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All About Camshafts
Know What The Numbers Mean, Then Make The Right Choice.
One of the most satisfying aspects of engine building is selecting the parts that go into the build, and coming up with a combination that is right on target for the intended application. When that new bullet is finally assembled and comes to life, it's kind of like final exam time-and the results are your report card. The actual goals for an engine are as varied as the intent of the builder, with success measured by an engine that performs to its potential, and does what it is supposed to do. It doesn't matter if the engine project is an 8,500-rpm drag racer, or a torque monster for you dump truck, it isn't going to make the grade unless the camshaft is the right type, and ground to the needed specifications.
The camshaft's job is to control the timing and motion of the valves, and how those valves are orchestrated has everything to do with the way the engine will behave. A misapplied camshaft leads to disappointment every time, while nailing the cam selection will often provide more from an engine than you might expect. With so much on the line, it is understandable lots of guys find spec'ing the cam for a build a nerve-racking process. We can think of a few cam "gurus" who make their living hanging out on Internet message boards recommending cam specs and serving as middlemen to real cam companies.
So, what does it take to make an appropriate camshaft selection? First, you've got to have an understanding of the types of cams available, and the general characteristics and applications for a given type of cam. Next, you'll need a firm understanding of the various specifications used by manufacturers to describe their cams. We'll go into all of this in detail here, however, this information is useless if looked at in a single dimension, or in isolation. To fully integrate the cam selection process, you have to consider the entire build and the various constraints involved in the engine application. Things like the expected longevity and durability of the engine, the cost, the intended application, and operating characteristics of the engine must also weigh into the final cam selection. Much of the decision making will hinge upon the other complementary components comprising the engine assembly, such as the cylinder heads, compression ratio, valvetrain, and rpm capabilities of the bottom end.
Finally, you'll need to consider what you want the cam to do, whether it's rattling windows downtown on cruise night while frying the tires at will, or hitting dead-smooth while delivering years of high-powered open-road service. Either way, you're going to have to know camshafts to get the right cam for the job.
Flat Tappet Vs. Roller
There are two basic camshaft types, flat tappet and roller. At one time, rollers were strictly the domain of all-out race engines, but in recent years the roller cam configuration has virtually displaced the flat tappet in production engines. In the realm of aftermarket cams for V-8 engines, flat-tappet camshafts are still the most common type, however, the popularity of roller cams continues to grow. As the name implies, a roller camshaft uses a tappet with a roller wheel as the cam follower, and it simply rolls over the camshaft lobe. In contrast, a flat tappet appears to be simply flat at the lobe interface. Nevertheless, a closer inspection reveals that the geometry of a flat tappet is considerably more complex. The face of a flat-tappet lifter actually has a large radius of curvature, while the lobe is ground with a taper. This allows the tappet to actually skate while it rotates in the lifter bore over the lobe, rather than scrub across the lobe as commonly thought.
The very geometry of the lifter's contact to the lobe is quite different between a flat-tappet and a roller. A roller's contact with the lifter is linear, while a flat tappet presents a geometric plane to the lobe's surface. The result is that the motion imparted by the lobe is very different between the two types. You might be impressed by the broad "squared-off" lobes of a roller, and imagine the tremendous gain in resulting valve action, compared to a "pointy" flat-tappet lobe. A roller profile requires a much broader lobe to provide a motion similar to a flat tappet, since the nose of the lobe works across the entire diameter of the flat tappet lifter over peak lift, while the roller rises and drops off with the profile. Where a roller really has an advantage is in velocity, since the flat tappet is limited in velocity by the diameter of the tappet, whereas the roller is not velocity-limited by geometry.
A roller has a far greater ability to tolerate spring loads, so as the application becomes more demanding, a roller will allow for the required spring loads to maintain valvetrain control. A flat tappet's durability is greatly affected by spring load, and there is a definite limit as far as how much spring force can be used before it is all over. With very aggressive profiles, high lift, and high rpm, more spring load is typically needed for valvetrain control, and a roller becomes the natural choice. These days, rollers have become very popular even in less demanding applications. With a roller, there is an increase in area under the lift curve due to the increased velocity at the higher end of the lift range. The result is higher lift and better use of the flow rates from today's cylinder heads. It adds up to a performance advantage. A roller also does away with the need to break-in a cam (as flat tappets require), and greatly reduces the possibility of premature cam failure.
Solid Vs. Hydraulic
When contemplating camshaft types, the first characteristic to consider is whether the lifter is a solid or a hydraulic. Both roller and flat tappets are readily available for either solid or hydraulic applications. Hydraulic camshafts have been the norm for OEM V-8 engine applications for decades, and for good reason. The hydraulic mechanism continuously self-adjusts for zero valve lash, resulting in a quiet and durable valvetrain with no maintenance or precision adjustment required. The self-adjusting nature of a hydraulic lifter lends itself to a simplified valvetrain, often with no provision for clearance adjustment.
In a higher-rpm, high-performance application, the very hydraulic mechanism that works so nicely in a production engine can pose a limitation on power. The hydraulic mechanism in the lifter can become a source of instability in the valvetrain as a result of numerous factors present in a serious engine. The list of common causes of instability is long, including flex and deflection in the valvetrain, high spring loads, insufficient spring control, inertial effects from rpm, increased direct and side loading from aggressive camshaft profiles, or any combination of these factors. A solid lifter can be subject to all of these same problems and conditions, however, there is no hydraulic mechanism to introduce a source of control loss.
The bottom line is when the engine is turned up for serious performance, gaining stable and controlled performance from a hydraulic becomes more difficult, and at some point a solid becomes a better choice. Nonetheless, keep in mind that hydraulic camshafts are very suitable for moderate performance applications, and are routinely run to 7,000-plus rpm in well-developed engine combinations. For street performance use to 6,000-6,500 rpm, a hydraulic system can generally be used without too much trouble.
Comparing camshaft specifications between a hydraulic and solid, keep in mind that the specifications are derived from different standards. This, along with the effects of valve lash, precludes a direct comparison of the specifications. Looking at COMP Cams' specifications, for instance, solids are generally rated at a .020-inch tappet rise checking height, while hydraulics are rated at .008 inch. Even the .050-inch duration numbers are not directly comparable, since the clearance in the lash negates a portion of the duration of the solid. As a rough rule of thumb, a solid requires about 10 degrees more duration at .050 inch to produce roughly the same event duration at the valve.
Filling The Gap
As mentioned, when it comes to maintaining valvetrain control as the engine application becomes more demanding, solids have traditionally been the cams of choice. When considering this decision in relation to roller cams, the intended engine application becomes an important factor. Hydraulic roller lifters have been steadily gaining in popularity for a number of years now, with retrofits available for many engines that were never originally equipped with a hydraulic roller. These cams offer many of the performance advantages of a solid roller such as faster lobe velocity, no break-in, and the ability to accept more spring force than a flat tappet. The downside, as with any hydraulic, is the high-rpm stability problems that can occur by virtue of the hydraulic mechanism. A solid roller, in contrast, eliminates the hydraulic mechanism, but in a street-bound roller application, longevity of a solid roller lifter can become a concern.
Many of the problems associated with running a hydraulic lifter are exacerbated by rpm, high valvetrain loads, and aggressive, high-lift cam lobes-all of the things we want for building horsepower. To overcome some of the difficulties associated with hydraulic instability in the lifter, COMP Cams has designed a line of Short-Travel Race Hydraulic Roller Lifters, which cut the hydraulic plunger travel to a minimum. A factory hydraulic lifter can have nearly .300-inch of piston travel, which provides a tremendously large playground for lifter instability. With these new lifters, the travel is held to just enough for proper lifter adjustment and function, but the range for false motion is held to a minimum. For applications where the reliability of a hydraulic is desirable, but you want to approach the rpm and valve action of a solid, the new Short Travel Hydraulics from COMP seem to fill the gap.
Valve lash and lifter preload are both terms related to the adjustment of the valvetrain. In a solid lifter installation, a certain amount of clearance is required to prevent mechanical binding of the valvetrain, while allowing for the expansion of engine components with temperature. The lash provides this clearance via an adjustment typically made at the rocker arm. Camshaft manufacturers provide a recommended lash setting, listed on the cam card for a given cam. A solid cam's lobe profiles are ground specifically for lash in the range of the recommended specification, with a clearance ramp at the initiation of the lift cycle. The clearance ramp gradually takes up the lash to ease the transition into the lift portion of the profile.
In contrast, a hydraulic relies on its internal piston balanced against pressurized oil to remove any slack in the valvetrain system. In order for the hydraulic system to work as intended, the internal piston of the lifter must be within its range of travel at all times. While a typical hydraulic lifter has substantial plunger travel, most camshaft manufacturers favor a setting at the upper portion of the plunger travel. The lifter preload is a specification measuring how far the pushrod is adjusted into the plunger travel while the cam is on the base circle. Typical recommended lifter preload settings are in the .020- to .040-inch range.
We know from the lift specification how far the valve is opened, but it is just as important to know how long the valve-open event lasts. This measurement is referred to as duration, and is referenced by degrees of crankshaft rotation. Essentially, the duration measures the degrees of crank rotation from the time the lifter rises to begin the valve opening event, until the event is completed by dropping the lifter back to the start position. Although duration as defined above seems very straightforward, the actual procedure used for taking the measurements complicates matters. This complication centers on the checking height.
The checking height simply means at what amount of lifter movement off the base circle the duration measurement is actually recorded. The precise moment of the initiation of lift is not easily discernable, so a certain lifter rise specification (checking height) is used for duration calculations. Generally, camshaft duration is given in advertised numbers (sometimes called gross duration), and duration at .050 inch. The difference is the actual start and stop lifter rise specification over which the duration is recorded. With advertised (gross) duration numbers, there is no clear consensus among manufacturers on what lifter rise to use for making the measurement. For instance, when rating hydraulic cams, some manufacturers would use .006 inch as the checking height, while others would use up to .012 inch. Clearly, with the greater checking height, the duration measurement begins later and ends earlier, making the duration seem lower, while the opposite is true at a lesser checking height. With no standardization of checking height, it is difficult to compare camshafts from various manufacturers.
In order to provide a standardized means of specifying duration, decades ago, camshaft manufacturers reached a consensus to list the duration at a standard checking height of .050-inch tappet rise. Since the duration at .050 explicitly defines the checking height, using this duration specification ensures that a known yardstick is used for deriving the duration numbers, allowing meaningful comparisons of duration.
As more duration is added, all else being constant, every valve event is extended, improving cylinder filling at higher rpm. At high rpm, cylinder filling is limited by the ever-decreasing time factor, and a longer duration period will help compensate to a point. Again we must consider cylinder head flow, cubic inches, and the cylinder head's cross-sectional area. A long-duration cam will only take the engine so far in terms of additional top end power and rpm whenever the engine is rpm-limited by the flow capacity and velocity of flow in the cylinder head ports.
Again, keeping all else constant, more duration will make the engine less efficient at low rpm, with more overlap dilution of the induction charge, and the later intake valve closing reducing the trapping efficiency. Therefore, a long-duration cam will cause rough running at idle (lope) and a loss of low-rpm torque. The latter of these factors can be compensated for to an extent by using a higher static compression ratio. Keep in mind that as duration is increased, the cam designer is able to incorporate more lift in the profile. So for a high-rpm, high-powered engine with good cylinder heads, induction, exhaust, and compression, it all comes together for more power.
Lobe Separation Angle (LSA)
Lift and duration adequately describe a given lobe of a camshaft, and indeed we can map the profile of the entire lift curve of an individual lobe by just plotting lift versus duration, however, a running cylinder requires two lobes, an intake and an exhaust, and these events must happen at the appropriate time relative to each other in an operating engine. While many enthusiasts will only look at the lift and duration specifications, these specs tell nothing of the missing piece of the puzzle, the phasing of the intake and exhaust lobes relative to each other. To define this important aspect of the cam's design, we use the lobe separation angle, sometimes called the lobe displacement angle (LSA) or spread.
The lobe separation angle is the simple angle between the peak lift point of a cylinder's intake and exhaust lobe pair. This direct angular measurement at the cam is specified in degrees at the cam, in contrast to degrees of crankshaft rotation, which turns at twice the camshaft speed. As you might imagine, the relative phasing of the intake and exhaust valve events has a serious affect on engine performance. A camshaft with a lobe separation angle of zero would have the intake and exhaust valves opening and closing at the same time, and that clearly won't work. In fact, typical lobe separation angles run in a range from about 102 to 116 degrees, with most performance aftermarket cams ground between 106 and 112 degrees. Even within this relatively narrow range of common LSAs there is quite a dramatic difference in how the engine will behave when comparing a narrow LSA such as 106 degrees, to a wide one such as 112.
Let's look at how a change in LSA will affect the valve events (assuming a fixed installed centerline). As the separation is narrowed, the exhaust opens and closes later, while the intake will open and close earlier. The later exhaust closing and earlier intake opening directly adds to the cam's overlap, and the overlap effects are significant (See: Overlap). Rather than individually looking at all the subtle interrelated effects created by a change in lobe separation angle, it is more useful to just bottom-line it here. As the lobe separation is narrowed, expect the cam to exhibit a nastier idle with more lope. Typically, once "on the cam," the peak torque and horsepower are improved, however, the engine will drop off more quickly past peak horsepower rpm.
|Intake open
|Intake close
|Exhaust open
|Exhaust close
|Cylinder pressure
|Idle quality
|Idle vacuum
|Torque curve
|Peak torque
|High rpm
|Drops off
|Hangs on
Of all the specifications related to a camshaft, "lift" is the easiest to understand. Lift simply refers to how far a valve is opened off the valve seat, with the specification given in thousandths of an inch. Where does the lift specification come from? The gross lift is the cam's actual "lobe lift," multiplied by the rocker ratio. As a cam lobe rotates from the base circle to the ramp, the lifter is displaced upwards by the eccentricity of the lobe until the point of maximum lift is reached. This action at the lobe of the cam is called the "lobe lift," and the lobe lift is generally given as a base specification on a cam card or in a catalog. The lobe lift isn't the same as the amount of lift at the valve, since valve lift is the product of the lobe lift and rocker ratio. Typically, the factory rocker ratio for most production V-8 engines ranged from 1.5:1 to 1.75:1, depending upon the engine type, but aftermarket rockers are available in a wide selection of ratios. Usually the lift given in manufacturers' catalogs is based upon the cam's lobe lift multiplied by the engine's original rocker ratio.
While the gross valve lift specification for a given cam is generally derived from the lobe lift and factory rocker ratio, the actual lift delivered may vary substantially from this spec. Clearly, if the rockers are a ratio other than stock, the valve lift will change. The gross valve lift can be determined for any rocker ratio by simply multiplying the lobe lift specification by the rocker ratio. For instance, a cam with .320-inch lobe lift will provide .480, .512, .544, or .576-inch lift with rocker ratios of 1.5, 1.6, 1.7, or 1.8:1, respectively.
So is the gross lift as given above exactly the true lift at the valve? Not necessarily, since the actual ratio any given rocker delivers may be somewhat off the quoted ratio specification, and subtle valvetrain geometry factors can also have a measureable affect on the true valve lift. The only way to precisely know the valve lift is to take a direct measurement using a dial indicator on the valve stem with the valvetrain fully assembled and adjusted. Still, this being the case, the gross lift as calculated by the lobe lift and rocker ratio is generally a good approximation when considering lift.
Now the big question: How much valve lift is right for my engine? Generally, more lift equates to more power and torque, however, the trade-off is component life, reliability, and the ability to control the valvetrain at higher rpm. It is important to consider the cylinder head's flow characteristics when contemplating lift, and target a valve lift that is well matched to use the head's capabilities. Your returns diminish rapidly when using higher lift on a stock-style head that may see no flow increase or even a drop in flow as the lift is increased. Conversely, applying less-than-optimal lift on a high-flow aftermarket cylinder head capable of very good high-lift flow simply is not taking advantage of the flow potential presented by the cylinder head.
Installed Centerline Angle (ICA)
All of the camshaft specifications listed so far-lift, duration, and lobe separation angle-are attributes of the camshaft itself. The installed centerline angle specification (ICA), in contrast, is a specification that describes how the cam is installed in the engine. What we are referring to here is the camshaft timing, or phasing, and this is measured relative to the crankshaft, and given as a point in degrees of crankshaft rotation.
When a cam is installed, it must be phased to operate the valves in the correct relationship to piston position. A simple reference is provided by the marks on the timing chain that will normally put the camshaft in the ballpark. Since the installed centerline angle will have a direct affect on every valve event relative to piston position, the true installed centerline will have a significant impact on the running characteristics of the engine. The process of "degreeing-in" the camshaft measures the installed centerline.
When a camshaft is installed at a position (in degrees of crank rotation) that is equal to the lobe separation angle, the cam is said to be installed "straight-up." For instance, a cam ground on a 108-degree lobe separation angle will be "straight-up" when installed at an intake centerline angle of 108 degrees after TDC. This will also put the exhaust centerline angle at 108 degrees before TDC, and split the overlap event evenly over TDC. This "straight-up" or "split-overlap" camshaft position is the zero reference for the cam position, and any advance or retard is relative to a "straight-up" installation. Advancing the cam will move all of the events to an earlier position relative to crank rotation, while retarding the cam will have the opposite effect. Advancing the 108-degree LSA cam from the example above by 4 degrees will put the intake installed centerline angle at 104 degrees ATDC, and the exhaust at 112 BTDC, and move each valve event 4 degrees earlier relative to crank position.
Normally, we find positive effects from moderate amounts of cam advance, while retard can produce negative results. Consequently, most aftermarket cams are ground with a small amount of advance relative to the keyway or pin, usually 4 degrees. An advanced position favors low-rpm operation, helping idle quality, cylinder pressure, low-rpm torque, and vacuum. Retarding the cam deteriorates these characteristics, and in many instances may not show any benefit at higher rpm.
Overlap is a measurement of duration, given in degrees of crank rotation, specifying the period during which both the intake and exhaust valves are both open off their seats. During overlap, there is open through-flow between the intake and exhaust ports of the engine, and this can be a very useful situation for the production of power. As with any duration measurement, the actual checking height used to determine the overlap will directly impact the measured overlap specification, so the checking height needs to be known to make meaningful comparisons of overlap.
It is useful to touch on the dynamics of overlap, to gain some perspective of how it affects the engine's output. In a running engine, the exhaust flow within a header system produces significant scavenging force in the form of negative pressure at the exhaust valve. This is a combination of the inertia of gas flow and reflected pressure waves. These forces combine to clear the cylinder and chamber of residual exhaust gasses, and draw intake charge to improve cylinder filling. The downside is that the negative pressure generated by both inertial and pressure wave effects are rpm sensitive. At low rpm, the open area (overlap duration and lift) can work in the opposite direction, causing reversion and the subsequent lope, rough idle and even misfire.
The amount of overlap is not something that can be altered independently in a camshaft design, but rather it is determined by the duration and lobe separation angle. The flow area during overlap is also directly influenced by the overlap lift, and as the overlap duration increases, so does the lift during overlap, multiplying the effect. As duration is increased, and/or the lobe separation is narrowed, overlap increases as a direct result.


