Thesis Advisor)
Emily Kutil
Creatures of Fierce and Ordinary Reality: A Zoo for Belle Isle
Concealed behind fences and isolated from their surroundings by freeways, golf courses, and parks, zoos make spaces in cities for humans to explore their fascinations with other animals in peculiar and fantastical ways. Zoos use architecture to help them act as spatial mediators, dealing simultaneously in the space of collective fantasy and in the particularities of contact between human and nonhuman life. Architecture shapes the images of the natural world that zoos are able to create, both as a frame for organizing relationships and as a container for the production of microcosms.
For nearly twenty years, the Belle Isle Zoo passed through a difficult period in which its spaces of contact seemed fixed, inevitable, and tremendously boring. Humans and animals were made to stare at each other across long distances, never allowed to stray from their respective enclosures. Attendance to the Zoo dwindled. Then, in a stroke of brilliance, the idea of captivity was abandoned altogether. The captive animals were sent away, and the Zoo experienced a renaissance. Visitors poured through the open gates and holes in the fences, eager to see the Zoo's enclosures—which had become all the more enticing for their emptiness. The Zoo was suddenly able to foster a thrilling, uneasy relationship between humans and the life forms they encountered there.
Renovations to the Zoo since its reinvention have taken this unease into account, building into each exhibit degrees of ambiguity that had been previously unimaginable. A new architecture of oscillating representations has taken the place of the old, static panoramas: as soon as one illusion is staged, another undermines it or takes its place. Real and imagined spaces are allowed to coexist, to blur and conflict. The unresolved fantasies help visitors to wonder about the things they do and don't understand about humans and other living things.
Andrew Wolking
Saturated Landscapes
The expanding landscapes of Detroit's abandoned and closed schools offer unique opportunities to expose latent site conditions through the exploration of new design methodologies. Working within the framework of Rose Elementary School, an abandoned school on Detroit's eastside, the project seeks to draw from the dulling colorization of the site and its surrounding context. Using color as a design mechanism to drive the formal and aesthetic decisions of the work, "Saturated Landscapes" pushes the role of color to the forefront of the design process. No longer is color used simply as a superficial application added at the end of the work, but it becomes a driver for design decisions exposing a practice for working through color, not just with it.
Through intense site documentation using the flexibility of film as the tool, Rose is extensively photographed capturing the fading colors as the school slips away and its surrounding ground pushes outwards.
Color's inherent ability to obstruct or veil materiality, boundaries, and edge conditions is explored in the film strips through a post processing technique of drawing the major colors through the images creating unfamiliar landscapes in which to view the playground and surrounding neighborhood of Rose Elementary. The site is able to undergo this transformation by operating through the lens of color distorting the current conditions.
The altered film images inform a site installed installation constructed of mirrored surfaces. The fragmented and irregular surfaces rooted in the ground blur edge conditions by pulling ground vertically and capture the ephemerality of site based light and color. The dulling colors of the site are displaced onto the reflected surfaces acting as a comment on the current lack of color by removing color from its contextual positions allowing viewers to visually access isolated immaterial moments of continually changing site color conditions.
Grant Weaver
Nascent Ecologies:
finding an architectural agency within post-industrial sites of decline
"…as we unleash living forces into our created machines, we lose control of them. They acquire wildness and some of the surprises that the wild entails. This, then, is the dilemma all gods must accept: that they can no longer be completely sovereign over their finest creations".1 Once our finest creation, Fordist notions of space planning and industrial processes have physically transformed our modern landscape, leaving altered ecologies in their wake. These sites exist as a fourth nature, a new landscape synthetically altered by contaminants released into the soil. How can architecture move beyond conventionally accepted remediation techniques and respond to these altered geologic states? Framed through a broadened ecological understanding, how might architecture respond to the nascent attributes of the post-industrial landscape?
The former Continental Aluminum factory on the east side of Detroit has been taken on as a test bed for this research. Officially abandoned in the 1990s, it was home to aluminum scrapping and smelting processes, releasing pollutants into the air and ground. Attention is directed towards the ground condition, looking to the soil as a geologic record, a litmus test of previous occupations and industrial processes.
Through extraction of a core sample, the once native soil was found to be completely artificial. The chemical makeup physically altered through industrial waste and traces of chemical pollutants, transforming the landscape into a new synthetic ecology, a fourth nature.
This project posits itself amidst this synthetically altered nature, advocating for the architectural construct to design within and for this new natural state. As design research, this thesis investigates the unseen and unsensed attributes of post-industrial landscapes through the development of systems specifically responsive to chemically altered ground conditions.Developed and deployed as a full scale on-site installation, this thesis positions itself as a commentary on our 'natural' state of existence. If "artificiality is our destiny"2 how might we design for it?