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IEEE single precision number.
- To: mathgroup at smc.vnet.net
- Subject: [mg51782] IEEE single precision number.
- From: Vangelis Marinakis <V.Marinakis at damtp.cam.ac.uk>
- Date: Tue, 2 Nov 2004 02:05:02 -0500 (EST)
- Sender: owner-wri-mathgroup at wolfram.com
Dear everyone, Looking at the internet I found this email: ***************************************************************** Hi, I want to convert a group/stream of Bytes to various internal Mathematica numerical types, particularly into Real (machine precision number). The motivation is the fast reading of binary files. I don't want to deal with the Std Package Utilities`BinaryFiles`ReadBinary or Developer'BinaryImport, which do have the conversion utilities (e.g. into Real32, etc), since they are SLOW or otherwise clunky. When employing the suggested fast reading of binary files: ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ There are numerous means of reading data into Mathematica from binary files. However, most of them are too slow. Through experience and some newsgroup research, I've found the fast easy way: stream = OpenRead["Cals9", DOSTextFormat -> False]; (* Note: this DOSTextFormat->False option is key to using ReadList[] in binary mode; otherwise, it wants to digest text. Readin Byte chunks, then post-format. Remarkably, the DosTextFormat option is not mentioned/discussed anywhere in the Mathematica book or Help Browser *) SetStreamPosition[stream, 78*131072]; (* Position to desired read starting location within file...count is in Bytes, and is index base = 0 *). data = ReadList[stream, Byte, 131072]; (* Reads 131072 Bytes into linear List "data" *) Close[stream]; ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ you end up with a list of Bytes. Converting it to 16-bit integers is easy: data = Map[(#1[[1]] + 256*#1[[2]] & ), Partition[data, 2]]; (* takes original Byte List "data" and makes 16-bit "words", writing over List "data". Result is half-as-long List of words. *) ...but how would one convert it to real numbers (given that every 4 bytes comprises an IEEE single-precision number)? Thanks. franki at aerodyne.com ***************************************************************** Does anyone no the answer, because I have exactly the same problem! Thanks. Vangelis Marinakis.
- Follow-Ups:
- Re: IEEE single precision number.
- From: János <email@example.com>
- Re: IEEE single precision number.
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- Re: IEEE single precision number.

subset: commoncrawl


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Where can you store a large collection of valuable art and other collectibles, assuming you don't have a secure, climate-controlled attic on your house?
For many high-net-worth individuals, free ports are their attics of choice. Over the past decade, these century-old former warehouses have become the repositories of great works of art, rare automobiles and coins, fine wines, and even gold bars and other precious metals. Especially large contemporary art pieces like massive Christo sculptures and even mini-submarines (among the newest toys of adventurous, super-wealthy people) are stored at these facilities.
The key motivating factors for warehousing these expensive items are security, confidentiality and tax advantages. Because the goods in a free port are technically in transit—the bonded warehouses were initially built to store goods in between shipments—they are accorded special tax-exempt treatment. This remains the case today, even if the valuables are stored for very long periods of time. The Economist magazine estimates that hundreds of billions of dollars' worth of valuable art and other extremely valuable items are stashed away in such uber-warehouses.
Although free ports are well known to the super wealthy, their confidential status has made them largely unfamiliar to the general public.
LeConte "Conte" Moore, managing director at insurance broker DeWitt Stern in New York, said that while there are some advantages to storing valuables in free ports, collectors should think twice before putting all their eggs—Fabergé or otherwise—in one of these warehouses.
"Free ports often contain an enormous amount of highly valuable art in one location, which creates a large concentration of risk," Conte said. "Because of this, insurance companies won't always offer the lowest rates to insure these valuables."
Far From Free
The world's best-known free port is in Geneva, Switzerland, a former grain facility from the 1800s that now houses some of the world's finest art. Customers pay around $12,000 a year to rent a small room within the facility to store their treasures. Switzerland houses five other free ports, the most of any country.
Last year, Beijing announced the creation of an 83,000-square-foot free port near that city's planned new airport. The free port is predicated on encouraging Chinese art collectors to store their valuables in Beijing, the Jing Daily newspaper reported. Other free ports dot the world, but there are none in New York City, arguably the world fine art capital.
While airports and seaports are logical places to locate a free port (otherwise it might be difficult to argue the transitory nature of the goods for tax-exempt purposes) these factors also add undue risk. Collectors and their financial advisors should be concerned about the numerous airplanes flying low over these warehouses and the close proximity of large bodies of water. They can be sure that their insurers are taking these factors into consideration.
Theft, on the other hand, is rarely a concern, as most free ports are highly secure. At a free port in Changi, Singapore, for instance, high concrete walls surround the warehouse, which is patrolled 24/7 by armed guards. Using state-of-the-art technology, stringent background checks are conducted on all personnel as they enter or exit the building, and both motion sensors and video cameras are strung throughout the premises.
Although security may not be an issue, collectors should consider the potential impact of a catastrophe at a free port, or any art warehouse, where they are storing tens of millions of dollars' worth of valuables. One direct hit from a major storm and all their efforts to amass a rare and unique collection could be lost. Just as a well-balanced stock portfolio emphasizes a diversity of investments, a large collection of valuables should be stored in different warehouses, emphasizing geographic diversity and, therefore, reduced exposure.
Another thing that makes insurers question how much risk they're taking on is that free port managers tend to be tight-lipped about the kinds of goods contained in these warehouses, which is understandable given their clientele's demand for privacy.
Because of the heightened exposure, Conte estimates that the premiums to store goods at a free port can be two to three times other storage rates, "if coverage at a specific desired location can be obtained" at all.
"Insurance capacity is the big issue here," Conte added. "Financial advisors need to exercise caution about insurance protection, including the coverage limits, terms and conditions, before simply storing their clients' valuables in a free port. Don't assume the insurance is high caliber just because that would be the expectation."
Knowing in advance what insurance covers and what it doesn't cover is as important as which company you buy the insurance from. Just because it's call a free port doesn't mean it's a great value.


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Indicative Rate * AU$119 to AU$195
Shakespeare Motel is situated in quiet surroundings only 10 minutes walk to town centre and five minutes walk to Mackay Entertainment and Convention Centre (MECC) and Mackay Showgrounds. The rooms have been totally refurbished and are well appointed. A variety of rooms and suites are available some with kitchenettes, spa baths and balconies. Romeo and Juliet's Restaurant and Bar is situated in the motel grounds and very popular with guests and locals alike. Free WiFi and parking is available (enough for everyone including larger vehicles).
Comprising of two queen beds with a spacious 28 square metres, the Twin Queen Room has all the facilities of the Executive Queen Room, with tea and coffee making facilities, minibar, fridge, flatscreen television, ensuite bathroom, and reverse cycle air-conditioning.
In a separate bedroom is a queen bed and in the main room two single beds. The unit contains a kitchenette with sofa, and dining table. Tea and coffee making facilities, toaster, cooking utensils, cutlery and crockery and more, minibar and fridge. A small balcony with sitting area makes this a very comfortable room for a family of four.
One Queen Bed in a spacious standard room of 28 square metres, tea and coffee making facilities, ensuite bathroom, sofa, desk, flatscreen television, minibar and fridge.
A luxurious 80 square metre Penthouse with two levels. Large living room with leather lounge, separate dining and kitchenette with mezzanine bedroom and spa overlooking lounge. A special room for that special occasion or just a little more luxury when staying with them.
The Executive Queen room is well appointed and a spacious 28 square metres, with a Queen Bed, sofa, desk, flatscreen television, coffee and tea making facilities, minibar and fridge. A slightly more luxurious option than the standard room.
For those that like a little more space the Executive Queen Suite is a one bedroom studio which with a queen bed in a separate room and kitchenette, lounge and dining in another room. There are two flatscreen televisions - one for the main room and one in the bedroom. Large bathroom with bath and shower. Tea and coffee making facilities, toaster, all cutlery and crockery and cooking utensils, minibar and fridge.
Note: Information on listed products and services are provided by the operator and were correct at the time of publishing. Rates are indicative based on the minimum and maximum available prices of products and services. Please visit the operator's website for further information. All prices quoted are in Australian dollars (AUD).


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Performance reports are key output for a project in which periodic collection and analysis of expected Vs. actual data is conducted. Report performance is used to communicate the project progress throughout the entire project life cycle to ensure the information needs of project stakeholders are met. Report performance is having tight bonding with Integration Knowledge Area to make sure project is moving in a direction towards achieving its goals.
Develop Project Management Plan –> Project Management Plan –-> Input to Report Performance
Direct and Manage Project Execution –-> Work Performance Information –-> Input to Report Performance
Monitor and Control Project Work <— Performance Reports <— Output from Report Performance
Perform Integrated Change Control <— Change Requests <— Output from Report Performance
Control scope, cost, schedule – all will give work performance measurements as inputs to performance report. Also, performance reports are important input in managing project team & distributing information regarding project progress. Performance reports vary the level of its detail based on the audience from a simple status report to more elaborate reports with forecasts and risks for upper management.
Report performance is part of Communications Knowledge Area. As usual, I tried putting as much information as possible in each branch in this process map to bring out completeness to it. Hope this will be useful to you.
Important Note:
* Note# 1: There could be some typo or presentation errors. Please reply back for any corrections.
* Note# 2: You can use this for personal use (like studying for PMP Exam or PM activities). But don't share this in common forum or web sites. As this one is part of my training guide and project management book.