John Guinn
Synesthetic Architectures:
a mobile laboratory
The project is conceived of as a mobile laboratory, a travelling exhibition whose main objective is to unearth latent information and material realities about abandoned and deteriorating spaces, utilizing this information in order to project forward alternate readings onto the previous practices that previously existed in these spaces. The practice operates with a willful naiveté by whimsically rethinking the nascent systems and technologies that architects readily deploy as a means of situational analysis (site analysis) by creating erratic and often faulty technologies and deploying them with scientific rigor as a means to investigate existing spaces, understanding that the lens these tools provide can often be a mirror back onto themselves; the project relishes in this fact, subverting the idea of 'truth to subject', and instead utilizes these faults as a line of flight, creating a platform towards re-imagining existing situations.
The project's main objective is to reappropriate the subtle and unseen material vibrations that exist in the building elements of abandoned spaces as sonic instruments and reinterpret the image of these spaces' walls as a score, or instructions for how the instrument is to be played. The process is automated, live, and agile; it is able to be deployed swiftly and easily, and is reconfigurable to any spatial typology. Because of its reconfigurability, the process operates as a quasi-autonomous practice. Because of the aberant nature of the analysis, the relationship between the captured sound and the read image also develops reciprocity to the situation, creating new methods and 'best practices' for how to mediate the translation. The outcome is therefore not wholly contingent on the site itself, as the translational methods are sympathetic to its construction.
The resultant is a constructed sonic piece that is a specific snapshot of the moment of capture, as the vibrations are subject to many factors outside and in addition to their material qualities (environmental, inhabitance) and the liminal qualities of abandoned spaces ensures flux in their re- un- making. The project is understood as an ongoing work, each piece an entry to a collection that through its serialization provides new ways of reading the spaces through its rearticulation while revealing untapped potentials of the devices we use to image our environment in an effort to understand the world in new ways.
Ning Zhou
Through a focus on the sonic environment, this thesis expands the description, definition, and relocation of spatial territories. By recognizing a deep relationship between sound and the human perception of space, this work recognizes that sound can alter and deliver a sense of space through performative, flexible, heterogeneous and dramatic sensations that move across material and immaterial condition.
The sound that this thesis works with is the extra music (the ever-present array of sounds with which we all live) rather than music (composed carefully and intentionally for people to listen to). Every object and every movement is audible. Sound cannot exist without a source. Thus sound, although invisible, captures and transmits attributes of a space such as the present materiality, contained activities, and implications of its physical dimensions, as registered immediately and over time. Sound has influence on people physiologically, psychologically, cognitively and behaviorally. Although the ubiquity, immediacy and saturation make it difficult to perceive between sound especially extra music and to be aware of the shifts taking place, it is affecting our understanding, consciousness and actions in the everyday. Hence as a powerful agent for articulation space, sound can be used to read a space through conscious listening. With external and internal factors, people build their own private soundsphere shifting from the public one offering them new perception of the space.
The work captures and relocates audio records of the abandoned Detroit Central Train Station. Using the recording to capture the mechanical vibrations in the space on the site, reproducing the sound as electrically converted vibrations, setting it back into a new physical space, the site is reread and re-experienced through listening. By reproducing and transporting the sound into a movable independent space it creates an altered, though perceptible space and reality for people to experience. The audience can move through various sound-zones to discover new and individual sound combinations to negotiate where there immediate context, and the imported soundsphere of the Train Station.
Anastasia Kostrominova
Whither Ruins
Whither Ruins asks the disciplinary questions of how is meaning attached to architecture? And, does architecture continue to have value after the building is no longer inhabitable? The thesis tackles these poignant and timely issues by using the techniques of casting and video sited within the context of Detroit, a city struggling to retain its rich architectural legacy.
The video takes discussion about ruins outside of the academy and into the city. It documents the actual process of demolition at a Historic District Commission hearing and interviews the people involved in deciding the fate of Detroit's historic architecture: a government employee, a preservationist and a Detroit resident, as a means to investigate the factors that have created an abundance of ruins in Detroit such as the capitalist economy, the financial difficulties of the city and the iconoclastic destruction of vacant buildings to erase the symbols of the City's ailments.
When a souvenir's referent no longer exists, a small replica assumes a new and different meaning. Throughout the video the viewer encounters footage of the process of casting. Without being given any context, the viewer is unable to associate any meaning to the process beyond what is readily apparent. As the film progresses the viewer slowly learns that the casts are being taken from vacant historic buildings that are currently in danger of being demolished, or ones that are already gone. Without context, the standalone casts function as an objectified replica of a building, spotlighting materiality and tectonics. Contextualized, they become a symbol of the manifold of [often contradictory] meanings that are assigned to [historic] architecture. These casts propose alternate methods of preservation for a city that has limited resources.