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Juliana Bryant, a mother of three from Florala, Alabama, was arrested for reckless endangerment after police discovered she'd been keeping open containers of gasoline scattered around the house because she "liked the smell."
Yes, petroleum products can have a nice aroma and it's not uncommon to find distillates like gasoline and diesel fuel pleasant, but anyone with a functioning brain knows they're very harmful when inhaled regularly. Prolonged exposure can lead to cognitive impairment, brain damage, and cancer which is why when an officer investigating a disturbance report at Ms. Bryant's home noticed open containers of gasoline scattered about, he questioned her about them. When she answered the were there because she liked the smell, that was the wrong answer. She was placed in custody and is facing three counts of reckless endangerment.
Between this story and the geniuses loading a Civic onto a U-Haul truck, we can't help but feel like Idiocracy is rapidly becoming non-fiction. [AL.com via FARK]


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Aquamarine rings have always been popular with women, many of them use it as their engagement rings
Cockeysville, MD (PRWEB) May 05, 2012
Aquamarine rings have been worn by men and women for over 2000 years. The beautiful light blue color of the Aquamarine gemstone has inspired countless jewelry trends over the centuries. Romans and Greeks were not alone in their love of Aquamarine rings. Women have always loved the gemstone which comes in two major colors, either as light blue or sky blue color, or as white color. JewelOcean.com has now introduced a complete collection of Aquamarine rings which are made in gold and silver, and are set with diamonds. The gemstone rings collection comes on sale from May 8th onward, and is available on sale for limited time.
Over the last 2000 years, Aquamarine has been attributed with numerous myths and legends. Aquamarine, which is the birthstone for the month of January, is believed to bring a long and loving marriage. Due to this belief, Aquamarine engagement rings are very popular. The new JewelOcean.com collection continues this trend, and the collection features many Aquamarine engagement rings which are made exclusively with Aquamarine, diamonds and are set on gold. The collection also features Aquamarine wedding sets, which features matching collection of Aquamarine engagement rings and Aquamarine wedding bands. For customers looking for something more toned down, the collection also features Aquamarine promise rings, which are mostly set on silver. The Aquamarine promise rings are designed by keeping the young couples in mind, who do not want to splurge a large amount of money on their rings. As such these promise rings on jewelocean.com start from only $79 onward.
Aquamarine is one of more affordable gemstone, and as such Aquamarine rings are inexpensive when compared to other gemstone rings such as Ruby or Sapphire. While Aquamarine rings are inexpensive, however they add glamour and style to any occasion, and therefore Aquamarine rings make for beautiful cocktail rings also. Women are not alone in their love for Aquamarine, men's Aquamarine rings are very popular also. This is another reason the JewelOcean.com collection features many beautiful designs of Aquamarine rings for men.
JewelOcean is a leading diamond rings manufacturer and retailer. The company focuses on selling its diamond rings and wedding rings at inexpensive prices. Thousands of couples have purchased wedding ring sets on JewelOcean. Now the wedding ring sets can also be customized with Aquamarine gemstone. For a complete view of the new gemstone collection, please visit the company website.


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On Feb. 27, 2013, the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, announced that it will have a Rolling Stones exhibit to celebrate the band's 50 years of existence. The exhibit opens on May 24, 2013, and tickets can be purchased here: https://tickets.rockhall.com/public.
The Rolling Stones were inducted in the Rock and Roll Hall of Fame in 1989.
In 2012, Rolling Stones guitarist Ronnie Wood received his second induction in the Rock and Roll Hall of Fame, as a member of the Faces.
Here's the press release from the Rock and Roll Hall of Fame about the Rolling Stones exhibit:
Rock and Roll Hall of Fame presents Rolling Stones: 50 Years of Satisfaction
The Rock and Roll Hall of Fame and Museum presents Rolling Stones: 50 Years of Satisfaction, an exclusive exhibition from the "World's Greatest Rock and Roll Band," will open on Memorial Day weekend on Friday, May 24. Rolling Stones: 50 Years of Satisfaction will be the Museum's first ever major exhibition capturing the band's legendary career spanning more than 50 years. It will include personal items and extraordinary collections that have never been seen before by the public. The exhibit will be open until March 2014.
"The Rolling Stones are the epitome of rock and roll," said Greg Harris, president and CEO of the Rock and Roll Hall of Fame and Museum. "This first-ever exhibit gives us an opportunity to tell the story of one of the definitive rock and roll bands. The experience should be on every music fan's destination list this summer."
The Rock and Roll Hall of Fame and Museum presents Rolling Stones: 50 Years of Satisfaction will be a comprehensive retrospective exhibit that chronicles the band from the mid-1960s until today. The exhibit, which takes up two-and-a-half floors of the Museum, will celebrate the Rolling Stones' incredible contribution to popular music from their earliest days playing small clubs, to their era-defining recordings such as "Gimme Shelter," "Paint It Black," "Jumping Jack Flash," "Tumbling Dice," "It's Only Rock And Roll" and sold-out global tours. Through the use of artifacts, film, text and interactive technology, generations of music fans will have the opportunity to get up close and personal with rare items from nearly every aspect of the Stones' astonishing five decades at the top.
Throughout the exhibition's run, the Museum will host a range of free public programs that explore the significance and legacy of the Rolling Stones, including interviews, films, and special lectures. For more information please visit www.RockHall.com. The Rolling Stones were inducted into the Rock and Roll Hall of Fame in 1989.
About the Rock and Roll Hall of Fame and Museum: The Rock and Roll Hall of Fame and Museum is the nonprofit organization that exists to educate visitors, fans and scholars from around the world about the history and continuing significance of rock and roll music. It carries out this mission both through its operation of a world-class museum that collects, preserves, exhibits and interprets this art form and through its library and archives as well as its educational programs.
The Museum is open seven days a week from 10 a.m. to 5:30 p.m. On Wednesdays, the Museum is open until 9 p.m. Museum admission is $22 for adults, $17 for seniors (65+), $13 for youth (9-12), $18 for adult residents of Greater Cleveland. Children under 8 and Museum members are free. The Museum is generously funded by Cuyahoga County residents through Cuyahoga Arts and Culture. When you become a member of the Rock and Roll Hall of Fame and Museum, the world of rock and roll becomes yours to explore. Call 216.515.1939 for information on becoming a member.


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Ackermann Steering System - Ackermann Technology Revisited
Tuning Your Steering System To Reduce Drag
One of the critical elements of proper chassis alignment is the steering system. The front wheels must work together, just like the two ends of the car, so that they can produce the greatest amount of traction to turn the car. This area of chassis setup falls under the umbrella of those systems on our cars that can ruin an otherwise great setup if not designed correctly.
We have published previous stories about Ackermann, its definition and technical details about why it's important. However, we have learned more about this important subject. We need to continually consider Ackermann and how it affects our overall chassis setup package.
What is Ackermann Effect? Ackermann effect is a phenomenon associated with an automobile's steering system. A steering design that incorporates Ackermann causes the inside (closest to the radius of the turn) wheel to turn a greater amount than the outside wheel. We need this difference in steering angle because the inside wheel runs on a smaller circle or arc than the outside wheel.
Ackermann effect is named after the man, Rudolf Ackermann, who discovered and did research and development on the subject. Early in basic automotive design and development, engineers discovered the need to design an exact system for steering a production car so that each wheel tracked correctly when the car was negotiating a turn. The ideal system would compensate for large radius turns as well as for tight, "turn right at the stop sign," type of smaller radius turns.
History offers that many of the very first owners of automobiles were concerned about tearing up their circular gravel driveways, and the Ackermann designed into the car helped keep the wheels tracking correctly and reduced the primary cause of rutting in the driveways.
Do We Need Ackermann in Our Race Cars? There have been many opinions about the use of Ackermann in our race cars and whether it really helps. Numerous older books and articles on the subject extol the benefits of Ackermann to help the car to turn. Are these articles correct? The answer is yes and no. Here is why.
In our past, going back some 30 years, the suspension and steering systems in oval track stock cars were strictly stock units that exhibited characteristics of the intended use-to drive around the neighborhood and down the interstate. Converting the car to circle track racing was beyond its original intended use. It is easy to understand why some of the systems may not have worked well on the racetrack.
Early crewchiefs did not understand, nor did they have the technical knowledge to develop what we now know as a balanced setup. This is where the suspension systems are working together and doing the same thing when the car is in the turns. This balance makes a lot of good things happen, such as causing all four tires to work hard and providing consistency in the handling balance between tight and loose.
Because most cars were not properly balanced-although some did get there through trial-and-error guessing-the left-front tire usually did little work. This was evidenced by several indicators: 1. cool left-front (LF) tire temperatures compared to the left-rear (LR) tire; 2. a need for a stiff right-front (RF) spring, as the RF corner supported most of the front load off the car in the turns; and 3. excess RF tire wear and heat. If the LF tire had little weight on it in the turns, then teams learned that excess Ackermann actually helped the tire to generate more heat and turning effort.
A drag-link system is correctly designed with angled steering arms. The system inside the steering arms will produce unwanted Ackermann effect, which needs to be canceled. The result of turning the steering wheel is as follows: 1. The driver turns the steering wheel left; 2. The drag link moves to the left; 3. The drag link moves forward as the Pitman arm and the idler arm rotate around fixed points; 4.
So, when we hear older, more experienced crewchiefs tell us that using higher levels of Ackermann really helps their race cars to turn better, we can believe them. Now that we have learned how to properly balance the car, we do not need the excess Ackermann in our steering systems. In fact, if we do not remove the excess Ackermann effect, it will have a reverse effect on our handling and actually make the car develop a push as the two front tires fight each other to go in different directions.
When we have Ackermann effect present in our steering design, the toe is increased. Conversely, with Reverse Ackermann, toe is reduced when we turn the steering wheel. There are many different static settings for frontend toe that are dependent on the size of the racetrack, the banking angle, and the type of tire used. Most short-track stock car teams use toe-out to stabilize the frontend and keep it from wandering back and forth across the track. Conventional wisdom tells us the car will need more static toe-out for the smaller radius tracks. At racetracks of more than a half-mile, less toe-out is required. The amount of toe-out used typically ranges from 11/416 to 11/48 inch.
Rack-And-Pinion SteeringThe rack-and-pinion steering system is designed to use straight-ahead steering arms and produces very little Ackermann effect if both arms are the same length. Since both wheels turn the same amount as the rack moves back and forth, the wheels steer an equal number of degrees.
Regardless of the amount of static toe-out you use, the toe numbers can be very different as we turn the steering wheel. If our car gains toe when it is steered, commonly referred to as toe-steer, then we have Ackermann effect. If our car loses toe when it is steered, we have Reverse Ackermann effect.
We need very little Ackermann effect in most situations when racing on an oval track. Even on very tight quarter-mile tracks, the LF wheel will only need an additional 11/416 inch of toe over the RF wheel to correctly follow its smaller radius arc. That is 0.112 degrees, or a little over one tenth of a degree. You can imagine my reaction when a racer tells me that he or she only has a couple of degrees of Ackermann in the car. A degree of Ackermann equals 11/42 inch of toe for an 85-inch circumference tire. So, if we have 2 degrees of Ackermann in our steering systems, that equates to an additional inch of toe when we turn the steering wheel. We would never think of setting an inch of static toe in our cars and then go racing.
While this points to the fact that we all need a correctly designed steering system, most racers and many car builders still do not fully understand the steering systems in their cars and how they work to produce or cancel Ackermann.
What causes Ackermann? There are several ways that your car can produce Ackermann effect. The most common is by installing the wrong spindles or other steering system components on the car.
Over the last few years, teams and car builders have worked hard to reduce unsprung weight-the weight of the wheel/spindle assembly. One way to accomplish this was to install a lighter spindle.
At first, car builders began using smaller, compact car spindles on the stock frontends of full-sized cars that were designed with the drag link steering system. At the same time, custom spindles were being fabricated for the newer design and popular rack-and-pinion steering system. These later spindles were different in design from the stock spindles because they had steering arms that were pointed straight ahead from the ball joint instead of being angled in from a top view at the tie rod end like the ones used on the drag link steering systems.
In the mid-'90s, some car builders swapped the heavy cast-iron stock car spindles that had been used with their stock-based drag link systems for the lighter "rack" spindles intended to be used on the rack system. The result was a steering system that produced excess Ackermann effect. This hurt the turning performance on those cars.
A simple, yet accurate way to measure Ackermann is to use a laser or string to project the alignment of the wheel/tire out in front of the car. If you place targets in front of the tires at a distance of exactly 10 feet from the center of the hub, you can mark where the tires point at straight-ahead and then at wheels-turned positions.
A select few racers discovered the problem and corrected it with different length steering arms. They dominated racing during that period because their cars turned better than the competition. Today, with a better understanding of Ackermann and the amounts needed by the cars, we can measure our Ackermann and correctly adjust any excess toe steering quickly and easily. Remember, no amount of chassis setup adjustment will overcome excess Ackermann effect and the loss of front grip associated with it.
How to Test For Ackermann Effect Here is a simple, easy test: First, scribe a line on each front tire around the entire circumference at about the middle of the tread. Use a toe bar with adjustable width pointers and measure the toe with the wheels pointed straight ahead by measuring the front and rear width on the scribe line and subtracting the widths.
Turn your steering wheel the same amount as the driver would steer at mid-turn, and then recheck your toe using the same method. You will be able to record the true amount of gain (Ackermann) or loss (Reverse Ackermann) in toe. Toe plates that read in degrees are not accurate enough for this purpose and may slip as the wheels are turned.
The use of a quality laser alignment system will do the same thing as using strings or toe bars, only more accurately. Given the importance of having correct toe gain from steering input, investing in a laser system would be considered a reasonable investment that would provide a sizable return if a problem were present and eliminated.
If your car gains or loses toe, there are a couple of ways to correct the situation. You can adjust the length of your steering arms to compensate for Ackermann effect. Lengthening the left steering arm will reduce the amount that the wheel turns, which reduces Ackermann effect. The opposite is true for the right steering arm-we would need to shorten it in order to reduce Ackermann. We can also change our drag link to move the inner ends of the tie rods forward to reduce Ackermann, or rearward to reduce Reverse Ackermann effect.
If your spindles were not designed for your steering system, change to the correct spindle design and possibly have some lightweight spindles fabricated to the exact specifications as the correct spindles.
Caution: Do not make spindle changes without knowing how the change will affect your moment-center location. You may be making a positive change in your steering system and a negative change in the moment-center design.
Make sure you know how much each of your tires is steering, and balance your setup so that both front tires are working together to steer your car. A good-turning race car is one that will have more turning power and is therefore more capable of running up front and winning races.


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KB BoomerAssociate Professor of Mathematics
Educational Background
- Ph.D. in Statistics, Pennsylvania State University
- M.S. in Statistics, Pennsylvania State University
- B.A. in Mathematics, Colby College, 1990
Research Interests
- Structural Equation Modeling, with applications to Vocational Rehabilitation Counseling
- Genetic algorithms, with applications to Geophysics
- Hierarchical Linear Mixed Modeling , with applications to Genetics
- Missing data, with general applications
Selected Publications
Conyers, L. and Boomer, KB, (2014) "Examining the role of vocational rehabilitation on access to care and public health outcomes for people living with HIV/AIDS," Disability and Rehabilitation.
Datti, P. A., Conyers, L.M., and Boomer, K.B. (2013), "Factors affecting vocational rehabilitation service use among Latino men with HIV/AIDS: A national perspective," Journal of Applied Rehabilitation Counseling, 44(3), 42-50.
Boomer, K.B., Brazier, R.A., O'Donnell, J.P., Nyblade, A.A., Kokoska, J., Liu, S. (2013), "From craton to rift: Empirically based ground-truth criteria for local events recorded on regional networks," Bulletin of the Seismological Society of America,103(4), 2295-2304.
Colmenares, L.U., Coelho, S., Miller, S.A., Boomer, K.B., and Beer, J.Z. (2013), "UV responses in native Hawaiian or other Pacific Islanders, and, Asians residing in Hawai'i and in Maryland," Photodermatology, Photoimmunology & Photomedicine,29(3), 121-131.
Brazier, R.A. , Boomer, K.B., O'Donnell, J.P., Nyblade, A.A.,, Myers, S.C., Kokoska, J., Liu, S.R. (2012), "From craton to rift: Empirically based ground truth criteria for regional networks," Monitoring Research Review: Ground Based Nuclear Explosion Monitoring, 1, 210-220.
Hosler, J. and Boomer, K.B. (2011), "Are comic books an effective way to engage nonmajors in learning and appreciating science?"CBE- Life Science Education, 10, 309-317.
Boomer, K.B., Brazier, R.A., and Nyblade, A.A. (2010), "Empirically based ground truth criteria for seismic events recorded at local distances on regional networks with application to southern Africa," Bulletin of the Seismological Society of America, 100(4), 1785-1791.
Whitfield, K.E., Yao, X., Boomer, K.B., Vogler, G.P., Hayward, M.D., and Vandenbergh, D.J. (2009), "Analysis of candidate genes and hypertension in African American adults," Ethnicity and Disease, 19, 18-22.


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sransom necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 32 diseños de 12 diseñadores freelance.
Putney Bikes
We are a start-up bicycle company that builds high performance steel road racing and cyclocross bikes. The focus of the company is to build "real bikes for real riders". Basically this is to buck the trend of the never ending escalation of lighter and lighter, higher performance, more and more expensive carbon bicycles that end up being more advertising bill boards and status symbols than anything else.
We are looking for TWO components to be designed. The company logo that will go on the head tube of the bike and the text/graphics to go on the side of the bike. (See examples in the pictures)
The company's tag line is "Authentic bikes for authentic riders". The target market is bike racers or serious riders.
We are inspired by the dictionary definition we found for "authentic" : "truthfulness or origins, attributions, commitments, sincerity and intentions"
We hope our line of bikes gets bike racers to focus on the sport of racing, their love and passion of bikes and step away from the image conscious, "try to look like a pro" and emulate your favorite pro rider, high priced world that the sport has become. We don't believe in riding bill boards. We started this company with the simple questions, "When did bike racing stop being a grass roots sport of people who loved to ride and feel the wind in their face?" "What happened to just riding hard for the sheer fun of it?" "When did racers stop also being bike commuters?" "How can we bring that sense of joy of being a kid on a bike back to the sport?"
The additional images are of bikes of other companies that we admire (We like their aesthetic). While most are side pictures of the bikes (and don't show the head tube), it might help give a better sense of what we are and are not. I have also included pictures of bikes that are NOT what we are about, so you can see the other side of the coin.
Head Tube Logo (on front of bike)
The brand name is "Putney Bikes" but it is not necessary to have the name in the logo on the head tube (front of the bike). If it does have the name, "bikes" should be left out. The logo should be more about an iconic recognizable shape more than text (see some of the examples below…how companies use their initials in iconic ways).
We are looking for a simple, elegant logo for the "head tube" of the bike (see image 1 for reference to where this goes on the frame). Eventually, this will be a stamped badge made of aluminum that is attached to the head tube, but at this early stage it will be a simple decal. Ideally the design will easily translate to a stamped badge. Colors should be limited, if not a single color. Some head tube logos are also included below to give you a sense of what we like.
Frame Logo (on tubes viewed from the side)
This is the logo that has the company name that would go on the side of the bike. The requirement for this is that it contains the name "Putney". As you can see in examples, this is more of a font issue more than anything else. Few graphics are involved in this logo.
Also, as mentioned, the goal of the company is to be more about riding than a billboard. So if you can figure out a way to make the side logo subtle and yet at the same time help us build brand recognition we would be very excited! There is no requirement to have the company name in the traditional places on a bike, we are open to your ideas. Can you make it subtle yet make our brand easily recognizable?
We like the idea of "Ham Sa", sanskrit for "I am that" or "I am that I am", but have not found a Ham Sa symbol drawing that works. Feel free to incorporate this if you can.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Miranda Lambert, Luke Bryan + More Announced as 2012 CMA Awards Performers
Miranda Lambert, Luke Bryan, Brad Paisley and the Zac Brown Band have all been added to the list of country music superstars confirmed to perform during the 2012 CMA Awards telecast, which will air live from Nashville's Bridgestone Arena on Nov. 1.
Lambert is the most celebrated artist of the newest batch of performers, earning four nominations based on the success of her fourth studio album, 'Four the Record.' The 2011 platinum-selling release is in the running for Album of the Year, while her her recent No. 1 single 'Over You' is up for Song and Video of the Year. The reigning CMA Female Vocalist of the Year will once again defend her title as the leading lady of country music -- an honor the Texas native hopes to snag for the third consecutive year.
Bryan is also capitalizing on his recent ascension into superstar status with a nomination in the Album of the Year category for his 2011 effort 'Tailgates & Tanlines.' The 'Kiss Tomorrow Goodbye' singer also earned his first-ever Male Vocalist of the Year nomination, going head-to-head with Jason Aldean, Eric Church, Blake Shelton and Keith Urban for the coveted trophy.
Last week, we reported that Aldean, Little Big Town, and Dierks Bentley were the among the first round of artists confirmed to perform during country music's biggest night. Pop superstar Kelly Clarkson is also scheduled to perform, making good on her promise to 'earn' her surprising nomination in the Female Vocalist of the Year category.
Paisley and Carrie Underwood will once again host the ceremony. The 46th annual CMA Awards telecast will air live from Nashville on Nov. 1 at 8PM ET on ABC. More performers are expected to be announced in the coming weeks.