The act of casting and the various meanings a cast takes on has broader applications within the discipline by showing what happens when a design leaves its conceptual existence within the studio-based realm of representation and becomes a politicalized object within the real world. It provokes both architects and the public to question what meanings a building can take to after it is built, and after it ceases to satisfy the function of shelter.
Anthony Killian
Controlled Burn
The built environment of Detroit is constantly in a state of change from the persistent condition of arson within the city. The root of the issue has many causes; including dynamic shifts in social issues that plague the city to the lack of protection to prevent such acts from happening. Every day, there are upward of 15 fires that exceed the capacities of the fire department. There are parts of the city that have no fire protection at all, exposing the city to a catastrophic disaster of disappearing. These arsons climax in an event that has been called Devil's Night where the quantities of arson skyrocket. At the current pace of fires within the city, the current vacant structures in the city could be ash within 50 years.
The work is explored through a series of capsules that aim to expose the materialistic realities of the present conditions within the city by critiquing the laws and decisions that have made governing burning and arson in Detroit. These policies, which indirectly assign specific values to the materiality of the city, have led to the current de-densification of Detroit. By materially exposing these conditions it one; creates a visual reminder of the persistent threat of fire and two it allows a response to the personal valuation of the role of fire in the city. It simultaneously amplifies the realities of the current trajectory of the materiality condition they are a part of. They also want to materially index the reshaping of the city by the decisions made by the city government. When inserted into a space, the immaterial values of the space become materialized. The function of the materials of the capsule is altered and relationships are juxtaposed to creating a new purpose for the materials. How the space is used and cared for by the city and citizens impacts the value of the space. The threat of fire emanating from the capsule is the ultimate reality of the perceived value and how the capsule interacts with the space it is contained within.
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I am a graduate student and an entrepreneur at the University of Michigan Taubman College where my studies are focused on leveraging design ideas across multiple scales and platforms. Meeting at the intersection between design, tectonics and fabrication, I am continually exploring how a design idea can navigate complex material and production systems and evolve into fully realized architectural artifacts.


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The United States government brought a close to its shutdown this week and the Washington Redskins ended their own unproductive stretch in the nation's capital when they outlasted the Chicago Bears in what was a fantasy-point bonanza. Washington QB Robert Griffin III, who began to show his rookie form last week, put together the kind of performance that became the norm last season with 298 yards passing, 84 yards rushing and two scores. Griffin may not be all the way back until next year, but he will continue to be an every-week start in all leagues.
Bears RB Matt Forte (109 total yards and career-high three rushing touchdowns) had four carries for nine yards and a TD at halftime, but continued his push to the top of the fantasy football mountain at his position. With Chicago playing the last two-plus quarters without QB Jay Cutler (groin), Forte almost singlehandedly carried the offense – becoming the first Bear since Rashaan Salaam in 1995 to run for three touchdowns in the same game.
Redskins rookie TE Jordan Reed (nine receptions, 134 yards and a score), who was already beginning to emerge as a low-end TE1 option in PPR leagues as a player with the ability to create mismatches in the same way Aaron Hernandez did in New England, has likely ascended into an every-week fantasy starter – regardless of format. Washington RB Roy Helu Jr. (48 total yards and three rushing TDs) overshadowed starter Alfred Morris (95 rushing yards) and may have forced his way into more playing time as a result.
Other Week 7 fantasy highlights:
— The story of the week was supposed to be how TE Rob Gronkowski's return was going to spark the New England Patriots' offense and, more specifically, QB Tom Brady's return to fantasy prominence. Gronkowski (eight catches, 114 yards) came on with some big plays late and rewarded his owners after a six-week layoff, but Brady (228 yards and an interception) was held without a touchdown for the second time in three games in a loss to the New York Jets
— The Atlanta Falcons might have been without their top two receivers, but that didn't keep two other wideouts from putting up Roddy White and Julio Jones-like numbers in the Georgia Dome. Tampa Bay Buccaneers WR Vincent Jackson (10 catches, 138 yards and two touchdowns) scored two times for the second straight week while Falcons WR Harry Douglas burned the Bucs for seven receptions, 149 yards and a touchdown. While the effort doesn't mean Douglas is an every-week starter, owners can feel better about using him going forward.
— It may be time to start giving Cincinnati Bengals QB Andy Dalton (372 yards and three touchdowns) a little bit of credit after his second straight 300-yard, three-TD performance. In addition to going toe-to-toe with Detroit Lions QB Matthew Stafford (357 yards and three scores) in fantasy box scores, Dalton helped silence his critics with an 82-yard scoring strike to WR A.J. Green (six catches, 155 yards and a score). Lions WR Calvin Johnson announced his return to fantasy prominence as well after dealing with a recent knee injury, grabbing nine balls for 155 yards and two touchdowns.