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GRAY, Ky. —
Family members say the uncle of one of the seven victims of a rural Kentucky house fire desperately tried to save them from the burning home.
Laura Cima said Sunday that her husband, Gino, raced to the house Saturday when he heard about the fire, but was too late to save the two adults and five children inside.
Laura Cima said the bodies of the two adults were found just inside a side door, and Gino dragged them out while yelling, "There's babies in there!" to firefighters outside.
Officials have not identified the victims, but family members say the five children killed ranged in age from 10 months to 3 years. They also say the woman killed was three months pregnant. The seventh victim was a man.


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chantidm brauchte ein neues Logo Design und hat einen Wettbewerb auf 99designs gestartet.
2 Gewinner wurden aus 79 Designs von 26 Designern ausgewählt.
I have decided on my logo, but now I need an idea for the web page (uncoded). Thank you all for your amazing entries...they were outstanding and it was a very tough decision, but Texasstorm really hit the mark for us for our new look. But it's not over!!!!! Now I'm in desperate need of an image for the website. I hope you will send me some examples as Texasstorm doesnt have time to do the web layout and we'd really like to give someone that work.
See the specs below for more details
Chanti Productions
Desired Color Scheme:
either black/white/touch of red or Black/White/purple or wine color (dark colors preferred...nothing cartoony...classy only)
Desired Style:
High tech/Chrome looks
Accepted File Formats:
uncoded website would be fine
 #2 (revised) (#275293) by Texas Storm & one near by (#275286) are the logos we've chosen. Now we need just the right site image. Just need the idea, we can tackle all the hassle of the site.Â
If you could just send me uncoded web layout ideas for this new look, that's all we're looking for now. Â
We need a new branding. We need one over all look that will take on our three companies. One is for Voicing/Acting for myself DEBBIE MUNRO, the other is for my Voice Over Coaching - MIC & ME Workshop Series, and the other is for Producing/Directing. You can learn more about me at http://www.debsvoice.com
 My newsletter (please look at it on the site) is really nice and the top of it has a swoop shape...taht I'm hoping to incorporate into the site in some way so keep that in mind. This isn't concrete though. I would like to play with this great chrome look that Texas storm has created and stretch this across the site in some manner perhaps?Â
I want this to look like a very high tech site. There will be a fair amount of posters, products, links and more so a large window for the text and I really like unique shapes...unique looks for the site etc. Straight boxes are routine and I like to be different.
I hope you will have some amazing ideas for me.
I really like fonts like Myraid Pro, Veranda etc. (but I'm open to suggestions, but san serif only). The most important thing to me is that it looks like it's worth money. I run a large company that is recognized world wide and it's important that I reflect that in my branding. For the right designer there will be even more work if wanted.Â
I'd like it to look high tech and look completely unique to the industry. I need it as soon as possible as well so that I can get on building the website layout. I've been without my main site for over a year and I can't keep using this temp site.
With this logo  I would love to see an either all white or all black background. WE can adjust logo to match. Ideally I'd love to see that wav graph go across the screen. I can see a flash image of it to start with great sound effects and then it stretching itself out over the web page. I'd like everythign to keep in that chrome or high tech look as this logo suggests.
I know I like black for sure....I like black/white/red look as it's always looking like it's worth something, but my favorite colors are purples and burgundy (wine colors), mixed with black/white etc. I also like blues (darker colors are always my favorite)
 I hope someone can help me. We are very anxious to get our new look.
Email me for more info if you need to
I greatly look forward to your designs and will promote the right designers out for more return business from my clients. Happy to promote you for more work
All my best
Deb Munro
My Voice, Your Way!
This contest was originally listed in multiple categories:
- Logo Design
- Web Page Design (Coded)
Finden Sie heraus, wie ein Designwettbewerb funktioniert, oder lernen Sie mehr über unsere Logo-Design-Angebote.


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e-cbd necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 134 diseños de 46 diseñadores freelance.
Melbourne Eye Centre
My Company is called Melbourne Eye Centre. We are eye surgeons specializing in laser vision correction as well as cataract and pterygium surgery.
We consider ourselves cutting edge and invest in the latest technologies. Thus we want our corporate identity to reflect that.
People looking for eye treatment.
Our current logo is black and white and looks like an eye with an iris diaphragm in it ( combining my interests in photography as well).
It looks a bit daggy.
I am not sure what colour the logo needs to be but could be blue or red or green (green is good) I am trying to avoid using an eye as everyone does this but I am open to any idea.
It needs to go on our letterhead, web page, thank you forms, business cards etc.
It also need a gray scale version for news print.
It needs to incorporate our business name but it would be good if it can stand on its own.
I like high tech 3D designs but it doesn't have to be.
I like the 3D effect here
I like the logo used in these web sites
hate these
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Update: Looks like the site address for the beta got out a bit early.
Respawn head honcho Vince Zampella tweeted the following earlier tonight regarding the upcoming Titanfall beta:
Tonight at 6pm PST there will be a website to sign up for #titanfall beta access. The website will be announced shortly before 6.
— Vince Zampella (@VinceZampella) February 11, 2014
We'll let you know more when we know more but I would be sure to follow the official TitanFall twitter account if you aren't already.


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Is it just me or did 2008 just fly by? It seems like I was just posting my farewell to 2007 and it's already time to bid 2008 goodbye.
All in all, 2008 was a pretty good year (for both knitting and my life in general).
I finally found my sock mojo:
And, I developed some sweater mojo:
I should be finishing another sweater soon:
I knit a bunch of wash/dishcloths:
And, I knit something I needed:
The highlight of 2008 was definitely finding Sadie. She is such a joy to have around and I firmly believe that she was destined to be my dog.
Unfortunately, I did experience heartbreak again this year. I had to say goodbye to my beloved Samantha. My big wish for 2009 is to get through the year without any of my pets dying. (It's been a rough couple of years.)
Since I detail all of my projects on Ravelry, I've decided to do something different with this blog (well, at least for 2009). For the next 365 days, I am going to take one picture a day and post it here. I've decided I want to challenge myself to look more closely at the world around me and also to document each day in my life. I have no idea what I'll find to photograph each day, but I'll figure it out. I also want to experiment with Picnik and discover more of their editing tools (I tend to use the same ones over and over). I'll still do knitting posts from time to time, but for the most part this blog is going to become a picture blog.
Happy New Year!


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Evil Dead 2: Dead By Dawn
Bold as it is to say, Evil Dead 2: Dead By Dawn is my favorite movie of all time. For me, it teeters in competition with Alfred Hitchcock's Psycho. And to be clear, just because it happens to be my favorite movie doesn't mean that I think it's the best acted, best scripted, best directed movie ever. (Although the directing is top-notch. More on that in a bit.) Movies are entertainment; their sole purpose is to entertain us. So for me personally, in terms of sheer entertainment value, I find nothing more entertaining than Sam Raimi's sequel to his own break out independent hit, The Evil Dead.
The first Evil Dead was the culmination of years and years of Sam Raimi, Bruce Campbell and Rob Tappert honing their filmmaking skills by cranking out numerous short films together in school. Pooling together a budget from investors primarily consisting of dentists, they managed to make a little indie movie touted as "the most grueling experience ever!" An endorsement from Stephen King early on solidified The Evil Dead's cult status. So several years later, after Raimi and the Coen Brothers had a creatively unsuccessful studio experience making the feature Crimewave, Raimi went back to the ol' cabin and decided to sequelize his big break out movie with Evil Dead 2: Dead By Dawn.Continue Reading
The Avengers
If my 12-year old self thought it was even remotely possible that several of my favorite Marvel superheroes would not only have their own solo movies fronted by big Hollywood celebrities, but one day all appear in the same movie as one big multi-movie universe event, I would've lost my mind. And, hell, even now in my 30s the fact that The Avengers movie exists makes me lose my mind! Back when Marvel kicked off the first batch of their self-produced films with Iron Man, the slim glimmering hope that it would lead to The Avengers was there, but I don't think any of us comic book fans actually thought it would happen. The fact that it did, and that writer/director Joss Whedon, creator of Buffy The Vampire Slayer and Firefly, managed to pull it off and make it into one of the biggest and thoroughly entertaining action blockbusters of the summer is a miracle.
What's great is all the other Marvel movies have been leading to this. If you've been watching along with Iron Man, The Incredible Hulk, Thor and Captain America, then this movie is all pay off from everything you've seen before. Yet it simultaneously works as a stand alone film that any viewer can watch and enjoy because of how well Whedon balances each character's introductions and screen time. It's similar to watching any ensemble flick and wondering where all these characters came from before the movie. In this case, those movies exist and you can go back to them! But alas, let's focus on the one at hand.Continue Reading
Bubba Ho-Tep
One of the most magical theatrical experiences I ever had was catching a super advance screening of Bubba Ho-Tep at an event that star Bruce Campbell had attended to intro his most famous feature film, The Evil Dead. Bruce brought it along as the surprise first half of a double bill and, for the unsuspecting audience, we had no idea of the absurd, scary and hilarious ride that we were in for. I often wondered if this experience skewed my love of the film more toward the favorable because of the whole night surrounding it, but I have since revisited the movie numerous times and I still love it just as much as the first time I'd seen it, if not even more!
It opens with a title crawl that gives us the following definitions:Continue Reading
Halloween 4: The Return Of Michael Myers
After both the box office failure and predominantly negative (and unfair) critical reviews of Halloween III: Season Of The Witch, the future for the Halloween franchise seemed unsure. Original creators John Carpenter and Debra Hill never intended or wanted to do Halloween II. They would have preferred their Michael Myers story be a single film and instead they wanted to continue the franchise as a series of stand alone horror tales that all took place on Halloween. But when Halloween III failed to launch this version of the franchise, producer (and Godfather) of the Halloween franchise Moustapha Akkad decided it was time to go back to the basics and bring back Michael Myers.
The opening of Halloween 4: The Return of Michael Myers is not only one of the most beautiful introductions of the entire series, but it perfectly captures the odd underlining uneasy feeling of the fall season. It's a series of primarily landscape shots setting up Halloween, the holiday. Decorated pumpkins are set up at stoops, a gust of wind blows through the fields and the overall sense of dread that comes with the Halloween is palpable.Continue Reading
Halloween II
It's pretty interesting to look back now in retrospect at Halloween II knowing what we do about other successful horror franchises and realizing that at the time of its release there had never really been any previous attempt in horror history to continue a story involving a modern day bogeyman. Back when John Carpenter unleashed the original Halloween into theaters in 1978 to an unsuspecting audience, it became not only the most successful independent feature of all time (and held that record up until The Blair Witch Project came out in 1999), but also became easily the single most influential film of the entire '80s "slasher" craze that would follow. (Even if Carpenter did lift quite a few bits from Bob Clark's Black Christmas, the predecessor to Halloween). No one, including the filmmakers, the producers or investors could've ever predicted just how vast the success of Halloween would be, and so, they never, ever intended on doing a sequel.
But just as the '80s came, suddenly sequels didn't seem like such a bad idea. Hell, Jaws had a sequel just a few years shy of the start of '80s and that did really well, so with the new crop of baddies showing up in such films as Friday The 13th, The Burning and My Bloody Valentine, why wouldn't the studio want to bring back Michael Myers? And so, much to the reluctance of John Carpenter and Debra Hill who instead wanted to turn the Halloween franchise into a series of unrelated horror stories that took place around the famed holiday (and which they would attempt to do with Halloween III: Season Of The Witch), instead Halloween II became a direct sequel to their original, picking ...
Creepshow 2
Most genre fans seem to cite the original Creepshow as the definitive and best horror anthology film ever made, but I've always had more of a soft spot and appreciation for its sequel Creepshow 2. The first Creepshow was the brainchild of famed horror author Stephen King (Carrie, Christine, Cujo, The Shining, It, The Dead Zone) and legendary horror director George A. Romero, the creator of Night Of The Living Dead and in essence the father of the movie version of the modern "zombie." Their idea was to put together a live action anthology film which collected five unique horrific tales ala the old EC comics of the 1950s which featured Tales From The Crypt, The Vault Of Horror and The Haunt Of Fear. (Side-note: EC comics were also the creators of MAD magazine!) The segments drew in an all star cast including names such as Ed Harris, Leslie Nielson, Adrienne Barbeau and even King himself. While considered a sleeper hit at the box office upon its release, it would take five years before the sequel came to fruition.
For Creepshow 2, King provided the stories and Romero penned the script, but this time he vacated the director's chair for Michael Gornick, Romero's long-time cinematographer. Also, whereas the first film featured five separate segments and clocked in at 120 minutes, the sequel keeps a lean pace of three stories (plus an animated wrap around) all within 90 minutes. Famed FX artist Tom Savini (also a long-time Romero collaborator) portrays the live action version of "The Creep" during the prologue segment. Without further ado, here's a break down of the three fiendish tales!
Growing up, Frank Henenlotter was always one of my filmmaking heroes and it's not just because he made the cult classic films Basket Case and Brain Damage. It was mainly because, like me, he was originally from Long Island, New York. In fact, I recall my best friend's mother worked with Frank's brother at the same police precinct and for whatever strange reason, this made my friends and I feel like he was the first director that we were two steps away from rather than someone we'd imagined being in the far away land of Hollywood. It proved to us you can make movies in New York and be someone from Long Island to make them too.
So it's funny how Frankenhooker, which would end up being my favorite of his films, was actually the last one I discovered. How I managed to go years without seeing it is completely beyond me, especially with the now legendary Bill Murray quote right on the front of the box stating "If you only see one movie this year it should be Frankenhooker." Also, despite it's location being set in New Jersey (in actuality, it's Valley Stream), it's arguably the most "Long Island" movie I've ever seen, at least in terms of reminding me what it was like growing up there in the late '80s/early '90s. For all of the above reasons I hold a special place in my heart for Frankenhooker.
God Bless America
God Bless America is a satirical masterpiece, plain and simple, and it's not surprising if you look at the trajectory of Bobcat Goldthwait's films as a writer/director. The former stand-up comedian and star of the Police Academy sequels kicked off his filmmaking career with the often misunderstood and underrated 1991 comedy Shakes The Clown, in which he also starred, but it was his two follow-ups, Sleeping Dogs Lie and World's Greatest Dad, that solidified him as the master of the black comedy. Those two films represent some of the darkest and most uncomfortable cinematic farces you're bound to ever see and while he had plenty to say through the characters of those previous movies, God Bless America feels like his most personal rant on the wrongs of our current celebrity obsessed society. All the things he'd probably vent about in a modern stand-up routine are all neatly plugged into his latest feature-length film making this arguably his most personal movie to date.
Joel Murray (reuniting with Bobcat for the first time since his 1986 big-screen debut One Crazy Summer) plays Frank, a genuinely decent person who gets frustrated easily by the stupidity that constantly surrounds him. Take his completely oblivious and inconsiderate neighbors who through paper-thin walls stay up super late to loudly discuss the most asinine subjects while their unattended newborn baby cries in the background nonstop. Between the noise and his migraines, Frank can never get a good night's sleep. So most evenings he's plopped on his couch flipping through the channels to catch commercials for "pig fart" ringtones and power drink advertisements in between episodes of reality shows like Tuff Gurlz where one girl throws a used tampon at another girl. (No doubt, an MTV show.) But hey, that's nothing compared to the news reports he combs through depicting kids doing violent things and then posting them on YouTube, or the angry religious fanatics protesting some social ill of the week.
The Toxic Avenger
Troma Entertainment has been churning out what can be considered the epitome of "cult" films for over 30 years and has proudly stood tall as the purveyors of independent cinema. But most of their output in those 30 years might be looked upon as lowest common denominator material. To be blunt, the majority of their movies feature some of the most outlandish gags and stories being executed in the poorest of taste with the sole purpose of offending just about anyone and everyone that watches them. Then again, therein lies the charm of a typical Troma film. No other movie among their catalog matches the greatness of The Toxic Avenger, Lloyd Kaufman's most famous creation which at least manages to be offensive and entertaining.
No one could've predicted back in 1984 that this little low-budget indie gore-fest would go on to spawn three sequels, comic books, a television cartoon titled the Toxic Crusaders and a slew of related toys and merchandise. After all, could the world's first superhero from New Jersey who was born of toxic waste really become that huge of an icon? Low and behold, for better or worse, he has! And that's part of the fun in revisiting the film now which so perfectly captures the sleaziness of New Jersey/New York of the early '80s.
Spider-Man 2
Spider-Man 2 is not only one of the best sequels ever made, it's easily one of the best superhero movies ever made. And while the first Spider-Man most definitely felt like a Sam Raimi film, this one is 100 percent the filmmaker we've come to know and love over the years through films such as the Evil Dead trilogy to Darkman and A Simple Plan. It's not surprising that his influence is more recognizable in the sequel looking back now in retrospect. The first Spider-Man was a major gamble for everyone involved. For Marvel, for the studio (Sony in this case), hell, even for the toy companies which I'm convinced are the reason the Green Goblin looks the way he does rather than looking like his comic book counterpart in appearance. But the gamble paid off and director Raimi delivered in spades, satisfying not only all the interested parties involved in the first movie's investments, but savvy comic book fans and worldwide movie-goers alike. So, with the mega-success of the first Spider-Man, it feels like they pretty much left him alone to make the sequel exactly how he wanted to make it.
And the opening alone is impressive and unique. We're re-told the plot and events of the first Spider-Man during the opening credit montage through a series of amazing drawings by comic artist legend Alex Ross, backed by Danny Elfman's returning score. Once we're brought up to speed, we pick up about two years after the events of the last movie and are thrown right into the hectic life of Peter Parker (Tobey McGuire), who is scootering along the busy streets of Manhattan trying to deli...


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In Portsmouth on Sunday night, Merle Haggard and Kris Kristofferson gave music fans a taste of what country sounded like before arena-rock bombast and Jimmy Buffett-inspired cheer invaded Nashville.
Their show at nTelos Pavilion amphitheater was relaxed and low key in a way that's a far cry from the explosions of sound and light offered by the Toby Keiths and Kenny Chesneys of the world.
That's not to say the show was a snoozer. There's plenty of emotional power in the songs of both men. Both seemed genuinely glad to be on stage on a warm summer night in Virginia. A small-but-appreciative audience hooted and hollered approval as the two country giants -- performing together backed by Haggard's tight, sympathetic band -- dipped again and again into their shared pool of classic songs.
Early in the show Haggard sang "I Think I'll Just Stay Here and Drink." Kristofferson followed with "Me and Bobby McGee." Hag did "Mama Tried" and "Tonight The Bottle Let Me Down." Kris gave a tender reading of "Help Me Make It Through the Night."
Haggard played lovely electric guitar solos throughout, never hogging the instrumental spotlight, but proving his chops are still sharp. He's singing well, too. Kristofferson, never the strongest of singers, was able to put his lyrics across with style if not melodic precision.
Haggard helped set the tone for the evening on "Are The Good Times Really Over" when he sang:
I wish a buck was still silver
It was back when the country was strong
Back before Elvis
And before Vietnam war came along
Before the Beatles and 'Yesterday'
When a man could still work, still would
Is the best of the free life behind us now?
And are the good times really over for good?
The world has changed dramatically since Haggard and Kristofferson came along in the 1960s, but this pair demonstrated that keen musicianship and a well-crafted song never go out of style.