— Two running backs who may have become fantasy afterthoughts – the San Diego Chargers' Ryan Mathews (110 rushing yards and a touchdown) and the Jets' Chris Ivory (104 rushing yards) took advantage of soft matchups in wins over the Jacksonville Jaguars and Patriots, respectively. Both backs are long on talent and short on durability, giving their owners a nice week-long window with which to trade the injury-prone players for upgrades at other positions.
— In addition to Cutler, owners will need to keep an eye out for a handful of prominent injured fantasy players over the next week. Bucs RB Doug Martin was forced from the game after suffering a shoulder injury, Philadelphia Eagles QB Nick Foles left with a concussion and St. Louis Rams QB Sam Bradford did not return after a left leg injury. While Rams backup QB Kellen Clemens can be left on waivers, owners may need to consider Bucs RB Mike James or Eagles rookie QB Matt Barkley (assuming Michael Vick is still sidelined by his hamstring next week).


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Two Alumni Bring Web Upgrades to SUNY Canton
Two alumni helped make SUNY Canton's connection to the Internet faster than ever before.
The college contracted with the Plattsburgh-based Westelcom to make the upgrades possible by utilizing high-speed fiber optic cables installed by the Development Authority of the North Country (DANC).
"Randy Trombly, Westelcom's Vice President of Sales and Business Development, and Tom Sauter, DANC's Deputy Executive Director, were involved in this project" said Director of Information Services Mary Holland. "Coincidentally, both graduated from SUNY Canton in 1981."
Holland said that bandwidth has increased almost eight times what it was prior to the upgrades. "We are providing ample headroom for growth needed to support SUNY Canton's online programs and video conferencing," Holland said.
According to Trombly, Westelcom was formed to provide phone systems to businesses in the North Country. In 1996, the company became an Internet service provider. Shortly there after, they expanded into the networking business, offering high end network support. In 2001, they had over 30,000 internet subscribers. "We have positioned ourselves to be a one-stop shop for area homes and businesses," noted Trombly.
Trombly, who majored in Mechanical Engineering Technology, said he didn't cross paths with Sauter in college very often, but was excited to work with him on this project.
Sauter is a longtime supporter of the college. He has served on the SUNY Canton Foundation board and is a current College Council member.
The Development Authority of the North Country is a New York State public benefit corporation, created in 1985. It finances and operates infrastructure and community development projects in Jefferson, Lewis and St. Lawrence Counties.
"The Development Authority of the North Country operates the Open Access Telecom Network, providing wholesale circuits to a variety of voice, video, and data service providers," Sauter said. "One of the locations we put on the network is SUNY Canton. We're extremely pleased that Westelcom is using the Open Access Telecom Network to support SUNY Canton's Internet upgrade."
Tags: DANC, Randy Trombly, Tom Sauter, Westelcom


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Vicky & Johnny | Episode 87 | MOONLIGHT SERENADE | Full Episode for Kids | 2 MIN
Spring dolls that are very curious about the opposite gender!
Delightful stories happen with diverse cast in the town of spring dolls.
★ Synopsis
Spring Town where Spring friends at puberty live.
Boxing-loving Vicky and Johnny, rich Rich, baseball boy Mickey, hip-hop girl Cory, mime girl Luka, soccer boy Uba,prudish Sugar, playful dog Poco, all-mighty man Roly-poly.
Vicky and Johnny live in Spring gym and lead wonderful daily lives filled with fun.
Sometimes in the school, sometimes in the park, sometimes in Spring gym, and sometimes in the beach, there's plenty of fun.
Though friends in Spring can't speak and make facial expressions, they communicate more delightfully than us only with their eyebrows and gestures.
Their own stories, similar to our lives, are told in their own world.
★ Characters
- Johnny: Johnny is the lead character and the most mischievous in the town.
- Vicky: Vicky is a vibrant girl who is more competitive than anyone else.
- Rosemary: Rosemary is the only girl who is younger than the others.
- Rich: Rich is the only son of a declassed noble family.
- Uba: Uba is a soccer-loving boy who is so naïve that he even sounds dumb.
- Mickey: Mickey is a healthy boy who is good at all sports, especially baseball.
- Roly-poly: Roly-poly is the only adult in the town.
- Poco: Poco is Vicky's very brilliant pet dog.
Vicky & Johnny, also known as Angus & Cheryl is 2-minute non-verbal 3D animation for kids.
Hope you enjoy this short episode from TUBA!