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Dr Richard Deniss, believes the coal boom is very good news for the coal industry but really bad news for the manufacturing sector, tourism and agriculture. While it's been billed as the financial saviour of the nation, Dr Deniss reminds us that the "economy" is something that needs to work for over 22 million Australians and over a million businesses. So which bits of the economy is the coal boom good for?
Eighty-three per cent of coal industry is foreign owned, so the profits from this boom are headed overseas. There are deals being done to ensure foreign workers get employed in mining in Western Australia and Queensland. Locally, workers that are flown in and flown out of mining towns get such big wages that local businesses, manufacturing industries, and community building services such as teaching, nursing and policing can't compete, and are struggling to find workers.
Dr Deniss reminds us of the most basic principle in all good economies; don't put all your eggs in one basket
"Last year 63 per cent of all investment went into the mining industry. But the mining industry only employs two per cent of our workforce. So we're putting our whole future faith in the fact that this mining boom is going to continue, so we've put all our eggs in one basket."
"Booms end," says Deniss. "That's why it's risky to hollow out our manufacturing industry, hollow out our communities, and literally bet the country on the mining boom going forever. History tells us that booms are fun on the way up but no fun on the way down."
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Lions land New Jersey linebacker
Losing Indiana blue-chip linebacker Josh Barajas to Notre Dame a few weeks ago was a blow to Penn State's 2015 football recruiting class, but James Franklin and his staff bounced back with a pledge who will do a lot to ease the pain on Saturday.
Manny Bowen, a 6-foot-2, 208-pound linebacker from Barnegat High School in New Jersey announced via Twitter that he had become the 17th rising prep senior to accept a scholarship offer from the Nittany Lions.
"Replace is not the right word for Bowen as it relates to Josh Barajas, who recently decommitted, because every kid brings something different to the table. At the same time, Bowen is a piece to the class of 2015 recruiting picture at a much needed position, outside linebacker, which the Lions definitely needed to fill," said Greg Pickel, who handles Penn State recruiting for FightOnState.com.
In addition to outside linebacker, Pickel said Bowen could fit in at the "Star" position, a hybrid linebacker-safety similar to the "Hero" used by Penn State under Joe Paterno.
"Manny Bowen was always near the top of Penn State's board, and the reason is simple: he can play in space, and he can run downhill," Pickel said. "Bowen can hit and run with the best, which should fit nicely into Penn State's scheme."
Bowen is rated a four-star recruit by ESPN, but most recruiting services have him with a high three-star rating. His list of scholarship offers, though, is elite. More than 30 colleges have extended invitations for Bowen to join their program, including Alabama, Clemson, Florida, Miami, Michigan State, Notre Dame, Oklahoma, Oregon, South Carolina, Virginia Tech, West Virginia and Wisconsin.
"You are talking about the hottest recruit in New Jersey. That's what everybody says, right now," Barnegat coach Robert Davis recently told NJ.com. He plays wide receiver and kick returner for us, too, but he's being recruited as an outside linebacker. So we're excited about him."
Bowen led Barnegat to a 10-2 season and its first-ever trip to the sectional finals. He was the New Jersey Class B South Defensive Player of the Year, racking up 78 tackles, including 18 for loss, to go along with 2 1/2 sacks, 22 quarterback pressures, four interceptions and five forced fumbles. He recovered three fumbles, returning one for a touchdown.
Bowen's commitment tied a bow on a big recruiting weekend for the Nittany Lions. On Saturday, they hosted a barbeque for players that have committed or those they are pursuing, along with some top underclassmen.
Defensive tackles Christian Wilkins of Connecticut and Tim Settle of Virginia and Philadelphia cornerback John Reid were among the top-rated uncommitted 2015 prospects that were on hand. The group also included 2016 quarterback Jake Zembiec from Rochester and Philadelphia running back D'Andre Swift, who is on track to be one of the top recruits in the country in 2017.
"The Lions were able to again use a summer gathering, like they did with Bill O'Brien last summer, to generate momentum and gain a commitment at a position of need." Pickel said. "The event will absolutely become yearly, and it's something that many programs have had but Penn State never did. Now that it does, Penn State can begin to realize the momentum, and possibly a commitment as it did (on Saturday), such events bring about at a time of year when the recruiting calendar is usually fairly dull."


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December 18, 2012
Vladimir Alexandrovitch Sychugov died 18 December 2012 in Moscow, Russia, at the age of 73. He was one of the pioneers of integrated optics who, contemporaneously with eminent researchers such as T. Tamir and H. Nishihara, developed the phenomenology of waveguide diffraction gratings. As the head of the Optoelectronics Laboratory of the Institute of General Physics in Moscow, he was the originator of major contributions to this field. He discovered the nature of what became known as resonant reflection from a grating waveguide, and he then applied this understanding of gratings in optical waveguides to the control of laser emission and to biosensing. He also carried out pioneering work with another type of diffractive laser feedback, obtaining a high level of spatial coherence by means of a waveguide crossed grating, thereby ensuring non-collinear resonant light redistribution within the reflected wavefront. The same powerful concept was applied to the self-writing of highly uniform plasmon-induced metal corrugations, under conical incidence. Before the name was adopted, V.A. Sychugov conceived and demonstrated a 2D Bragg-waveguide laser that prefigures photonic crystal channel guidance. Another important contribution in resonant diffraction was his solution for 100% waveguide coupling efficiency with a finite size beam incident from free-space. Last but not least, he also pioneered high-efficiency, high damage-threshold, all-dielectric, pulse-compression gratings.
The main characteristic of V. Sychugov's research activity has been a deep and creative physical insight into optical phenomena. History has chosen that such an impressive body of scientific achievement has remained in the shade and has not received the recognition it deserves. The undersigned acknowledge this contribution to optical science and thereby wish to preserve the memory of an inventive, free-thinking, generous and unpretentious personality.
This obituary was contributed by: Prof. J. Ctyroky, Czech Republic; Prof. R. DeLaRue, UK; Prof. H. Hoekstra, The Netherlands; Prof. Lifeng Li, China; Prof. R. Magnusson, USA; Prof. H. Nishihara, Japan; Prof. E. Popov, France; Prof. M. Smit, The Netherlands; Prof. T. Tamir, USA; and by coworkers and heirs of V. Sychugov's legacy: I. Avrutsky (USA), N. Lyndin (Russia), D. Nurligareev (Russia), O. Parriaux (France), A. Tikhomirov (Australia), A. Tishchenko (France), B. Usievich (Russia).


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I am going to a Queen Rearing class in two months. I will produce grafts on Thursday. I drive home on Saturday (9+ hours). How do I keep the grafts alive? I was thinking of setting up a queenless Nuc or Mini Nuc when I arrive on Monday, inserting the grafts on Thursday, and bring that home.
If the above works or you have a better idea, what is the action that I take when I get home? Leave them in the Nuc or Mini Nuc? Other action?


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MIG Welding 101
In this class, you'll learn about working safely with a MIG welder and about the diferent types of welds, how to prepare your material for welding and tacking and laying down a simple bead. You'll perform various operations to become comfortable and proficient with the safe usage of these tools.
3 hours
Set up welder, prep pieces for welding, lay a clean weld bead.
Prerequisite Courses
Required: None
Equipment Access
MIG welder. Please note: this class does not cover the plasma cutter.
- Safety glasses (provided)
- Closed-toed shoes
- Remove dangling jewelry
- Tie back long hair
- Hearing protection
- Particle filter mask or dust mask
** Please note, the material we use for welding contains nickel. If you have any allergies to metals you may bring your own respirator mask with a positive filtered air supply. We do have complimentary particle filter masks avaiable for students use. **
Is there an age limit to enter the event?
The minimum age for participants is 13 years old with a participating guardian or 18 otherwise.
What are my parking options at MakerLabs?
MakerLabs' parking lot is located on the east side of the building on the corner of Hawks Avenue and East Cordova Street.
Where can I contact the organizer with any questions?
Please email us at firstname.lastname@example.com with any questions or concerns.
Can I sign up for the member rate?
If you sign up for a membership on the day of the class, you'll receive a refund for the difference between the general and membership class price.
How do I cancel or reschedule my class?
Refunds (minus Eventbrite fees) or credit for future classes will only be provided if we are notified by email to firstname.lastname@example.com at least 24 hours in advance of the class. No refunds will be provided for late cancellation, but we do offer a 50% credit towards a future class.
What happens if I show up late?
Please arrive 15 minutes before the schedule start of the class so that it can start on time. Attendees arriving more than 5 minutes late will not be allowed in the class.


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Lots of teenagers dream of being told that they're special and they have a heroic destiny — but hearing it from a morbid old ghost who's blind and nearly deaf kind of puts a damper on things. In this exclusive clip from tomorrow night's episode of The Fades, Neil takes Paul to see an old fade with special insights... and somehow this leads to glittery soul-stuff oozing out of Paul's eyesockets. Fun!
And if you missed last week's opening episode or need to refresh your memory as to what's already happened, here's Paul's best friend Mac giving a demented/funny little summary of the story so far, from the opening of tomorrow night's episode.
The Fades airs Saturdays at 9 on BBC America.